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4.9.2 Idealisation

Early photographers were adept at using natural lighting to idealise the sitter. Manuals of good practice were full of advice on adapting the lighting to soften wrinkles and wreathe blemishes in shadow.

For ladies of a certain age, who often give the photographer a deal of trouble, it is advisable to employ a very soft light falling in front, which softens the wrinkles and protuberances of the face, and obliterates
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4.8.3 Personal possessions

Most accessories in studio portraits were supplied by the studio. However, it was not uncommon for sitters to introduce items that held a special significance for them, such as children's toys, competition trophies and awards gained in the course of a career. As we should by now expect, any personal items were intended to reflect credit on the sitter.

If we can distinguish the routine studio accessory from the prized personal possession, we may be able to elicit a few more nuggets of in
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Activity 3

Various stock types of difficult sitter recur in the literature. Painters, of course, posed the biggest threat. Other difficult customers included those accompanying sitters: the gentleman with the lady, the mother with the child, the owner with the pet.

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3.4.1 Control of the sitter

Figure 11
Image 11 Photographer/Painter: Studio of Richard Beard. Subject: Jabez Hogg photographing W.S. Johnston, early 1840s.

Photographers prov
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3.2 Idealisation

There were fundamental principles of painted portraiture that affected every element of the portrait, from expression and pose to background and lighting. The first imperative was the need to idealize the sitter.


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3.1 Introducing ideology in portraiture

Figure 9
Image 9 Photographer/Painter: French School. Subject: Portrait of a nobleman seated at a desk, c.1750.

Portraiture emerged as the first m
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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
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2.1.1 Card mounted photographs 1860–c.1914

Figure 3
Image 3 Photographer/Painter: Anon.
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Glossary

Characterisation The revelation of character through techniques such as physical description, action, dialogue, interaction with other characters, and the depiction of thought, emotion and belief.
Dialogic Describes a narrative in which multiple voices, perspectives or discourses are present and engage and interact wit
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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.


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2.5 Characterisation

How do writers of prose fiction make us respond to the imaginary people they create? In order to encourage us to continue reading writers must force us to react in some way to their characters, whether it is to identify, empathise or sympathise with them, to dislike or disapprove of them, or to pass judgement on their actions, behaviour and values. As we have already seen, the fundamental question we repeatedly ask when we read a story is what happened next. Equally importantly we want to kno
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2.2 Narrative events

Any narrative is made up of a series of events or incidents, arranged in a particular way. This can be defined as the plot of the story. Consider, as an example, Ernest Hemingway’s appropriately entitled ‘A Very Short Story’ (Hemingway, 1944, pp. 135–6). Different readers will summarise the story in different ways, allocating different levels of significance to various narrative events. If you can access a copy of the story, you might like to try and summarise it yourself and compare
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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
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Introduction

This unit investigates certain philosophical questions concerning the nature of emotions.

This unit is an adapted extract from the Open University course Thought and experience: themes in the philosophy of mind (AA308).


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2.1 The provinces

Controlling and governing the provinces was a substantial part of an emperor's remit. Here you will consider different ways in which the emperor had contact with his provincial subjects. You will work through some sections from books by Goodman and Lewis, and Reinhold and watch a short video sequence.

Exe
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2.7.1 The building of Thugga

In summary, most of the buildings we have dedications for in Thugga are of a Roman type. The exceptions are temples to gods or goddesses who were also worshipped in pre-Roman Africa or at least had strict equivalents, such as Baal and Saturn and Juno and Caelestis. This evidence would seem to suggest that this African city was very receptive of Roman models for building types, therefore fitting best into model 1. Nevertheless the adoption of Roman-style buildings seems to have been gradual, a
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1 Popular responses to the South African War, 1899–1902

It is convenient for purposes of comparison to examine popular responses to the Boer War or South African War of 1899 to 1902, which involved Britain in a war for the Transvaal, and to the Spanish-American War of 1898, which was fought, ostensibly at least, to free the Cuban people from Spanish oppression.

The South African War certainly involved the British working population. The war was fought by members of the working and lower-middle classes, many of whom volunteered. And the war w
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Acknowledgements

This unit was written by Dr Marion Bowman and Dr Susan Mumm

Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence

Grateful acknowledgement is made to the following sources for per
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2.5.1 The reductionist perspective

Although theology had been thought of as ultimate knowledge, in post-Enlightenment thought, religion came to be seen by many in the West as a hindrance to progress and the advancement of human knowledge. Some came to believe that a rational and scientific way of looking at the world, unconstrained by religious belief and ‘superstition’, would lead to religion becoming redundant.

In the nineteenth century, this idea was boosted by Darwinian theories of evolution. Charles Darwin’s <
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2.3 Is religion a museum piece?

We have used the video sequence below to highlight the emic/etic problem and we would like you to carry out a short exercise using it to consolidate your understanding of these terms.

The video introduces St Mungo Museum of Religious Life and Art in Glasgow, which has been described as the first public museum of religion in the world. Do note, however, that the Museum of Religions at the University of Marburg, Germany was founded in 1927 by Rudolf Otto. It contains a considerable number
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