Relevant bibliographies by topics / Emma Hamilton

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Emma Hamilton'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 June 2025

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Journal articles on the topic "Emma Hamilton"

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Recca, Cinzia. "Amistades y estrategias políticas: Lady Hamilton en la Corte de Nápoles." Investigaciones Históricas. Época Moderna y Contemporánea, no. 37 (December 4, 2017): 329–54. http://dx.doi.org/10.24197/ihemc.37.2017.329-354.

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Lady Emma Hamilton, cuyo nombre de nacimiento fue Amy Lyon, siempre ha sido sinónimo de glamur, elegancia y clase. Muy pocas mujeres en la historia han conseguido suscitar tanta pasión y generar tanto misterio en torno a ellas como Emma Lyon.
 Este estudio tiene como objetivo subrayar la importancia de la amistad entre Emma Hamilton y la reina María Carolina de Nápoles, así como las consecuencias políticas que tuvo en ese reino. Su base es el análisis de varios textos autorreferenciales: cartas publicadas a principios del siglo XX, que no se han vuelto a publicar, y documentos privados en gran parte desconocidos e inéditos, que muestran los vínculos (familia, amigos, amor) entre Emma y la reina, revelando áreas poco estudiadas y las repercusiones de esta relación en la política del momento.
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Malcomson, Thomas. "‘That Hamilton Woman’: Emma and Nelson." Mariner's Mirror 103, no. 1 (2017): 111–12. http://dx.doi.org/10.1080/00253359.2017.1273474.

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Slaney, Helen. "Pots in performance: Emma Hamilton’s Attitudes." Bulletin of the Institute of Classical Studies 63, no. 1 (2020): 110–22. http://dx.doi.org/10.1093/bics/qbaa010.

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Abstract During the 1790s, Emma Hamilton, wife of collector and diplomat Sir William Hamilton, developed an innovative form of performance art, tableaux vivants known as the ‘(Grecian) Attitudes’. Notoriously transgressive both sexually and socially, Emma also transgressed materially, transposing the scenes depicted on Sir William’s vases into a kinaesthetic medium. That performance remains a subaltern or illegitimate mode of relating to ancient material culture (as opposed to visual display) is a cultural bias rooted in economic relations. Outside the context of the Attitudes, contemporaries were anxious to (re)place Emma in terms of class, describing her as promiscuous, ‘common’, and ‘vulgar’. Modern scholarship has proved similarly anxious to limit her agency through the repeated assertion of a ‘Pygmalion’ paradigm in which responsibility for developing the Attitudes is assigned to Sir William. I argue that, on the contrary, Emma should be credited with a mode of embodied reception alternative to that of the collector and connoisseur.
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Hamilton, Johanna. "Technology for connecting good." ITNOW 63, no. 4 (2021): 22–23. http://dx.doi.org/10.1093/itnow/bwab105.

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Hamilton, Emma ‘Ready’. "Protection of Olympic breakers from sexual harassment and assault." Global Hip Hop Studies 4, no. 2 (2023): 155–60. http://dx.doi.org/10.1386/ghhs_00097_1.

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In this article, Emma ‘Ready’ Hamilton explores the critical issue of sexual harassment and abuse within the realm of Olympic sports, with a particular focus on the emerging discipline of breaking. Drawing on the context of the upcoming debut of breaking at the 2024 Paris Olympic Games, Hamilton delves into the policies and procedures necessary to address these pervasive issues and draws lessons from other Olympic categories.
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Schachenmayr, Volker. "Emma Lyon, the Attitude, and Goethean Performance Theory." New Theatre Quarterly 13, no. 49 (1997): 3–17. http://dx.doi.org/10.1017/s0266464x00010757.

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The origins of the tableau vivant can be traced back at least to the pantomimus of ancient Rome, but the form achieved its peak of modern popularity in the late eighteenth and early nineteenth centuries, when poses plastiques sometimes struck an ambiguous balance between art and pornography. In the following article, Volker Schachenmayr calls for a re-evaluation of the form, investigating how far and in what ways a static pose, or attitude, can be a theatrical performance. His article focuses on the attitudes of Emma Lyon, later and more familiarly known as wife to Sir William Hamilton and mistress to Nelson. Drawing on connections with Sir William's archaeological pursuits, and with the performance theory of Goethe, an admirer of Emma's attitudes, he suggests a vocabulary to make the tableau accessible to performance critics, using Goethe's Italienische Reise and Poussin's Inspiration of the Epic Poetto to shape the discussion. Volker Schachenmayr received his PhD in Drama from Stanford University, and this article is part of a larger research project on Winckelmann, the Grand Tour, and stage performance in the age of Goethe.
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Lincoln, Margarette. "Emma Hamilton, war, and the depiction of femininity in the late eighteenth century." Journal for Maritime Research 17, no. 2 (2015): 135–45. http://dx.doi.org/10.1080/21533369.2015.1094983.

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Czisnik, Marianne. "Book Review: The Life and Letters of Emma Hamilton by Hugh Tours." International Journal of Maritime History 33, no. 4 (2021): 804–6. http://dx.doi.org/10.1177/08438714211063759g.

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Lada-Richards, Ismene. "“Mobile statuary”: Refractions of pantomime dancing from Callistratus to Emma Hamilton and Andrew Ducrow." International Journal of the Classical Tradition 10, no. 1 (2004): 3–37. http://dx.doi.org/10.1007/bf02689169.

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Fraser, I. D. "Marmaduke Philip Smyth Ward (1825-1885): Nelson’s grandson and naval surgeon." Journal of The Royal Naval Medical Service 105, no. 2 (2019): 145–49. http://dx.doi.org/10.1136/jrnms-105-145.

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AbstractAs a naval hero Vice-Admiral Lord Horatio Nelson holds a special place in the affections of the British people. Any expectation that his country would provide for Lady Emma Hamilton and his daughter, Horatia, was almost forgotten when he died. However, following Emma’s death, Nelson’s family shaped Horatia’s destiny, which resulted in a happy marriage and a large family. Her second son, Marmaduke, was influenced by an uncle, a surgeon, who trained and guided him towards a surgical qualification and a life at sea as a surgeon in the Royal Navy. Despite a paucity of documentary evidence, it has been possible to trace his progress by analysing his Admiralty service record and abstracting information from an extensive biography of his mother. As another piece in the Nelson narrative, this account adds a medical perspective.
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Dissertations / Theses on the topic "Emma Hamilton"

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Ludwig, Amber. "Becoming Emma Hamilton: portraiture and self-fashioning in late enlightenment Europe." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31587.

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Thesis (Ph.D.)--Boston University<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>How Emy Lyon became Emma Hamilton (1765-1815) through the creation, display, and circulation of painted portraits, portrait prints, letters, and architectural imagery is the focus of this dissertation. In it, I make four main claims. First, Emma's introduction to the rituals and rewards of genteel female behavior began in George Romney's studio, and sitting for portraits was an educational process that continued throughout her life. Second, Emma's education continued during her residency in Naples under the care and direction of Sir William Hamilton, and the imagery from this period participates in Emma's transformation from Sir William's mistress to his wife. Portraits and letters after the 1791 marriage advertised traits that Sir William's social circle would find desirable and helped to justify her elevated position. Third, Emma's relationships with powerful women were as essential to her self-fashioning as her relationships with men. Elisabeth Vigée-Lebrun, Angelica Kauffman, and Queen Maria Carolina of Naples served as important role models for Emma, and opportunities for fame and power resulted from her association with them. Finally, upon her return to England in 1800, Emma sought to manipulate the architecture, decoration, and visual representations of Nelson's country home to showcase her virtuous conduct. Throughout the dissertation, I aim to suggest that Emma contributed to the fashioning of her identity and show the ways in which her involvement increased during her lifetime. The other people who contributed to such fashioning of her identity--from artists to lovers to royalty--necessarily play a part in this study. How Emma adapted and responded to the situations that others created is central to my analysis and understanding of self-fashioning. The dissertation ultimately proposes that becoming Emma Hamilton was a complex, life-long process with both constructive and destructive consequences.<br>2031-01-01
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Haworth, Abigail R. "The canvas as her stage Emma Hamilton use of her attitudes in portraiture /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6082.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 19, 2008) Includes bibliographical references.
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Sheets, Whitney Caitlin. "Acting the Part: Emma Hamilton's Self-Fashioning and the Transgression of Class Boundaries." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/146673.

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Emma Hamilton, an eighteenth‐century British social icon, rose from classless obscurity and an unconventional past to fame and widespread popularity among Britain's elite. Like contemporary eighteenth‐century British actresses who often struggled with associations with immorality, Emma too struggled to progress beyond the public's understanding of her as a prostitute or mistress. Emma can be viewed as similar to actresses, an association which serves to illuminate potential motives in portraits of Emma. Both Emma and actresses recognized the utility of portraiture in the reversal of their negative images and the construction of a public persona that more closely aligned them with the virtues assumed to be inherent in female members of the aristocratic class. Particularly in George Romney's portraits of Emma, her journey towards acceptance by the British social scene was in part the result of a conscious self‐fashioning and construction a public persona for Emma by both Emma and Romney. Romney's portraits of Emma reveal an image of her that deliberately imitates portraits of the social elite in terms of virtue and respectability while also incorporating the celebrity and glamour found in contemporary portraits of actresses into Emma's own portraits.
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Contogouris, Ersy. "Emma Hamilton, a Model of Agency in Late Eighteenth-Century Europe." Thèse, 2014. http://hdl.handle.net/1866/11635.

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Emma Hamilton (1765-1815) eut un impact considérable à un moment charnière de l’histoire et de l’art européens. Faisant preuve d’une énorme résilience, elle trouva un moyen efficace d’affirmer son agentivité et fut une source d’inspiration puissante pour des générations de femmes et d’artistes dans leur propre quête d’expression et de réalisation de soi. Cette thèse démontre qu’Emma tira sa puissance particulière de sa capacité à négocier des identités différentes et parfois même contradictoires – objet et sujet ; modèle et portraiturée ; artiste, muse et œuvre d’art ; épouse, maîtresse et prostituée ; roturière et aristocrate ; mondaine et ambassadrice : et interprète d’une myriade de caractères historiques, bibliques, littéraires et mythologiques, tant masculins que féminins. Épouse de l’ambassadeur anglais à Naples, favorite de la reine de Naples et amante de l’amiral Horatio Nelson, elle fut un agent sur la scène politique pendant l’époque révolutionnaire et napoléonienne. Dans son ascension sociale vertigineuse qui la mena de la plus abjecte misère aux plus hauts échelons de l’aristocratie anglaise, elle sut s’adapter, s’ajuster et se réinventer. Elle reçut et divertit d’innombrables écrivains, artistes, scientifiques, nobles, diplomates et membres de la royauté. Elle participa au développement et à la dissémination du néoclassicisme au moment même de son efflorescence. Elle créa ses Attitudes, une performance répondant au goût de son époque pour le classicisme, qui fut admirée et imitée à travers l’Europe et qui inspira des générations d’interprètes féminines. Elle apprit à danser la tarentelle et l’introduisit dans les salons aristocratiques. Elle influença un réseau de femmes s’étendant de Paris à Saint-Pétersbourg et incluant Élisabeth Vigée-Le Brun, Germaine de Staël et Juliette Récamier. Modèle hors pair, elle inspira plusieurs artistes pour la production d’œuvres qu’ils reconnurent comme parmi leurs meilleures. Elle fut représentée par les plus grands artistes de son temps, dont Angelica Kauffman, Benjamin West, Élisabeth Vigée-Le Brun, George Romney, James Gillray, Joseph Nollekens, Joshua Reynolds, Thomas Lawrence et Thomas Rowlandson. Elle bouscula, de façon répétée, les limites et mœurs sociales. Néanmoins, Emma ne tentait pas de présenter une identité cohérente, unifiée, polie. Au contraire, elle était un kaléidoscope de multiples « sois » qu’elle gardait actifs et en dialogue les uns avec les autres, réarrangeant continuellement ses facettes afin de pouvoir simultanément s’exprimer pleinement et présenter aux autres ce qu’ils voulaient voir.<br>Emma Hamilton (1765-1815) had a marked impact at a pivotal moment in European history and art. This dissertation shows that Emma drew her particular potency from her ability to negotiate these different and at times contradictory identities—object and subject; model and sitter; artist, muse, and work of art; wife, mistress, and prostitute; commoner and aristocrat; socialite and ambassadress; and performer of myriad historical, biblical, literary, and mythological male and female characters. Emma displayed astonishing resilience, found an effective way to assert her agency, and was a powerful inspiration for generations of artists and of women in their own search for expression and self-actualization. The wife of England’s ambassador to Naples, the favourite of the queen of Naples, and the lover of Admiral Horatio Nelson, she was an agent on the political stage during the Revolutionary and Napoleonic era. She adapted, adjusted, and reinvented herself in her dizzying rise from rags to riches. She entertained and beguiled countless writers, artists, scientists, aristocrats, politicians, and royalty. She participated in the dissemination of Neoclassicism in Europe at the very moment of its efflorescence. She created her Attitudes, a performance that tapped into her epoch’s taste for classicism, was admired and imitated throughout Europe, and inspired generations of female performers. She learnt to dance the tarantella and introduced it into aristocratic drawing rooms. She influenced an early nineteenth-century network of women that spanned Paris to St Petersburg and included Élisabeth Vigée-Le Brun, Germaine de Staël, and Juliette Récamier. An unmatched model and sitter, she inspired artists to produce what they acknowledged to be some of their best work. She appeared in works produced by the major artists of her time, among whom Angelica Kauffman, Benjamin West, Élisabeth Vigée-Le Brun, George Romney, James Gillray, Joseph Nollekens, Joshua Reynolds, Thomas Lawrence, and Thomas Rowlandson. And she repeatedly pushed against the limits of social mores. Nevertheless, Emma did not attempt to present a coherent, unified, polished identity. Instead, she was a kaleidoscope of different selves that she kept active and in dialogue with each other, constantly reconfiguring the pieces so that she could simultaneously express herself fully and present to others what they wanted to see.
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Gold, Amrei I. [Verfasser]. "Der Modellkult um Sarah Siddons, Emma Hamilton, Vittoria Caldoni und Jane Morris : ikonographische Analyse und Werkkatalog / vorgelegt von Amrei I. Gold (geb. Heitkötter)." 2009. http://d-nb.info/1002322855/34.

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Gao, Wenli. "Comparisons between MATSim and EMME/2 on the Greater Toronto and Hamilton Area Network." Thesis, 2009. http://hdl.handle.net/1807/17506.

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The agent-based micro-simulation modelling technique for transportation planning is rapidly developing and is being applied to practice in recent years. In contrast to conventional four-step modelling with static assignment theory, this emerging technique employs a dynamic assignment principle. Based on summary of various types of traffic assignment models and algorithms, the thesis elucidates in detail the theories of two models, MATSim and EMME/2, which represent two genres of traffic assignment, i.e., dynamic stochastic stationary state assignment and static deterministic user equilibrium assignment. In the study, the two models are compared and validated to reflect both spatial and temporal variation of the traffic flow pattern. The comparison results indicate that numerical outputs produced by MATSim are not only compatible to those by EMME/2 but more realistic from a temporal point of view. Therefore, agent-based micro-simulation models reflect a promising direction of next generation of transportation planning models.
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Books on the topic "Emma Hamilton"

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Fraser, Flora. Beloved Emma: The life of Emma, Lady Hamilton. Anchor Books, 2004.

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Castronuovo, Sandro. Una lady napoletana: Emma Hamilton nelle Due Sicilie. Altrastampa, 1998.

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Williams, Kate. England's mistress: The infamous life of Emma Hamilton. Hutchinson, 2006.

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Hobson, Charles. Nelson & Emma: Aphrodite & Ares contemplate Admiral Nelson & Lady Hamilton. Pacific Editions, 2008.

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Emma, Walton Hamilton, ed. Simeon's gift, Julie Andrews Edwards and Emma Walton Hamilton. HarperCollinsPublishers, 2005.

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Club, Grolier, ed. The enchantress, Emma, Lady Hamilton: The Jean Kislak collection. The Grolier Club, 2011.

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Baily, J. T. Herbert. Emma, Lady Hamilton: A biographical essay with a catalogue of her published portraits. Hard Publishing, 1993.

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Elyot, Amanda. Too great a lady: The notorious, glorious life of Emma, Lady Hamilton : a novel. New American Library, 2007.

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Elyot, Amanda. Too great a lady: The notorious, glorious life of Emma, Lady Hamilton : a novel. New American Library, 2007.

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McKay, K. D. A remarkable relationship: The story of Emma Hamilton and her impact on the lives of Charles Francis Greville, Sir William Hamilton and Horatio Nelson including details of the Pembrokeshire connection. Ken McKay, 1992.

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Book chapters on the topic "Emma Hamilton"

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Hughes, Cheryl C. D. "Hamilton’s Wife and Nelson’s Paramour: Emma, Lady Hamilton in Naples." In Britain and the World. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-61701-0_2.

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Hardy, Florence. "To Hamilton Marr (8 January 1934)." In Letters of Emma and Florence Hardy, edited by Michael Millgate. Oxford University Press, 1996. http://dx.doi.org/10.1093/oseo/instance.00237883.

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Slaney, Helen. "Eighteenth-Century Antiquity: Extended, Embodied, Enacted." In Distributed Cognition in Enlightenment and Romantic Culture. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474442282.003.0013.

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Sir William Hamilton’s Greek vase collection, assembled at Naples between the 1760s and 1790s, became a turning point in the reception of ancient material culture and hence in perceptions of classical antiquity. This chapter compares three angles of approach to the collection, each corresponding to a strand of distributed cognition. Extended cognition is represented by the catalogue which made the collection available to the reading public; embodied cognition is represented by the dance performances of Emma Hamilton, Sir William’s wife, who based her tableaux vivants of ancient life around the images represented on the vases; and enactive cognition by the aesthetic theory of the ‘feeling imagination’ developed by philosopher Johann Gottfried Herder, who visited the Hamiltons at Naples and commented unfavourably on Emma’s performances. I argue that Herder’s rejection of Emma’s kinetic reception of ancient artwork was predicated in part on his reluctance to place physical limitations on simulated movement.
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Bruhl, Elise, and Michael Garner. "Emma and Fatima Hamilton: Two Forms of Attitude." In Race, Romanticism, and the Atlantic. Routledge, 2016. http://dx.doi.org/10.4324/9781315603384-9.

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Contogouris, Ersy. "La vie de Lady Hamilton est un roman." In Emma Hamilton and Late Eighteenth-Century European Art. Routledge, 2018. http://dx.doi.org/10.4324/9781351187916-2.

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Ludwig, Amber. "Place and possession: Emma Hamilton at Merton, 1801–5." In Materializing Gender in Eighteenth-Century Europe. Routledge, 2017. http://dx.doi.org/10.4324/9781315091365-6.

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Contogouris, Ersy. "Introduction." In Emma Hamilton and Late Eighteenth-Century European Art. Routledge, 2018. http://dx.doi.org/10.4324/9781351187916-1.

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Contogouris, Ersy. "The Acme of Sir William’s Delights." In Emma Hamilton and Late Eighteenth-Century European Art. Routledge, 2018. http://dx.doi.org/10.4324/9781351187916-3.

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Contogouris, Ersy. "Emma’s Attitudes." In Emma Hamilton and Late Eighteenth-Century European Art. Routledge, 2018. http://dx.doi.org/10.4324/9781351187916-4.

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Contogouris, Ersy. "Emma’s Tarantella." In Emma Hamilton and Late Eighteenth-Century European Art. Routledge, 2018. http://dx.doi.org/10.4324/9781351187916-5.

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Conference papers on the topic "Emma Hamilton"

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"PS-123 - EL SEXO YA NO IMPORTA: NO HAY DIFERENCIAS DE GÉNERO EN LOS PACIENTES INGRESADOS EN UNA UNIDAD DE PATOLOGÍA DUAL POR CONSUMO DE ALCOHOL." In 24 CONGRESO DE LA SOCIEDAD ESPAÑOLA DE PATOLOGÍA DUAL. SEPD, 2022. http://dx.doi.org/10.17579/abstractbooksepd2022.ps123.

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Numerosos estudios han analizado las diferencias en el consumo de alcohol según género. Se han reportado mayores prevalencias en hombres, con más alteraciones de conducta, problemas médicos y consultas en servicios especializados. Las mujeres sufren más consecuencias, síntomas ansiosos y depresivos. El objetivo de este estudio es conocer las características clínicas de los pacientes que ingresan en una Unidad específica de Patología Dual para desintoxicación de alcohol y analizar las diferencias relacionadas con el sexo. Estudio observacional, descriptivo, transversal. Los criterios de inclusión han sido diagnóstico de trastorno por uso de alcohol y edad entre 18 y 65 años. Se han recogido variables sociodemográficas y médicas. Se ha aplicado la Escala Multidimensional de Craving de Alcohol (EMCA), Escalas de Hamilton para Ansiedad y Depresión (HDRS), Escala de Calidad de Vida (QLS), Escala de Valoración Sociofamiliar. Hemos analizado los datos con el programa SPSS statistics versión 28. La muestra consta de 86 pacientes, 52% hombres, con una edad media de 29 años y una evolución en el consumo de alcohol de 15 años en ambos grupos. En el 91%, había alteraciones en la analítica de ingreso. El 24% de las mujeres y el 26% de los hombres tenían hipertensión arterial. No hemos encontrado diferencias en el deseo de beber, predominando craving moderado. En mujeres, las puntuaciones en ansiedad han sido más elevadas, aunque sin llegar a obtener significación. Se ha detectado depresión en casi la mitad (48% mujeres, 45% hombres). El sexo femenino tiene más problemática social, más aislamiento social, desempleo, dependencia económica y menos apoyo familiar, sin llegar a ser significativo. Cabe destacar el sesgo de la hospitalización. Además, no se ha podido determinar la mayor vulnerabilidad a los efectos neurotóxicos del alcohol descrita en mujeres y las repercusiones hormonales, en la fertilidad y en el embarazo.
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