1.2 Ideas and influences The Oriental and the exotic played a central role in this process of artistic negotiation and reconciliation. The Enlightenment’s preoccupation with ‘exotic’ lands as part of an indirect critique of western European societies increasingly competed with visions of the East as a sitalte of fantasy, desire and sensuous pleasure. Like the Prince Regent’s Pavilion, Delacroix’s work also exemplified in many respects a specifically Romantic concern with the Oriental and exotic as a means o
3 Chronology References 2.2 Hero or great man? Read the following passage from the Encydopédie article ‘Hero’, considering what qualities identify the hero as opposed to the great man. Which type of man seems to owe more to innate talent and genius? Which type 5.7.2 Post-mortems How do Images 73 and 74 differ from the usual studio portraits of children? Make a note of the more obvious differences. Death The final rite of passage, death itself, permeates the Victorian family album. Throughout the 19th century it was common practice, following the death of a relative, to commission memorial photographs. The overwhelming majority of these memorial photographs feature the person as living, not dead. 4.9.1 Natural light Can you identify the source of light used to create this portrait? 3.1 Introducing ideology in portraiture Portraiture emerged as the first m 2.4 National variation Relatively little research has been undertaken by photohistorians in the field of domestic photography. However, we should be aware that photography developed in different ways in different countries. So, for example, in Britain the daguerreotype remained a luxury article, as high prices restricted sales to the comfortable classes, whereas in America, because of early mass production techniques, studios could offer 4 daguerreotypes for 1 dollar. Photography was, however, a European inve 2.1 Styles of photograph Let's briefly examine the various styles of photograph that are commonly found in family albums. 3 Conclusion In this unit you have been introduced to the main components of prose fiction and have been given the opportunity to develop and practise your critical and analytical skills. These are essential skills you will need to continue your stufdies in this area. Learning outcomes By the end of this unit you should be able to: recognise and discuss selected library texts from the Renaissance to the present; know how to approach literary texts in terms of genre, gender and the canon; understand and be able to apply technical analytical terms; engage in close analysis of narrative and poetic language; recognise performance is an interpretation of dramatic texts; engage in comparative 7.4 Doubling The cast list for the first performance of Top Girls at the Royal Court Theatre, London in 1982 indicates that six of the actors played two or more roles each; only one actor had a single role, that of Marlene. This doubling is also used in a BBC recording of the play, but it is not prescribed by the playwright, Caryl Churchill, who in fact has reservations about its desirability. 6.2 Performance and reception Our discussion of the performance possibilities for Beckett's play begins to reveal the author as someone who went to great lengths to articulate a particular artistic vision. The matter of how his plays were received was extremely important to him, and his presence at rehearsals is frequently recounted as an active, if not obtrusive one. Beckett was someone who sought extensive directorial control over the production of his work. Indeed, he made this the subject of one of his plays, in Ca 2.4 Components, causes and effects In this section, I shall say a little more about the shape that we might expect an answer to the ‘What is…?’ question to take. In particular, I would like consider some different claims about the way in which an emotional occurrence is related to other types of occurrence. Here is a story. Larry is told by his manager, Bella, that the project that he has been working on for months has been shelved: all his hard work has been wasted. Larry hears Bella telling him the news as References 1.6 Sources of authority A very useful way of gaining insight into a religion and seeing how it works is to examine its sources of authority: for example, whether authority is vested in scriptures, in religious specialists, in tradition, in personal experience or a combination of these. Even in traditions where there is some agreement on what counts as an authoritative text, there are still contested issues of how that text is to be interpreted, by whom, with what degree of literalness and in what context. Similarly, 1.1 What are the issues? Some themes recur when we start to think about religion. These include issues of continuity and change, representation, differing perspectives, authority, community and identity. In this unit we start to consider some of them in detail. The full list of themes and issues considered in this section are: Continuity and change Representation The Victoria and Albert Museum 'Sacred Spaces' exhibition of 2000 4.1 What is a composition? We are used, in Western art music, to being able to identify a piece of music and its composer. The ‘piece’ is represented by the written notation; it can be realised in somewhat different ways in different performances. One of the problems we have in applying our concepts of composition to the music of other cultures is that it is not always easy the identify a ‘piece’ of music (an item of repertoire), as distinct from a particular performance. 3.6 Conclusion I asked the question at the beginning of this section on Sundanese gamelan music: how is it possible for a group of musicians to play highly complex music, in a cohesive manner, without the use of notation and without having to memorise impossibly large amounts of music? My answer came in a number of stages. Rather than reading, or memorising vast amounts of music, the musicians memorise the simple frameworks of pieces (the Javanese term for this, bal
Timeline Event
1746
(30 March) Goya born in Fuendetodos, in the province of Aragon.
1759
Carlos III of Spain ascends the throne.
1760
Goya apprenticed to the painter José Luzán.
1770–1
Travels in Italy.
1
Exercise
Activity 22
Author(s):
Author(s):
Activity 18
Author(s):
