19 : interdisciplinary studies in the long nineteenth century最新文献

19 : interdisciplinary studies in the long nineteenth century Pub Date : 2023-11-08 DOI: 10.16995/ntn.11044

Susan Zieger

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19 : interdisciplinary studies in the long nineteenth century Pub Date : 2023-11-08 DOI: 10.16995/ntn.11184

Nicola Kirkby

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Review of ‘Defying Expectations: Inside Charlotte Brontë’s Wardrobe’, Brontë Parsonage Museum 《打破预期:夏洛特的衣橱》书评，Brontë牧师住宅博物馆

19 : interdisciplinary studies in the long nineteenth century Pub Date : 2022-06-21 DOI: 10.16995/ntn.9062

Emily Gallagher

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Review of John James Audubon’s Birds of America at the National Museum of Scotland 苏格兰国家博物馆约翰·詹姆斯·奥杜邦的《美国鸟类》书评

19 : interdisciplinary studies in the long nineteenth century Pub Date : 2022-06-20 DOI: 10.16995/ntn.8974

Peter Adkins

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Afterword 后记

19 : interdisciplinary studies in the long nineteenth century Pub Date : 2021-11-25 DOI: 10.16995/ntn.8228

M. Homans, Adrienne Munich

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Introduction. Queen Victoria's Self-Fashioning: Curating the Royal Image for Dynasty, Nation and Empire 介绍。维多利亚女王的自我塑造:为王朝、国家和帝国策划皇室形象

19 : interdisciplinary studies in the long nineteenth century Pub Date : 2021-11-25 DOI: 10.16995/ntn.8185

Michael Hatt, J. Marschner

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Queen Victoria at the Pictures 维多利亚女王在电影院

19 : interdisciplinary studies in the long nineteenth century Pub Date : 2021-11-11 DOI: 10.16995/ntn.8187

J. Plunkett, J. Brooker, Bryony Dixon

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Queen Victoria’s "Leaves from the Journal of Our Life in the Highlands": Illustrated Print Culture and the Politics of Representation 维多利亚女王的“高地生活日记中的树叶”:插图印刷文化和代表政治

19 : interdisciplinary studies in the long nineteenth century Pub Date : 2021-11-10 DOI: 10.16995/ntn.4711

Morna O'neill

{"title":"Queen Victoria’s \"Leaves from the Journal of Our Life in the Highlands\": Illustrated Print Culture and the Politics of Representation","authors":"Morna O'neill","doi":"10.16995/ntn.4711","DOIUrl":"https://doi.org/10.16995/ntn.4711","url":null,"abstract":"QueenVictoria published her first Highland memoir in 1867, a sentimental narrativeof royal life dedicated to Prince Albert entitled Leaves from the Journal ofOur Life in the Highlands. Inresponse to the popularity of this edition, the publisher Smith, Elder and Co.released a lavishly illustrated edition in late 1868 to capitalize on theChristmas gift book market. It featuredseventy-nine illustrations after works by various artists andphotographers. When scholars have turnedtheir attention to the Queen’s journal, they have produced rich andsophisticated discussions of gender, monarchy, and celebrity, especially asthey relate to royal domesticity in the Scottish Highlands. Yet these readings have rarely extended tothe illustrated version of the text. This article will consider the conjunctionof monarchy, the Scottish Highlands, and illustrated print culture in theillustrated Leaves through two different types of images: steel plate engravings after watercolors bythe artist Carl Haag and wood engravings after watercolor sketches of Highlandgames by the Swedish artist Egron Lundgren. Each positions the male Highlander as a central figure in constructingthe dynamic of royal family life, sovereignty and empire. Catherine Hall and Sonya Rose have recentlyexplored what it meant for the British to be “at home with the Empire,” asking“Was it possible to be ‘at home’ with an empire and with the effects ofimperial power or was there something dangerous and damaging about such anentanglement?” In the course of this article I will argue that theseillustrations constructed the male Highlander as a site of familiarity withinthe bounds of the nation, while simultaneously signaling his otherness andproximity to the more far-flung reaches of empire. As a result, Leavesis as much about empire as it is aboutdomesticity, even as it eschews direct references to current events of theperiod that directly threatened both. ","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"57 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72599797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Counter-Ceremonial: Contemporary Artists and Queen Victoria Monuments 反仪式:当代艺术家和维多利亚女王纪念碑

19 : interdisciplinary studies in the long nineteenth century Pub Date : 2021-11-08 DOI: 10.16995/ntn.4732

Michael Hatt

{"title":"Counter-Ceremonial: Contemporary Artists and Queen Victoria Monuments","authors":"Michael Hatt","doi":"10.16995/ntn.4732","DOIUrl":"https://doi.org/10.16995/ntn.4732","url":null,"abstract":"As the embodiment of empire, Victoria became a symbol of allegiance and resistance, love and loathing. This is nowhere more apparent than in the many monuments memorializing her across the United Kingdom and around the world. At a moment when public sculpture has become increasingly controversial, as witnessed by the removal of Confederate monuments in the American South or the ‘Rhodes Must Fall’ movement, monuments to Victoria are also coming under scrutiny. While many statues have been damaged or defaced from Bristol to Bangkok, and from Montreal to Delhi — important interventions in themselves — more interesting reactions have come from artists. Around the globe, art projects have worked with Victoria monuments in order to find a way of engaging with their troubled history, offering a critical reframing that can break the often unproductive arguments about removal or retention. This article juxtaposes works by Tatsurou Bashi, Sophie Ernst, Hew Locke, Krzysztof Wodiczko and Gary Kirkham, and Hadley+Maxwell, exploring the artists’ engagement with the material form of the monuments and the connections between Victoria’s self-made image and its unmaking in the works discussed.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"35 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77233352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Enduring Victoria: Iconoclasm and Restoration at the British Embassy in Tehran 不朽的维多利亚:德黑兰英国大使馆的偶像破坏与修复

19 : interdisciplinary studies in the long nineteenth century Pub Date : 2021-11-03 DOI: 10.16995/ntn.4710

Laura M. Popoviciu, A. Parratt

{"title":"Enduring Victoria: Iconoclasm and Restoration at the British Embassy in Tehran","authors":"Laura M. Popoviciu, A. Parratt","doi":"10.16995/ntn.4710","DOIUrl":"https://doi.org/10.16995/ntn.4710","url":null,"abstract":"The Government Art Collection (GAC) shares British art, culture and creativity through displays in UK Government buildings worldwide. It is the most widely distributed collection of British art, displayed in 129 countries where it is seen by thousands of visitors each year, and makes an important contribution to UK cultural diplomacy. New acquisitions continually develop the diversity of representation within the collection to better reflect contemporary British society.The Collection holds a number of portraits of Queen Victoria that are displayed in UK diplomatic buildings in Moscow, Paris, Tehran, Tokyo, Tunis, Washington and New Delhi, amongst others. Over two centuries, these portraits have silently witnessed Britain’s changing position in the world while recalling her former influence. The first part of this article will focus on George Hayter’s portrait of Queen Victoria, painted 1862-63, and displayed in the British Ambassador's residence in Tehran, Iran. This is one of many autograph copies of the artist’s original 1838-40 coronation portrait, currently on display at the Palace of Holyroodhouse in Edinburgh. It features an unusual Persian inscription and was commissioned specifically for the new embassy building in Tehran, completed in 1875, shortly before Queen Victoria was entitled Empress of India, and has been displayed there ever since.The second part of the article will reflect on the display of art recently installed in the British Ambassador's Residence in Tehran, and the curatorial challenges this presented in a country with a long and troubled relationship with Britain. This new display was itself a consequence of an iconoclastic attack on Victoria’s image in 2011 when the embassy was stormed by Iranian protesters - the latest event in a turbulent history.At a time when the UK is having a profound national conversation about how it engages internationally, can Victoria’s image help to build cultural relations in diplomatic spaces or is it only a relic of an imperial past?","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86592758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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