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Brilliant Effects: A Cultural History of Gem Stones and Jewellery (New Haven: Yale University Press, 2009).
No full textThe research for this book was commenced with a fellowship from the British Academy (1995). In that year the author gave the Haley Memorial Lecture at Princeton University on the subject of jewels; the following year she was awarded a Leverhulme fellowship. Subsequently Pointon was in receipt – specifically for the research for this book – of the following fellowship awards: Winterthur Research Institute, Delaware (1999); Clark Art Institute, Williamstown, MA (2004); Yale Center for British Art (2004); Getty Research Institute, Los Angeles (2005). The final work was completed thanks to a senior fellowship from the Paul Mellon Centre for Studies in British Art (2006). The Mellon Centre, for whom the book was published by Yale University Press, paid for illustrations. In 2009 the book won the single author post-c.1800 book prize of the Historians of British Art, a society affiliated to the College Art Association of America.
The appearance of this large format book with 371 mainly colour plates might easily seem to belie the depth and breadth of scholarship within its 471 pages, of which 38 are footnotes in small print. Pointon’s research for the first time establishes ‘jewels’ as a significant category through which cultural, economic, religious and aesthetic history can be mapped and evaluated. Drawing on primary sources textual and material in four European languages, Pointon opens up insights into the role of jewels in belief systems and cultural practices in France, England, Switzerland and Italy, with reference also to Germany and Flanders
‘‘Charming Little Brats’: Sir Thomas Lawrence’s Portraits of Children’ in Thomas Lawrence: Regency Power and Brilliance (New Haven: Yale University Press, 2010), edited by Cassandra Albinson, Peter Funnell and Lucy Peltz, 55-83.
No full textThis chapter, published in 2010 by Yale University Press for the National Portrait Gallery (NPG), London and the Yale Center for British Art (YCBA) is a contribution to a book that accompanied a major exhibition that was shown at both venues. The chapter builds on Pointon’s work on portraiture (and takes into new ground research on eighteenth-century child portraiture initiated by the author in ‘Hanging the Head: Portraiture and Social Formation in Eighteenth-century England’, 1993). Pointon was the only invited contributor (the three editors and other authors all being curators at the NPG and the YCBA). The book was awarded the 2012 book prize in the edited/ multi-authored category by the Historians of British Art, a society affiliated to the College Art Association of America
‘Material Manoeuvres: Sarah Churchill, Duchess of Marlborough and the Power of Artefacts,’ Art History, 32:3 (June 2009), pp. 485-515.
No full textThis article focuses on artefacts that played an important part in the life of Sarah Churchill, first Duchess of Marlborough’: the jewels
she amassed, the Turkish tent that her husband the Duke of Marlborough had used on the battlefield, and a sculpture of Queen Anne
that she erected at Blenheim. While the life of this supremely powerful woman and her role in the construction of Blenheim Palace, has
been extensively explored by historians, nobody had hitherto paid any attention to her acquisition and deployment of things. Drawing on
a wide range of manuscript and contemporary sources from her own correspondence and contemporary biographies to caricature,
Pointon examines how an elite woman of immense wealth, but little formal education, strategically employed material things to exert
influence socially and politically. The author made a special journey to Berlin to see a surviving Turkish campaign tent.
The article situates Marlborough through her universally acknowledged achievements, and in relation to the difference between her and
others of her class and era who attained independent reputations as successful women. The article examines how material things
played a part in unconventional forms of communication and in the exercise of power. It is highly significant in that it bridges studies in
material culture, seventeenth-century British political history, and popular culture. This is a period and topic relatively neglected by
historians of British art. The research benefited from time spent in 2007 as Senior Research Fellow at the Yale Center for British Art
and as a Visiting Fellow at the Lewis Walpole Library, Farmington, CT. It was first presented at the conference ‘Brilliant Women:
Gender, Intellect and Representation in Eighteenth-century Britain’, National Portrait Gallery, London (25-26.04.2008)
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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