2.5 Scottish identity Although Bannockburn has figured recently as a mark of ‘Scottishness’ (in part because of the 1995 film Braveheart, which popularised William Wallace and was prominent in nationalist discourse in the years leading to Scottish devolution), Culloden has had a place in the minds and memories of Scots for over two centuries. In that time it has become a signifier of an invented Scotland of mountain scenery, castles and tartan. It is closely tied to the evocative tale of Bonnie Prince C
1 Case studies The first case study in this unit, ‘Battlefields as heritage sites’ by Mary-Catherine Garden, involves public memories of two significant historical events, the battles of Bannockburn and Culloden. They have helped to forge national consciousness in Scotland but have little visible archaeological evidence to inform the viewer. Intangible heritage, linked to a physical site, presents problems of its own. The second study examines the old and new towns of Edinburgh, its designation as
6.4 The Edinburgh professorship Whytt, the Edinburgh professor of medicine, died in 1766 and Cullen was chosen to succeed him, largely with the aim of freeing the chemistry chair for Black. Black's transfer to Edinburgh was well received, and he fulfilled these expectations by being an excellent and popular lecturer. However, the Edinburgh chair also marked the end of his active research. One looks in vain for any sequel to his research on magnesia or his work on heat. With hindsight, foreshadowings of this change can be se
References 2.4.5 Philosophy This is yet another essentially literary source, so we can be brief. In fact, as in the case of history, its distinction from literature is anything but cut and dried. The only reason we mention it here separately is because we want to make it explicit that almost everything we have said for literature holds for philosophy too. Many varieties of philosophy aim to find absolute truths. In this respect, philosophy is less concerned with particular periods and places than is, for instance, histo Acknowledgements This unit was written by Dr Derek Neale 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 Conclusion: you know many things ‘Writing what you know’ is a large and rich project, one that provides an endless resource, and one that can be undertaken in all the types of writing discussed in this unit – poetry, fiction and life writing. The skill lies in reawakening your senses to the world around you, and then using what you find with discrimination. By realising the potentials of your own life experience, you will be collecting the materials necessary in order to write. ‘Writing what you know’ can amount to 3.1 Involving all of the senses Becoming more aware of the everyday world around you involves more than just looking. If writing is a perceptual art then perception should involve all of the senses, not just the visual. You must also start to smell, feel, taste and hear the world you are trying to realise. So, in the made up scenario, when you see the man with the Scottie dog you might be too fearful to stroke his dog, but perhaps you could touch the cold metal bar where the dog was tied up – after he is gone, of course! 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 3.9 Delacroix’s early career – exercise In order to sum up your work on this section, jot down some notes on how Delacroix's early career might be seen as moving away from a respect for the classical tradition and for the reason and order demanded of classical com Learning outcomes After studying this unit you should: have some understanding of developments in Goya's career as an artist; begin to understand Enlightenment aspects of his work and the ways in which these were later challenged by a more Romantic approach charaterised by a uniqueness of vision and a focus on darker forces; understand some of the ways in which the impact of the Napoleonic invasion of Spain found artistic expression. Acknowledgements This unit was written by Dr Emma Barker
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 3.1.1 Bonaparte Visiting the Plague-Stricken of Jaffa First and foremost, Jaffa (like Eylau) contributed to the personality cult of Napoleon, which formed the core of the regime's propaganda. In this respect, however, it is important to note that this painting, exhibited in the Salon of 1804, was actually one of the first military scenes commissioned by the regime to exalt Napoleon in this way. This was largely because it took some time before the propaganda machine needed to organize a large-scale system of official patronage was 2.3 The military leader Let us now consider another relatively early portrait, David's Bonaparte Crossing the Alps, in which the then First Consul is shown at the Great Saint Bernard at the start of the campaign which led to the defeat of the Austrians at Marengo in June 1800 (see Plate 10). In fact, Bonaparte had actually crossed the Alps on a humble 6.2.3 Groups The large group portrait came to commercial prominence in the 1880s, probably as a result of the widespread introduction of dry plate negatives. These negatives could be bought ready made over the counter. They did not require immediate processing and they reduced exposure times significantly. The group portrait involved the production of a single negative and a potential sale to each member of the group. Customer costs were kept low without injury to the photographer's profits. School, work 6.1 The rise of the itinerant photographer Happily, not all early family photographs were taken inside conventional studios. Sitters were frequently photographed in the open air or in temporary, makeshift studios. Portraits were taken in the street, at the fairground, at the seaside, at local beauty spots and in the parks and commons where town dwellers went for relaxation and entertainment on Sundays and holidays. Itinerant photographers who worked these venues would set up shop for the day, the week or longer, depending on situation 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. 5.5.4 Confirmation You may find it difficult to read the ver 5.5.2 Skirts and breeching Look carefully at Images 46, 47 and 48. 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
Exercise 3
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