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How older people have been perceived during various periods of history from the Middle Ages to the 19th century is the focus of this heavily illustrated study of the elderly in Western society. Herbert Covey presents the reader with a wide range of portrayals of the elderly in both art and literature and goes on to analyze, in detail, the images and symbols of aging, sexuality, family, and death found in these depictions. His analyses of the works reflect a variety of disciplines, including fine arts, gerontology, history, sociology, psychology, and literature. This book increases our consciousness of images of older people in Western culture by debunking common images and providing background information on how current images and perceptions have developed. Images of Older People in Western Art and Society illustrates how society has both defined and portrayed advanced age in Western painting, drawing, literature, and drama. First, images of aging are presented. Then, recognizable symbols that have been used throughout history as metaphors for characteristics of aging are shown. Because the elderly are often closely involved with family, one chapter is devoted to images of the elderly within the family structure. Current art often shows the elderly as sexless, but that wasn't always so. Today, death is frequently associated with old age, although throughout history, death has been associated with all ages. Social historians, gerontological practitioners, and sociologists will find a great deal to study in this visual history. The book is illustrated with 41 black-and-white reproductions of paintings and drawings.
This book is the result of a two-year postdoctoral research fellowship at the Kunsthistorisches Institut (Max Planck Institute) in Florence, Italy, in collaboration with the MaxNetAging Research School in Rostock, Germany. Adopting an innovative approach, it leads the reader through early modern Tuscan paintings to discover a new vision of intergenerational relationships. By studying both the images of elderly people in the scenes of Jesus’ Childhood and the primary sources dealing with old age, the book reveals how old age was perceived at the end of the Middle Ages and the beginning of the Renaissance in Tuscany.
We all have a finite life-span. We are born, we get old and we die. Given the universiality of the ageing process, it is remarkable that there is almost a complete absence of study of culture and self-image of the middle aged and old. Images of Ageing: Cultural Representations of Later Life changes this. The contributors discuss images of ageing which have come to circulate in the advanced industrial societies today. They address themes such as: body and self image in everyday interaction; experience and identity on old age; advertising and consumer culture images of the elderly; images of ageing used by Government agencies in health education campaigns; the diversity of historical representations of the elderly; gender images of ageing; images of senility and second childhood; images of health, illness and death.
A NEW COMPANION TO VICTORIAN LITERATURE AND CULTURE The Victorian period was a time of rapid cultural change, which resulted in a huge and varied literary output. A New Companion to Victorian Literature and Culture offers experienced guidance to the literature of nineteenth-century Britain and its social and historical context. This revised and expanded edition comprises contributions from over 30 leading scholars who, approaching the Victorian epoch from different positions and traditions, delve into the unruly complexities of the Victorian imagination. Divided into five parts, this new Companion surveys seven decades of history before examining the key phases in a Victorian life, the leading professions and walks of life, the major literary genres, the way Victorians defined their persons, homes, and national identity, and how recent “neo-Victorian” developments in contemporary culture reconfigure the sense we make of the past today. Important topics such as sexuality, denominational faith, social class, and global empire inform each chapter’s approach. Each chapter provides a comprehensive bibliography of established and emerging scholarship.
This volume explores the strengths and opportunities of old age as these are manifested by the accomplishments of aging artists, late artistic works, and elderly arts audiences. It critically examines the psychology of creativity, cognitive development, and gerontology, and will be of interest to a wide range of professionals and students in these fields.
Uncovers the origins of midlife anxiety in Victorian print culture.
This second edition of the Handbook of Communication and Aging Research captures the ever-changing and expanding domain of aging research. Since it was first recognized that there is more to social aging than demography, gerontology has needed a communication perspective. Like the first edition, this handbook sets out to demonstrate that aging is not only an individual process but an interactive one. The study of communication can lead to an understanding of what it means to grow old. We may age physiologically and chronologically, but our social aging--how we behave as social actors toward others, and even how we align ourselves with or come to understand the signs of difference or change as we age--are phenomena achieved primarily through communication experiences. Synthesizing the vast amount of research that has been published on communication and aging in numerous international outlets over the last three decades, the book's contributors include scholars from North America and the United Kingdom who are active researchers in the perspectives covered in their particular chapter. Many of the chapters work to deny earlier images of aging as involving normative decrement to provide a picture of aging as a process of development involving positive choices and providing new opportunities. A recuring theme in many chapters is that of the heterogeneity of the group of people who are variously categorized as older, aged, elderly, or over 65. The contributors review the literature analytically, in a way that reveals not only current theoretical and methodological approaches to communication and aging research but also sets the future agenda. This handbook will be of great interest to scholars and researchers in gerontology, developmental psychology, and communication, and, in this updated edition, will continue to play a key role in the study of communication and aging.
What gives beauty such fascinating power? Why is beauty so easy to recognize but so hard to define? Across cultures and continents and over the centuries the standards of beauty have changed but the desire to portray beauty, to praise beauty, and to possess beauty has never diminished. Icons of Beauty offers an enthralling overview of the most revered icons of female beauty in world art from pre-history to the present. From images of Eve to Cindy Sherman's self-portraits, from Cleopatra to Madonna, from ancient goddesses to modern celebrities, this interdisciplinary set offers fresh insight as to how we can use perceptions of beauty to learn about world cultures, both past and present. Each chapter looks at an individual work of art to pose a question about the power of beauty. What makes beauty modern? What is the influence of celebrities? How do women portray their own beauty in a different manner than men? In-depth profiles of the icons reveal how specific ideas about beauty were developed and expressed, offering a full analysis of their history, cultural significance, and lasting influence. In addition to renowned works of art, Icons of Beauty also looks at icons in literature, film, politics, and contemporary entertainment. Interdisciplinary and multicultural in its approach, chapters inside this set also feature sidebars on provocative topics and issues, such as foot binding and body adornment; myths and practices; opinions and interpretations; and even related films, songs, and even comic book characters. Generously illustrated, this rich set encompasses history, politics, society, women's studies, and art history, making it an indispensable resource for high school and college students as well as general readers.
"Noting that privileges granted to the aged generally took the form of exemptions from duties rather than positive benefits, Tim Parkin argues that the elderly were granted no privileged status or guaranteed social role. At the same time, they were permitted - and expected - to continue to participate actively in society for as long as they were able."--BOOK JACKET.
A multidisciplinary study of the uses of music and the portrayal of characters with mental disorder in seventeenth-century English opera and theater. In the seventeenth century, harmonious sounds were thought to represent the well-ordered body of the obedient subject, and, by extension, the well-ordered state; conversely, discordant, unpleasant music represented both those who caused disorder (murderers, drunkards, witches, traitors) and those who suffered from bodily disorders (melancholics, madmen, and madwomen). While these theoretical correspondences seem straightforward, in theatrical practice the musical portrayals of disorderly characters were multivalent and often ambiguous. O Let Us Howle Some Heavy Note focuses on the various ways that theatrical music represented disorderly subjects—those who presented either a direct or metaphorical threat to the health of the English kingdom in seventeenth -century England. Using theater music to examine narratives of social history, Winkler demonstrates how music reinscribed and often resisted conservative, political, religious, gender, and social ideologies. “In a world centered on notions of order and harmony, witchcraft, melancholia, and madness inhabit the margins of society. However, in this impressive and wide-ranging study, Amanda Eubanks Winkler skillfully relocates this trinity of disorder close to the center of our understanding of seventeenth-century English theater. Musically insightful, historically illuminating, and interpretatively rich, O Let Us Howle Some Heavy Note will amply reward scholars of music and theater alike.” —Steven Plank, Oberlin College “Winkler has crafted an extraordinarily useful and well-informed study that fills significant gaps in the existing musicological and theatrical scholarship on this period. With its interpretive subtlety, its approachable style, and its detailed exploration of a wide range of examples—from little-known stage works to such staples of the genre as Hamlet, The Duchess of Malfi, and Dido and Aeneas—this engaging book will be of interest to any scholar or non-specialist seeking to understand the seventeenth-century’s fascination with, and ambivalence toward, portrayals of witchcraft and madness on the theatrical stage.” —Dr. Andrew Walkling, Department of History, SUNY Binghamton “Seventeenth-century England provides an outstanding backdrop for this study, which focuses on theatrical characters generally associated with mental disorder. . . . Opera scholars should find this work helpful, and specialists in gender studies will gain much from Winkler’s discussion of stereotypes, role reversals, pathological diagnoses, and so on. . . . Recommended.” —Choice