4.3 Business and enlightenment: Manchester 1789–99 Manchester's dynamic business environment, particularly that of the new cotton industry, presented many opportunities for enterprise, even to those with modest capital. By 1790 Owen had joined John Jones, probably another Welshman, making spinning machinery. The next logical move was into cotton spinning itself, and very quickly Owen had established a reputation as a manufacturer of fine yarn, selling as far afield as London and Scotland. When in 1792 one of the town's leading merchant capita
6.2 The marketing of prints in Kumasi market Once you’ve watched the video, make some notes on the marketing of wax prints and fancy prints in Kumasi market. 2.4 Ancient sources As you have seen, exploring the Classical world is an interdisciplinary pursuit. Perhaps the most immediately obvious aspect of this interdisciplinary approach is that you will confront different kinds of ancient sources, often simultaneously, since one of them by itself may not be sufficient for answering a particular question you may have. Quite apart from whether a source is ancient or modern, the different disciplines that make up Classical Studies use different kinds of source material. References 3.5 The notion of a final solution Motivating much of Berlin's essay on the two concepts of liberty is a pair of related beliefs. First he believes that the notion of a so-called ‘final solution’, the belief that ultimately all human differences of goal can be reconciled, has led to terrible consequences, often to atrocities. Secondly, he believes that there is not, in principle, any way of resolving the widely different goals that human beings have. There can, then, be no simple panacea to cure all the problems that arise Acknowledgements This unit was written by Dr Linda Walsh
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 permission to reproduce 5.9 A reaction to the bourgeois establishment Delacroix made many satirical drawings that expressed his criticism of the monarchy (even its more liberal incarnation in the form of Louis XVIII), aristocracy and clergy, and that made clear his sympathies with Bonapartist Liberalism. For example, the Goya-esque Plate 27 (probably inspired by the anti-clerical satire in Los Caprichos) and Plate 28. Also look a Plate 38, Acrobats’ Riding Class (1822). The latter depicts incompetent Ultra riders wearing ancient armour, clerical 5.5 The Gothic, the grotesque and artistic expression The Gothic and the grotesque replaced classical reason, order and regularity with the irrational, the irregular and the deformed. Delacroix was drawn to them as a means of breathing new life into artistic expression. He was attracted to English and German literature, particularly Shakespeare and Goethe – because, to the unified, clearly defined aesthetic categories of the classical, they opposed the fractured and hybrid genres less susceptible to categorisation of any kind. Shakespeare mixe 5.2 Sardanapalus – passion and futility For many of Delacroix’s Romantic contemporaries, versed in Byronic despondency and melancholic ruminations on the futility and transitory nature of worldly pleasure, Sardanapalus expressed the condition of ennui, (melancholy or listlessness) – a kind of inner emptiness, languor, stultification and world-weariness. (The term ennui had been used in medieval French to signify profound sadness, disgust and personal anguish from the seventeenth century onwards it was used 3.8 Transcending the Romantic-classic divide Much of the ground for the reception of Sardanapalus had now been prepared. The classic-Romantic divide, with David’s followers on one side and Gros and Géricault on the other, was already well established by the time Delacroix produced his painting of mass suicide. Contemporary viewers would have detected Romantic allegiances in, for example, the horse and black slave, probably influenced by Gros. And yet Delacroix never came to terms with the perception of himself as the enemy of 2.5 Neoclassical – the established style All of the disorientating effects of Delacroix’s composition were noted by his contemporaries, whose mindset was very much attuned to more legible treatments of picture space. This was exemplified by David, whose approach to painting represents a particularly austere interpretation of the neoclassical style established in eighteenth-century French art. It contributed to the political aims of the Revolution and First Empire, was admired and emulated by many artists, and remained influ 1.1 Delacroix’s background Ferdinand-Victor-Eugène Delacroix (1798–1863) was an artist raised amid the heroism and turmoil of Napoleon’s regime but whose artistic career began in earnest after Waterloo. His father (who died in 1805) held important administrative, ambassadorial and ministerial posts during both the Revolution and Napoleon’s rule. His brothers had fought for Napoleon, one being killed heroically in 1807 at the battle of Friedland, the other a general who was made a baron of the empire before being 5 Conclusion The great advantage of history painting as a form of propaganda was that it could appear to be nothing of the kind. Whereas an official portrait of Napoleon fairly obviously served to focus loyalty towards the nation's leader, a depiction of a battle could be seen, on the one hand, as a work of art in its own right and, on the other, as an objective record of a historical event. This meant that the viewers whose attention was attracted by such a picture would be likely to absorb the version o Learning outcomes By the end of your work on this unit you should be able to: analyse paintings centred on the human figure in terms of how a work's form and content together produce its meaning; explain how and why French painting came to be used and controlled by the Napoleonic regime; discuss the problems of interpretation raised by Gros's Napoleonic paintings; locate Napoleonic painting within the broad shift from Neoclassicism to Romanticism in Fr 6.2.2 Informational content Obviously for the purpose of historical record, portraits taken in the context of the family home can be more informative than those taken inside the studio with its make-believe settings. Compare the children in Imag 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. 5.5.4 Confirmation You may find it difficult to read the ver 1 How to avoid damage when handling photographs Remember to treat your photographs with the consideration demanded by their age and fragility. Careless handling and storage will cause damage. Handle photographs at the edges: the skin carries chemicals which cause deterioration (professional archivists wear cotton gloves). Hold a photograph in both hands or support an unmounted print with a piece of cardboard to avoid unnecessary handling. Never write on a photograp 7.3 Masks and disguises Masks were used in classical Greek theatre to exaggerate expressions so that they could be seen in the large open-air amphitheatres. Most of us are familiar with the famous stereotypes for tragedy and comedy, but masks were also identified with particular types, whether comic or tragic, such as old man, or king, courtesan or queen. Masks have not been part of the dramatic conventions in Britain, but have been used to reflect social conventions of the Restoration period. The connotations of †Learning outcomes By the end of this unit you should: be able to discuss basic philosopohical questions concerning the nature of emotions; be able to discuss some of the philosophical literature on this subject by William James; have enhanced your ability to understand problems concerning the nature of emotions and to discuss them in a philosophical way.
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