166 research outputs found
Henry James's Europe
No full textAs an American author who chose to live in Europe, Henry James frequently wrote about cultural differences between the Old and New World. The plight of bewildered Americans adrift on a sea of European sophistication became a regular theme in his fiction. This collection of twenty-four papers from some of the world’s leading James scholars offers a comprehensive picture of the author’s cross-cultural aesthetics. It provides detailed analyses of James’s perception of Europe—of its people and places, its history and culture, its artists and thinkers, its aesthetics and its ethics—which ultimately lead to a profound reevaluation of his writing
Henry James's Europe
No full textAs an American author who chose to live in Europe, Henry James frequently wrote about cultural differences between the Old and New World. The plight of bewildered Americans adrift on a sea of European sophistication became a regular theme in his fiction. This collection of twenty-four papers from some of the world’s leading James scholars offers a comprehensive picture of the author’s cross-cultural aesthetics. It provides detailed analyses of James’s perception of Europe—of its people and places, its history and culture, its artists and thinkers, its aesthetics and its ethics—which ultimately lead to a profound reevaluation of his writing
Concrete Thinking for Sculpture
No full textThis article proposes to explore the variegated plays of concrete as a travelling concept through four specific examples, viewed from the locality of the Yorkshire Sculpture Triangle in 2015. It will be argued that ‘concrete’ makes possible a triangulated reading practice in, of and for sculpture. The first example looks to the use of concrete, as a material, in some of the ‘technical’ experiments of Henry Moore, from the 1920s-1930s. The second example is the only public concrete sculpture by Barbara Hepworth on record, entitled Turning Forms. This is a kinetic work which was commissioned for the Festival of Britain in 1951. The psychic registrations of form-in-concrete will be explored through the aesthetic reception and understanding of these works. The third example examines the interplay between abstraction and concretion in a work of structural engineering: the Arqiva transmission tower on Emley Moor. This structure is a working utilitarian model of the telecommunications industry which took hold in the 1960s and 1970s. It is also a sculptural monument in a landscape of other design ‘types’. The fourth example considers the recent display of Lygia Clark’s Bichos at the Henry Moore Institute, Leeds, in 2014-2015. Bicho Pássaro do Espaço (‘Creature Passing through Space’) (1960) reveals a particular translation between concrete thinking and concrete experience. These examples call upon the semantics of the concrete as a thought process and will track a journey into a region marked by three interconnected points: the concrete specificity in the material works selected, the broader field of concrete forms within which the sculptural may sit and the philosophical/aesthetic language of concrete for sculpture
Dennis Tredy, Annick Duperray and Adrian Harding, eds. Henry James and the Poetics of Duplicity.
No full textHenry James and the Poetics of Duplicity is a compilation of critical essays addressing the issue of duplicity in the Jamesian oeuvre. In the editor’s preface, Dennis Tredy, quite eloquently and most perceptively, distinguishes between the various aspects of duplicity encountered in James’s work. Duplicity, he argues, was for James “a multi-purpose representational tool” which more often than not enabled the author to create texts fraught with semantic undecideability operating at different ..
Henry James's Europe: Heritage and Transfer (PDF)
No full textAs an American author who chose to live in Europe, Henry James frequently wrote about cultural differences between the Old and New World. The plight of bewildered Americans adrift on a sea of European sophistication became a regular theme in his fiction.
This collection of twenty-four papers from some of the world’s leading James scholars offers a comprehensive picture of the author’s cross-cultural aesthetics. It provides detailed analyses of James’s perception of Europe—of its people and places, its history and culture, its artists and thinkers, its aesthetics and its ethics—which ultimately lead to a profound reevaluation of his writing
Government expenditures as a citizens'evaluation of public output : public choice and the benefit principle of taxation
No full textCombining elements from the theories of public choice and benefit taxation, the author develops a framework in which private citizens can evaluate public activities. Why, and under what circumstances, do bureaucrats increase the size of the public sector and the amount of public spending in their own self interest? What does the private sector think public output should be, what is actual public output, and how does the private sector evaluate that output? The author applies the theoretical results of an attempt to answer these questions in four Central European countries (Czechoslovakia, Hungary, Poland, and Slovenia), using actual data for 1989-91 and projections for 1992. Interpreting indirect evidence, he shows that the private sector would prefer less government activity in all countries, from a low of 5 percent less public spending (in Poland) to a high of one-third less (in Slovenia). If those governments were to follow those guidelines, their spending-to-GDP ratios would more closely resemble the 1987-89 average for a selected group of European market economies. The author also introduces a more rigorous, if not necessarily more objective, approach to determining optimal government spending. This approach requires little information, but uses a static model and requires faith in the direction of causality for some key variables. To the extent that one can accept those limitations, the model may be a useful operational tool in public spending evaluation.Public Sector Economics&Finance,National Governance,Economic Theory&Research,Environmental Economics&Policies,Fiscal&Monetary Policy
Henry James's Europe: Heritage and Transfer
No full textInternational audienceHenry James, as an American author who chose to live in Europe, seems to embody his own famed ‘International Theme’—that is, his frequent focus, within his fiction, on cultural differences between the Old and New World and on the plight of “bewildered” Americans adrift on a sea of European sophistication. Of course, James’s own trans-Atlantic connections and his perception of Europe’s cultural and literary heritage are a far more complex matter—one that must necessarily take into account myriad aspects of the author’s intellectual games involving transfer, appropriation and a good deal of re-appropriation. It also requires analysis of James’s perception of Europe—of its people and places, its history and culture, its artists and thinkers, its aesthetics and its ethics—all of which lead inevitably to a reevaluation of his own status and identity. This collection of twenty-four papers thus offers a more detailed picture of James’s cross-cultural aesthetics, thanks to in-depth analysis of his works of fiction, his autobiographical and personal writings, and his critical works. Bringing together leading Jamesian scholars from around the world, the collection is a major contribution to current thinking about Henry James, transtextuality and cultural appropriation
The influence of African sculpture on British art, 1910-1930
No full textThis thesis aims to discuss the influence of African wood sculpture
on British art from 1910 to 1930. It proposes that the works, tastes and
pronouncements of various 20th century British artists betray this
influence and that although the British artists did not initially
understand the conceptual foundations of African sculpture their limited
knowledge was just sufficient for the modernization of British art
through the adaptation of the formal qualities of African art.
In assessing the validity of these propositions the thesis examines
the factors and issues that facilitated the influence. Chapter 1
discusses the formal qualities of African wood sculpture that attracted
the British artists. It outlines the unusual figural proportions, the
free and direct use of planar, linear and solid geometry, the treatment
of material and its surfaces.
The conceptual foundations of African sculpture are generally
outlined in Chapter 2. The extent to which the British artists
understood these foundations is also discussed.
Chapter 3 concerns the introduction of African sculpture to Britain
and discusses the development of the anthropological and subsequent
aesthetic interest that it aroused. Both the Post-Impressionist
Exhibitions and the Omega Workshops which facilitated its influence are
examined. Chapter 4 examines the concept and attempts to categorize the
nature of this influence.
The last three chapters act as case studies in which the impact of
African sculpture on Epstein, Gaudier-Brzeska and Henry Moore is
examined. The conclusion discusses the term 'Primitive' and the British
artists and the 'Primitive
Reforming nationhood : England in the literature of the Tudor imperial age, 1509-1553
No full textThe thesis explores the relationship between empire and nationhood in the literature of the Royal Supremacy. In so doing, it contests the assumptions of the social historians Michel Foucault, Benedict Anderson, Jürgen Habermas, and Ernest Gellner - all of whom have dated the dawn of the nation-event on our Western political horizons from the end of the eighteenth century. The thesis invites important outcomes for our perception of early Tudor political culture, and for our wider appreciation of the origins of English national identity. It differentiates the Habsburg imperial idea from the Tudor ideology of empire inherited by Henry VIII upon his accession in 1509. It then distinguishes both these imperial ideologies from Henry's pretensions, as enshrined in the 1533 Appeals Act, to
empire in the English Church. Despite these differences between the Habsburg and Tudor ideologies of empire, each received identical expression in propaganda that identified both England and the Holy Roman Empire with Virgil's Golden Age. The first two chapters explore the Golden Age motif in pageantry produced for the joint London Entry of Henry
VIII and Charles V (1522), and for the Entry of Anne Boleyn in 1533. Chapter Two concludes that the function of the 1533 Entry as propaganda for the Royal Supremacy was
undermined by the similarities between its stagecraft and that of the 1522 Entry
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