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This vibrant collection of essays claims that a complex network of texts by critics, biographers and diarists established the credibility and influence of the Pre-Raphaelite movement. Throughout the twentieth century, Modernist taste failed to acknowledge the achievement of oppositional groupings such as the Pre-Raphaelites. The essays collected here, however, reveal that the British group anticipated later avant-gardes by using the written word to configure for itself a radical artistic identity. Public and critics alike were scandalized by the radicalism of Pre-Raphaelite painting, its unflinching portrayal of historical figures and of contemporary life, and its irreverent attitude to artistic convention. Pre-Raphaelitism's innovations were not confined to style: new forms of artistic identity and behaviour were explored. As the contributors interrogate the texts through which Pre-Raphaelitism was constructed, they demonstrate that the movement's wide influence as a cultural phenomenon derived from the interplay between exhibited works and critical discourse. Applying a range of sophisticated methodologies from the fields of literary studies, art history, and cultural studies, these interdisciplinary essays uncover the neglected role of texts in the success of the Pre-Raphaelite rebellion and argue in favor of a new centrality for this movement in the history of nineteenth-century European culture.
Crystallizes advanced research on the "meanings" that are created by a work's physical construction
Begun by young rebels committed to revolutionizing the creative arts, Pre-Raphaelitism has moved from the margins of nineteenth-century art and literature to the vanguard of interdisciplinary studies. The term is now used to denote the Pre-Raphaelite, Aesthetic, and Decadent movements in art, culture, and literature, but it has remained as difficult to define as ever. Haunted Texts attempts to meet the challenge of defining and illustrating the full spectrum of Pre-Raphaelitism. Working with a diverse range of Pre-Raphaelite poetry, painting, decorative arts, book illustration, and political prose, the ten contributors to Haunted Texts pursue the critical strategies of such leading figures as Christina Rossetti and Dante Rossetti, William Morris and Oscar Wilde, Walter Pater, and Aubrey Beardsley. The essays consider the bibliocritical issues of archival research concerning the personal letters and diaries of the Rossetti family; the technological issues that challenge conventional methods of scholarship; the gender issues concerning constructions of identity derived from the changing conceptions of love, desire, anxiety, and brotherhood; and the interdisciplinary cultural issues that transgress the borders of high art and popular culture. Haunted Texts pays tribute to the scholarship of Professor William Fredeman who devoted much of his career since the 1950s to establishing a critical foundation that would enable future scholars to define their understanding of the complexity of Pre-Raphaelitism.
Pre-Raphaelitism was the first avant-garde movement in Britain. It shocked its first audience, and as it modulated into Aestheticism it continued to disturb the British public. This interdisciplinary study traces the sources of this critical reaction to the representation of the body in painting and poetry from the work of Millais and Morris to that of Rossetti and Burne-Jones. The book also explores how reactions were conditioned by such late nineteenth-century anxieties as fear of cholera and hatred of Catholicism, fascination with the fallen woman, horror at the `shrieking sisterhood' of emancipated women, and even the terror of psycho-sexual diseases.
Late Victorian Orientalism is a work of scholarly research pushing forward disciplines into new areas of enquiry. This collection of essays tries to redefine the task of interpreting the East in the nineteenth century taking as a starting point Edward Said’s Orientalism (1978) in order to investigate the visual, fantasised, and imperialist representations of the East as well as the most exemplary translations of Oriental texts. The Victorians envisioned the East in many different modes or Orientalisms since as Said suggested ‘[t]here were, perhaps, as many Orientalisms as Orientalists’. By combining together Western and Oriental modes of art, this study is not only aimed at filling a gap in Victorian and Oriental studies but also at broadening the audiences it is intended for.
Windows for the world explores the display and reception of nineteenth-century British stained glass in a secular exhibition context. International in scope, the book focuses on the global development of stained glass in this period as showcased at, and influenced by, these exhibitions. It recognises those who made and exhibited stained glass and demonstrates the long-lasting impact of the classification and modes of display at these events. A number of exhibits are illustrated in colour and are analysed in relation to stylistic developments, techniques and material innovations, as well as the broader iconographies of nation and empire in the nineteenth century.
Represents the collection of extant Rossetti correspondence, a primary witness to the range of ideas and opinions that shaped Gabriel Rossetti's art and poetry. This work features known surviving letters, a total of almost 5,800 to over 330 recipients, and includes 2,000 letters by Rossetti and selected letters to him.
John Keble and John Henry Newman both conceived poetry as the instrument of religious persuasion: Keble through his Christian Year which, although it antedated the movement, was hailed as its Baptist cry; and Newman through his more aggressive contributions to Lyra Apostolica.