Academic literature on the topic 'Literature, modern (collections), 18th century'
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Journal articles on the topic "Literature, modern (collections), 18th century"
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Zhitin, Ruslan M., Aleksey G. Topilsky, and Lyudmila N. Patrina. "Books of the 18th century in the collection of the Tambov regional universal scientific library named after A.S. Pushkin." Neophilology, no. 21 (2020): 153–63. http://dx.doi.org/10.20310/2587-6953-2020-6-21-153-163.
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We analyze the qualitative and quantitative composition of the book collection of the civil press of the 18th century, which are in the collection of the Tambov regional universal library named after A.S. Pushkin (hereinafter TRUL). The relevance of the work is connected with the need to restore an objective picture of the creation and functioning of manor libraries of the late 18th century as an element of the cultural environment. The implementation of the Russian Foundation for Basic Research project allowed showing the world of the Tambov book of the 18th century in all its diversity. The novelty of the work lies in a system approach to the study of the array of books in Russian and foreign languages of pre-revolutionary libraries of the Russian province. We consider Tambov collections of foreign books of the 18th century, system information of which is currently absent in historiography and appears only as separate mentions in the works of local historians. The work with the existing repertoire of the library showed the key importance of Derzhavin library for the formation of modern Tambov collections of rare books of the 18th century. It is shown that the main array of the identified publications reflects the products of the Capital printing houses of the 18th century. The variety of thematic composition of the revealed collections is demonstrated. Among these collections of TRUL books there are publications on history, literature, philosophy, religion and natural sciences. The research proves that the study of the composition of the book collections of civil press of the 18th century gives important information for the study of book culture of the Tambov province, allows to analyze the appearance of the book works in the region and to find out the degree of attention to foreign and Russian media. Also it allows to detect the role of the book in the structure of cultural environment.
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Balyunov, Igor V. "An Asymmetric Axe from the Collections of the Tobolsk Museum-Reserve." Archaeology and Ethnography 20, no. 5 (2021): 105–15. http://dx.doi.org/10.25205/1818-7919-2021-20-5-105-115.
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Purpose. Among its collections, the Tobolsk Museum-reserve keep an axe, which was an accidental find. The purpose of this publication is to introduce the presented sample into scientific circulation, as well as to complete the description of the find, establish its functional purpose, chronology and determine its place of production. Upon admission to the museum, it was identified as a combat weapon and tentatively dated to the 17th century. Results. The axe has a wide blade which extends downwards, covered with a notched ornament. An important feature is its asymmetric cross-section, where one of the sides is flat and the other is convex. Similar axes found in Siberia are often defined as battle axes, however this definition is incorrect. Currently, no Tobolsk axe prototypes are known to have been found on the territory of the Moscow state, however asymmetric axes are known to have been used, in particular, in Eastern Europe, since at least the 15th century. According to some authors, asymmetric axes are specialized tools for carpentry and joinery. This definition is most reliably justified in the publication of Polish researcher M. Glosek. This point of view is convincingly confirmed by the catalogues of Eastern European metalworking plants of the first half of the 20th century. The definition of long-bladed asymmetric axes as a combat weapon is based, as a rule, on random finds with unknown dating. More proof can be found by their absence in the materials of archaeological excavations. Conclusion. It can be assumed that asymmetric axes were imported to Russia between the Modern Period up to ethnographic modernity. One of the most likely producers is the Transcarpathian plant in the village of Kobyletskaya Polyana, which specialized in the manufacture of tools for the forest industry and had a fairly wide market. The widest possible period when Transcarpathian axes could be imported into Russia is no earlier than the end of the 18th century, and not later than the middle of the 20th century.
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Kuznetsova, Olga A. "HELLMOUTH IN THE JAWS OF CERBERUS. IN RUSSIA IN THE SECOND HALF OF THE 17TH AND BEGINNING OF THE 18TH CENTURY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2021): 65–75. http://dx.doi.org/10.28995/2686-7249-2021-4-65-75.
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The paper is focused on the adaptation of the image of Cerberus in Russian culture of the Middle Ages and the Early Modern Times. Fragmentary information about some characters of the Greco-Roman mythology penetrated into Russian medieval literature from the Byzantine. Christians often borrowed and reinterpreted those images in the traditions of Christian symbolism. One of these characters, Cerberus, the dog of Hades, became an infernal character: a guard or a demon of the Christian Hell. As a dog it turned into an Evil animal, executioner of sinners. Аs a three-headed creature it resembled dragons and other legendary monsters. Perhaps, the story about Hercules, who tamed Cerberus, became the basis of novel in the Sinai Patericon (story about Saint John Kolobos and graveyard hyena). At the beginning of the 18th century Russia experienced a secondary influence of Ancient symbolism through Western European emblematic collections and similar translated works. A lot of exotic images were rediscovered and aquired new meanings. Under the influence of the Jesuit theatre, the mouth of Cerberus became a variation of a well-known in Russia iconographic image of Hellmouth. In the plays by Dimitri of Rostov, the characters sent to the underworld found themselves in the mouth of a monstrous dog – inside an ingenious stage device. Toward the end of the 18th century Hell as a dog’s head appeared also in Russian popular prints, lubok.
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Sadauskienė, Jurga. "Canonical Concept of Folksong from the 18th Century until Nowadays." Tautosakos darbai 61 (June 1, 2021): 15–46. http://dx.doi.org/10.51554/td.21.61.01.
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The article presents an overview of the traditional Lithuanian folksong concept that has prevailed since the birth of the Lithuanian folkloristics until nowadays. Having surveyed statements of the Lithuanian folksong researchers regarding the value of songs, the author compares different historical periods to elucidate the changing attitude towards this kind of folklore. Throughout the 19th century and at the beginning of the 20th century, the emphasis in the song evaluations rested on the ethical and esthetical criteria as well as on the linguistic purity, folksongs being appreciated as expressions of the national spirit. Such view resulted in numerous popular folksongs being excluded from the published folklore collections, since they did not correspond to the values of the publisher. However, as early as in the 19th century, two rival notions of the folksong tradition started forming – the conservative and the fluid one. The first one idealized the old folksong layer, while the second one regarded the folksong tradition as multisided, changing, and affected by external influences. In the middle of the 20th century, the folksong canon experienced yet another major shift. The Soviet regime neglected the major part of the later folksongs based on the individual authorship, while the ethnographic movement of the 1960s – 1980s strengthened the new tendency in the folklore canon, enhancing the value of authenticity related to the rustic roots and the old traditional heritage. Meanwhile, quite different tendencies prevailed in the exile – authenticity there was restricted to those forms of the folklore repertoire and stylistic expression that had existed in the interwar period. Having surveyed the research works and publications, manuals for folklore collectors and various statements by cultural leaders, the author concludes that complicated historical and political situation of the last two centuries has lead traditional Lithuanian folksong to play the role of the representative of the national spirit; therefore, songs were exhibited for quite a long period as phenomena of particular artistic and ethical value. Historical circumstances cause even nowadays various social groups to identify themselves not only with different content planes of the folksong repertoire, but also with different styles of performance. Only the recent decades saw folklorists gradually abandoning the exaltations and idealizations of the traditional folksongs and replacing them with discussion that is more balanced: regarding folksong tradition as ambivalent, heterogeneous and therefore meriting controversial evaluations. However, the folklorism movement still exhibits the tendency of romanticizing the old folklore and making it grounds for constructing personal identity. On the other hand, there is another clear tendency: the old folksongs – both performed in traditional manner and in modern arrangements – exist as a certain part of subculture, while another popular repertoire flourishes in the contemporary society, however, essentially escaping attention of folklorists and so far underresearched as expression of national and social identity,
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Chramiec, Mateusz. "Szable w kontekście badań nad bronią dawną – przyczynek do dziejów bronioznawstwa polskiego." Opuscula Musealia 26 (2019): 59–81. http://dx.doi.org/10.4467/20843852.om.18.006.10999.
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Sabres in the context of research on historical weapons – a contribution to the history of Polish hoplology This article is an attempt to provide a comprehensive view on the history of hoplology in relation to the most popular type of weapon used in the old Polish-Lithuanian Commonwealth, the sabre. The research history addresses the issue of modern weapons, which is motivated by the emergence of various types of sabre at that time. Research on old weapons, inspired primarily by collectors, museologists and members of academia, traditionally uses a range of methods developed by history, art history, archaeology and art restoration. Such research can also enter the field of sociology and cultural studies, provided that we take into account the fact that weapons, sabres in particular, symbolized social standing. The variety of issues, which are generally confined to the above mentioned concepts, also translates into the historiographic sphere. Because of that, it may be surprising that Polish literature on historical weapons only dates back to the second half of the 19th century. However, collectors had shown interest in military items much earlier. The first part of the article presents the most important private collections of weapons from the end of the 18th century to the beginning of the 20th century, with particular focus on the almost entirely preserved collection of Izabela Czartoryska, who founded the first museum in Poland. This layout is the starting point for presenting academic interest in military items, divided into the pre- and post-war periods.
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Chramiec, Mateusz. "Szable w kontekście badań nad bronią dawną – przyczynek do dziejów bronioznawstwa polskiego." Opuscula Musealia 26 (2019): 59–81. http://dx.doi.org/10.4467/20843852.om.18.006.10999.
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Sabres in the context of research on historical weapons – a contribution to the history of Polish hoplology This article is an attempt to provide a comprehensive view on the history of hoplology in relation to the most popular type of weapon used in the old Polish-Lithuanian Commonwealth, the sabre. The research history addresses the issue of modern weapons, which is motivated by the emergence of various types of sabre at that time. Research on old weapons, inspired primarily by collectors, museologists and members of academia, traditionally uses a range of methods developed by history, art history, archaeology and art restoration. Such research can also enter the field of sociology and cultural studies, provided that we take into account the fact that weapons, sabres in particular, symbolized social standing. The variety of issues, which are generally confined to the above mentioned concepts, also translates into the historiographic sphere. Because of that, it may be surprising that Polish literature on historical weapons only dates back to the second half of the 19th century. However, collectors had shown interest in military items much earlier. The first part of the article presents the most important private collections of weapons from the end of the 18th century to the beginning of the 20th century, with particular focus on the almost entirely preserved collection of Izabela Czartoryska, who founded the first museum in Poland. This layout is the starting point for presenting academic interest in military items, divided into the pre- and post-war periods.
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Kurakina, Irina I. "Initial Stages and Origins of the Theory of Folk Art." Observatory of Culture 18, no. 5 (October 29, 2021): 538–48. http://dx.doi.org/10.25281/2072-3156-2021-18-5-538-548.
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The article is devoted to understanding the origins of the formation and development of the theory of folk art. The relevance of the topic is determined by the existing contradiction: on the one hand, the positioning of folk art and traditional folk art crafts as an important part of the national artistic culture, an independent field of art criticism, which can be seen in legal documents, popular science literature and scientific works of the 20th century, and, on the other hand, the limited range of modern research in this area, insufficient development of the theoretical aspect of this issue.Based on the analysis of a wide range of sources, the author identifies five stages of the formation of the theory of folk art (the beginning of the 18th century — 1870s; 1870—1910s; 1917—1930s; 1930—1990s; 1990—2020s), gives a brief description of them, and names the main results of studying each of the periods. The provisions of the theory of folk art were most fully and systematically formulated and justified by M.A. Nekrasova in the 1980s.The article considers the process of forming interest in works of folk art in the middle of the 18th — the last third of the 19th century, and in the next period of “initial accumulation of facts” (until the 1910s), as the first experience of developing scientific approaches to the analysis of the specifics of folk art. The author reveals the significance of Peter the Great’s transformations in the field of culture for the formation of public interest in the traditions of Russian culture; defines the Russian folklore researchers’ contribution (songs, rituals, fairy tales) to drawing attention to the problems of preserving national features of Russian culture and their interpretation in works of literature; describes the activities of artists, critics, and public figures in creating the first collections of folk art, their analysis and description from a scientific point of view.
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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
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In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era).
An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology.
The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’.
The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi).
Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain).
As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.
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Syrovatko, Alexander. "Where in the Village of Darovoye Was the Dostoevsky Estate?" Неизвестный Достоевский 8, no. 4 (December 2021): 147–76. http://dx.doi.org/10.15393/j10.art.2021.5701.
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Darovoye Estate is the place where F. M. Dostoevsky spent his childhood (1832–1836). The article analyzes the results of excavations in the central part of the Darovoye estate carried out in 2005–2020. The dating of remnants of buildings, complexes (mainland pits), as well as the entire lens of the cultural layer as a whole is considered. Based on the collection, which includes coins, stamps on glass and porcelain objects, ceramics, objects made of non-ferrous metals and iron, the author concludes that there were two main periods of development of the estate within its modern borders. The first refers to the mid-18th — early 19th centuries, the second covers the second half of the 19th — first half of the 20th century. An analysis of the ceramics collection allowed us to identify the types of ceramics characteristic of the 1820s — 1830s. The author concludes that the time period between the Napoleonic Wars to the 1850s is not represented in the present collection and suggests that during the “Dostoevsky period” center of the estate was located outside the current museum borders.
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Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-1-1-89-99.
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An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.
Dissertations / Theses on the topic "Literature, modern (collections), 18th century"
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Allen, Katherine June. "Manuscript recipe collections and elite domestic medicine in eighteenth century England." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:7c96c4db-2d18-4cff-bedc-f80558d57322.
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Collecting recipes was an established tradition that continued in elite English households throughout the eighteenth century. This thesis is on medical recipes and advice, and it addresses the evolution of recipe collecting from the seventeenth century and throughout the eighteenth century. It investigates elite domestic medicine within a cultural history of medicine framework and uses social and material history approaches to reveal why elites continued to collect medical recipes, given the commercialisation of medicine. This thesis contends that the meaning of domestic medicine must be understood within a wider context of elite healthcare in order to appreciate how the recipe collecting tradition evolved alongside cultural shifts, and shifts within the medical economy. My re-appraisal of the meaning of domestic medicine gives elite healthcare a clearer role within the narrative of the social history of medicine. Elite healthcare was about choice. Wealthy individuals had economic agency in consumerism, and recipe compilers interacted with new sources of information and products; recipe books are evidence of this consumer engagement. In addition to being household objects, recipe books had cultural significance as heirlooms, and as objects of literacy, authority, and creativity. A crucial reason for the continuation of the recipe collecting tradition was due to its continued engagement with cultural attitudes towards social obligation, knowledge exchange, taste, and sociability as an intellectual pursuit. Positioning the household as an important space of creativity, experiment, and innovation, this thesis reinforces domestic medicine as an important part of the interconnected histories of science and medicine. This thesis moreover contributes to the social history of eighteenth-century England by demonstrating the central role domestic medicine had in elite healthcare, and reveals the elite reception of the commercialisation of medicine from a consumer perspective through an investigation of personal records of intellectual pastimes and patient experiences.
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Ihre, Johan Ihre Johan Ihre Johan Östlund Krister. "Johan Ihre on the origins and history of the runes three Latin dissertations from the mid 18th century /." Uppsala : Uppsala University Library, 2000. http://catalog.hathitrust.org/api/volumes/oclc/43605704.html.
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Jenkins, Bethan Mair. "Concepts of Prydeindod (Britishness) in 18th century Anglo-Welsh Writing : with special reference to the works of Lewis Morris, Evan Evans, and Edward Williams." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:02c515c0-7f80-468b-b63c-97ead68fb2f1.
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This thesis presents an analysis of the English-language work of three Welsh writers during the eighteenth century, spanning the period of the 1750s to 1794. During this period, the British state consolidated its power following the last of the significant internal uprisings in 1745, and attempted to create a British nation with internal unity. Such a unity entailed a renegotiation of older national identities as subjects attempted to partake of multiple identities simultaneously. In Wales, the manifestation of multiple identities was especially clear, as the language of the state did not accord with the mother tongue of the majority of Welshmen. Though Welsh literati had written in English since before the Act of Union (1536), choosing to write in English becomes more interesting for the critic during such a time of change. Previously, these works have been treated as aberrations, or literary curiosities less worthy of note than the Welsh-language productions of the same authors. This thesis argues that, instead, they should be analysed as offering an insight into these authors’ conception of Britain, and their place within the state and the new nation, both in the choice of language and the topics considered. As a theoretical basis for these analyses, I consider the concept of Prydeindod from the work of philosopher J.R. Jones, as distinct from the idea of Britishness, and as a way of complicating Anglocentric or binary discussions of Britishness. This in turn informs readings of the English-language productions of Welsh writers in the eighteenth century, and shows that their negotiations of new identities are not as forthright as has previously been assumed.
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Hone, Joseph. "The end of the line : literature and party politics at the accession of Queen Anne." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:d847a561-130a-42f0-b78f-2463e9e65535.
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This thesis provides the first full-length account of the political and cultural significance of the accession of Queen Anne. It offers a critical reassessment of the politics of the royal image across a spectrum of texts, events, and artefacts - from panegyrics, newspapers, sermons, royal progresses, and processions to medals, coins, and playing cards. Recent scholarship has emphasized the importance of party politics to the literature and culture of the early eighteenth century. This thesis nuances that assumption by arguing: (1) that the principal focus of partisan texts was competing representations of monarchy; and (2) that the explosion of partisanship at the start of the eighteenth century was triggered by unrest about the royal succession. Anne was the last protestant Stuart. She had no surviving children. This thesis explores how authors such as Daniel Defoe, Joseph Addison, Alexander Pope, and a great many lesser known and anonymous writers and propagandists conceptualized the end of the Stuart dynasty. Anne's accession forced writers to conjecture on the future succession. There were two rival claimants to the throne after Anne's death: the protestant Electress Sophia of Hanover and Anne's Catholic half-brother, James Francis Edward. Sophia's claim was statutory, James's hereditary. Factions emerged in support of both claimants. Almost all topical writing took a stance on the issue. Many sided with the government, supporting Hanover. Yet some writers favoured the illegal but hereditary claim of James Francis Edward; they had to express support in covert ways. This succession crisis triggered not only printed polemic, but also swathes of clandestine manuscript literature circulating in the Jacobite underground. The government took a hard line on Jacobite writers and printers; this thesis documents both their persecution and the techniques they used to evade the law. The thesis concludes by suggesting that this oppositional literary culture only disintegrated after the defeat of the Jacobite rebellion, and the consequent settlement of the Hanoverian succession, in late 1716. After this point, royal succession ceased to be a major source of political discontent.
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Wittenberg, Hermann. "The sublime, imperialism and the African landscape." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&.
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In this dissertation the author argued for a postcolonial reading of the sublime that takes into account the racial and gendered underpinnings of Immanuel Kant's and Edmund Burke's classic theories. The thesis used the understanding of the sublime as a lens for an analysis of the cultural politics of landscape in a range of late imperial and early modern texts about Africa. A re-reading of Henry Morton Stanley's central African exploration narratives, John Buchan's African fiction and political writing, and later texts such as Alan Paton's fiction, autobiographies and travel writing, together with an analysis of colonial mountaineering discourse, suggest that non-metropolitan discourses of the sublime, far from being an outmoded rhetoric, could manage and contain the contradictions inherent in the aesthetic appreciation and appropriation of contested colonial landscapes.
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Collins, Margo. "Wayward Women, Virtuous Violence: Feminine Violence in Restoration and Eighteenth-Century British Literature by Women." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2474/.
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This dissertation examines the role of "acceptable" feminine violence in Restoration and eighteenth-century drama and fiction. Scenes such as Lady Davers's physical assault on Pamela in Samuel Richardson's Pamela (1740) have understandably troubled recent scholars of gender and literature. But critics, for the most part, have been more inclined to discuss women as victims of violence than as agents of violence. I argue that women in the Restoration and eighteenth century often used violence in order to maintain social boundaries, particularly sexual and economic ones, and that writers of the period drew upon this tradition of acceptable feminine violence in order to create the figure of the violent woman as a necessary agent of social control. One such figure is Violenta, the heroine of Delarivier Manley's novella The Wife's Resentment (1720), who murders and dismembers her bigamous husband. At her trial, Violenta is condemned to death "notwithstanding the Pity of the People" and "the Intercession of the Ladies," who believe that although the "unexampled Cruelty [Violenta] committed afterwards on the dead Body" was excessive, the murder itself is not inexcusable given her husband's bigamy. My research draws upon diverse archival materials, such as conduct manuals, criminal biographies, and legal records, in order to provide a contextual grounding for the interpretation of literary works by women. Moving between contemporary accounts of feminine violence and discussions of pertinent literary works by Eliza Haywood, Susanna Centlivre, Delarivier Manley, Aphra Behn, Mary Pix, and Jane Wiseman, the dissertation examines issues of interpersonal violence and communal violence committed by women.
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Rumbold, Kate Louise. "All the men and women merely players : quoting Shakespeare in the mid-eighteenth-century novel." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670136.
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McCann, Michael Charles 1959. "Occult Invention: The Rebirth of Rhetorical Heuresis in Early Modern British Literature from Chapman to Swift." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12081.
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xiv, 234 p. : ill.The twentieth-century project of American rhetorician Kenneth Burke, grounded in a magic-based theory of language, reveals a path to the origins of what I am going to call occult invention. The occult, which I define as a symbol set of natural terms derived from supernatural terms, employs a method of heuresis based on a metaphor-like process I call analogic extension. Traditional invention fell from use shortly after the Liberal Arts reforms of Peter Ramus, around 1550. Occult invention emerged nearly simultaneously, when Early Modern British authors began using occult symbols as tropes in what I refer to as the Occult Mode. I use six of these authors--George Chapman, William Shakespeare, John Donne, Abraham Cowley, John Dryden, and Jonathan Swift--as examples of how occult invention arises. In appropriating occult symbolism, authors in the Occult Mode began using the invention methods of the occult arts of magic, alchemy, astrology, and cabala to derive new meanings, transform language, develop characters and plots, and reorient social perspectives. As we learn in tracking Burke's project, occult invention combines the principles of Aristotle's rhetoric and metaphysics with the techniques and principles of the occult arts. Occult invention fell from use around the end of the eighteenth century, but its rhetorical influence reemerged through the work of Burke. In this study I seek to contextualize and explicate some of the literary sources and rhetorical implications of occult invention as an emergent field for further research.
Committee in charge: Dianne Dugaw， Co-Chairperson； John T. Gage， Co-Chairperson； Kenneth Calhoon， Member； Steven Shankman， Member； Jeffrey Librett，Outside Member
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Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.
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I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
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Blain, Charles-André. "Questions de sources : les janissaires ottomans dans les récits de voyage européens au XVIIIe siècle." Thèse, 2017. http://hdl.handle.net/1866/20681.
Full textBooks on the topic "Literature, modern (collections), 18th century"
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David, Damrosch, and Pike David L. 1963-, eds. The Longman anthology of world literature. 2nd ed. New York: Pearson/Longman, 2009.
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Robert, DeMaria, ed. British literature, 1640-1789: An anthology. 2nd ed. Malden, Mass: Blackwell, 2001.
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1962-, Black Joseph Laurence, ed. The Broadview anthology of British literature. Peterborough, Ont: Broadview Press, 2006.
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1953-, Sherman Stuart, ed. The Longman anthology of British literature. New York: Longman, 1999.
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L'Ecran des Lumières: Regards cinématographiques sur le XVIII siècle. Oxford: Voltaire Foundation, 2009.
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Greenblatt, Stephen. The Norton Anthology of English Literature - Major Authors. S.l: Norton & Company, 2006.
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Abrams, M. H. The Norton anthology of English literature: The major author. 5th ed. New York: Norton, 1987.
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Performing China: Virtue, commerce, and orientalism in eighteenth-century England. Baltimore: Johns Hopkins University Press, 2011.
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T, Christ Carol, Robson Catherine 1962-, Greenblatt Stephen 1943-, and Abrams M. H. 1912-, eds. The Norton anthology of English literature. 8th ed. New York, N.Y: W.W. Norton & Company, 2006.
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1912-, Abrams M. H., ed. The Norton anthology of English literature. 5th ed. New York: Norton, 1986.
Find full textBook chapters on the topic "Literature, modern (collections), 18th century"
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Belmar, Antonio García, and José Ramón Bertomeu Sánchez. "Spanish Chemistry Textbooks During Late 18th Century: Building up a New Genre of Scientific Literature." In Universities and Science in the Early Modern Period, 241–57. Dordrecht: Springer Netherlands, 2006. http://dx.doi.org/10.1007/1-4020-3975-1_16.
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Vescovo, Piermario. "«A quei tempi». Spagnolismo e teatro all’italiana. Miti e stereotipi." In Studi e saggi, 421–34. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.25.
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The contribution concerns the relationship between Pietro Napoli Signorelli, his Storia critica de’ teatri antichi e moderni (Critical history of ancient and modern theaters), and the defense of Spanish literature by the Jesuit Francisco Saverio Lampillas, and the answer in Critical essay which Pietro Napoli Signorelli published in 1783. An Italian who spent a large period of his life in Spain and a Spaniard who lives and writes in Italy offer an observation point of extraordinary importance, almost a cross-reflection of the ideas and clichés of "Spanishism" and "Italianism” that had dominated the 18th Century. The critique of "Spanishism" and the long distance from the siglo de oro, from the triumph of metaphor and irregularity, in relation to the critique of what begins to be called the "commedia dell'arte", shows, at the turn of the century, just beyond the defense of the respective traditions and the positions of the two contenders, a change taking place of great depth that is announced on the European cultural scene, transforming the horizons of controversy into renewed myths.
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Sukina, Liudmila B. "On a Special Edition of Manuscript Synodikoses — Literary Collections of the 18th Century." In Hermeneutics of Old Russian Literature: Issue 20, 391–407. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-391-407.
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The type of Synodikos with a literary preface appeared at the end of the 16th century and developed and spread in the 17th century. It is believed that the study of the copies of the 18th century does not add essential information about the repertoire of collections of Synodikos. However, manuscripts can still be found that do not completely fit into the general picture of the ideas available in current science about the composition of literary collections of the late Synodikos. The article examines three handwritten front Synodikos books identified by the author, which differ significantly in the composition of literary prefaces from the general mass of those Synodikoses of the third edition common in the 18th century (I.V. Dergacheva). They are based on miniatures copied from engravings of various editions of the Synodikos by Leonty Bunin, and selected texts that match their meaning. A similar principle of compiling a moralistic collection was used in the Patriarch Adrian Synodikos (O.R. Khromov). The manuscripts in question have different origins and history of existence, but demonstrate thematic and stylistic affinity. They are also united by a curious combination in preface collections of poetic and prose texts. All this gives reason to say that in this case we are dealing with a special edition of the Synodikos — a literary collection that existed in the 18th century.
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Demin, Anatoly S. "From Research on the Literary Hermeneutics." In Hermeneutics of Old Russian Literature: Issue 20, 9–84. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-9-84.
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The research consists of the series of articles analyzing the pre- viously unexplored expressiveness, figurativeness, fantasy and sarcasticity of a number of Old Russian works. The first article reveals the expressiveness of the “Turkic” utterances of Afanasy Nikitin in The Journey Beyond Three Seas according to the list of the Russian State Archive of Ancient Acts (RSAAA), f. 181, no. 371 of the first quarter of the 16th century. The second article characterizes the distorted, fantastic earthly worlds depicted in the Tale of the Twelve Dreams of King Shahaisha according to the list of the Russian National Library (RNL), Kir.-Beloz., no. 22/1099 of the 1470s; in the Conversation of Three Saints according to the list of the Russian State Library (RSL), Troitsk., no. 778 of the beginning of the 16th century; in the collection of proverbs and sayings according to the list of the RSAAA, Ministry of Foreign Affairs, Moscow Main Archive (MMA), no. 250–455 of the late 17th century; in The Tale of Ersh Ershovich according to the list of Pushkin House, 1.27.105 of the late 17th — early 18th centuries; in the Bird Council according to the list of the RNL, 0.XVII.17 the mid-18th century; in the Medicine Book. How to Treat Foreigners according to the list of the RNL, Q.XVII.96, Peter’s time; in the Legend of a Luxurious Life and Fun according to the list of the RNL, 0.XVII.57 of the first quarter of the 18th cen- tury. The third article examines the aesthetic role of verses in the collections of the late 17th century: RSL, Tikhonravov, no. 233, 249, 380, 411, 499. The fourth article shows that some compilers of collections of the 17th century appreciated the visual arts of works, mostly very old (оn the example of collections of the RSL, Tikhonravov, no. 460, 384, 18, 340, 231). In two Appendices to the article are published the descriptions of the composition of the collection no. 231 and the text of the parable about the dispute of parts of the human body. In two Ap- pendices to the article, it is said about the everyday depiction of the collection of proverbs and sayings according to the list of the RSAAA, MMA, no. 250–455 of the late 17th century and on the expressiveness of articles in the miniature collection of the RSL, Bolshakov, no. 325. The fifth article points to the mocking meaning of proverbs and sayings about criminals in the same collection of the RSAAA, MMA, no. 250–455. Finally, the sixth article draws attention to the evolution of the literary work of Archpriest Avvakum from brief mentions of events to detailed stories about them (оn the material of Vita, petitions, Book of Interpretations, Book of Accusations, Write-off about the creation of man, The Lamentable Word about the death of noblewoman F. Morozova). We must warn you that the pictorial and expressive meaning of the examples and phrases quot- ed from the texts of the monuments is not thoroughly proved in this work, but is only stated. Otherwise, each example would require an independent essay on certain literary means, and the theme and composition of the work would be completely different.
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Popovich, Alexey I. "Allusions to the Victim and Sacrifice in the Andrey Kurbsky’s History and Reception of the 17th — Early 18th Centuries." In Hermeneutics of Old Russian Literature: Issue 20, 186–207. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-186-207.
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The literary topoi and allusions to the victim and sacrifice in the biblical and historical context at the same time played a great role for Andrey Kurbsky as a traditionalist and innovator writer in the embodiment of the complex author’s intention of the History of the Grand Prince of Moscow (the second half of the 16th century). The article notes that the writer distinguishes, as opposites, the axiology of sacrificial feat for power doer and persecuted heroes. The article reveals the diverse reception of the author’s interpretation by readers and scribes of History. Kurbsky’s contemporaries and readers of the late 17th — early 18th century had different attitudes toward Kurbsky’s definition of the personality of Ivan the Terrible who makes unrighteous victims and the characterization of people affected by him as new martyrs. The rich handwritten tradition of History, including as part of the Kurbsky Collections, contributed to the emergence of new reader’s interpretations based on literary topoi and allusions used by Kurbsky. The intellectuals of the ‘transitional’ period A.S. Matveev, Evfimy Chudovsky, A.I. Lyzlov, V.V. Golitsyn and others were involved in this process. Textological and typological comparisons of certain monuments and Kurbsky’s History contributed to a deeper understanding of the literary context of the time when the prince’s writings spread. The study also helped to determine which Kurbsky’s ideas about the victim and sacrifice remained relevant for members of different class groups, and which were leveled out and outdated in the text interpretation process.
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Paliušytė, Aistė. "Antiquities in the Collection of the Radziwiłł Family in the Wettin Era." In Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century: Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History, 55–82. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.02.
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The article examines the collections of antiques of one of the most influential families of the Grand Duchy of Lithuania – the Radziwiłł family, preserved in the residences of Nesvizh and Biała Podlaska in the first half and the middle of the 18th century. Different categories of artefacts are analysed and evaluated on the basis of the most unexplored inventories of the Radziwiłł family property, the correspondence of nobles and officials. The collection of the Radziwiłł family antiques continued the tradition of early modern collections of the Central European aristocrats. Their antique collections were among the largest in the Duchy, distinguished by a variety of artefacts. At the Radziwiłł family court, antiques were treated as curiosities, sources of history and instruments of cultural memory. They helped establish the identity of the family and create images of its power.
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Morgan, Llewelyn. "3. Letters of the heroines." In Ovid: A Very Short Introduction, 39–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198837688.003.0003.
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'Letters of the heroines' eplores Ovid’s Epistulae Heroidum (Letters of the Heroines) or Heroides (Heroines), love letters sent by famous mythical women to their errant lovers. The Heroides is still love poetry, and the women are often reminiscent of the lover in the Amores, but the women and their lovers are in most cases figures from the heroic age, and this makes the collection an important link between the Amores and the Metamorphoses, Ovid’s most ambitious fusion of the erotic and the mythological. The epistolary form of these poems is vitally important, as is the influence of the rhetorical training that Ovid and his fellow Romans had undertaken, an experience that encouraged a taste for memorable turns of phrase. The debt to Hellenistic literature, Callimachus in particular, is especially clear when Ovid returns to the format, probably at the end of his career: the ‘Double Heroides’ are exchanges of letters between a male and female correspondent, and the dynamic of the form is interestingly transformed. The legacy of the Heroides is worth a mention, it is less consistently popular than Ovid’s other poetry, but was his most celebrated work in the 18th century, and an important model for female self-expression that carried with it the heft and authority of classical antiquity.
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Saperstein, Marc. "Midrash in Medieval and Early Modern Sermons." In Midrash Unbound, 371–88. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781904113713.003.0018.
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This chapter explores Midrash in medieval and early modern sermons. It uses the word ‘Midrash’ loosely to refer not just to statements in collections known as Midrash, but to the full corpus of aggadic statements from rabbinic literature, including the Talmud, hooked to a biblical verse. Despite the impressive work of scholars who have continued to mine this literature for evidence of the sermons delivered during the classical rabbinic period, it is doubtful that the classical rabbinic texts have preserved a single direct and complete record of a sermon actually delivered. The chapter focuses on specific examples of sermons by three medieval or early modern preachers: Jacob Anatoli, from thirteenth-century southern France; Shem Tov ibn Shem Tov, from late fifteenth-century Spain; and Saul Levi Morteira, from seventeenth-century Amsterdam. Since, unlike technical treatises on philosophy or rabbinic law, the sermon is intended for the entire community of Jews, who would hear it in their vernacular language within the context of public worship, it provided an important medium for disseminating the non-legal component of rabbinic literature to those who would rarely have encountered it in formal Jewish study.
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Martín, Javier García. "Legal Authorities in Castilian Courts’ Practice: Decisiones and Consilia to Study the Arbitrium Iudicis." In Authorities in Early Modern Law Courts, 50–83. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474451000.003.0003.
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The decisiones literature is not very popular in early modern Castile. Nevertheless, two of the seventeenth century legal authors, Larrea and Vela de Oreña, magistrates at the Granada Chancillería, wrote successfully on this genre. Considering some of their decisiones on family and contract law, but also some consilia by other Castilian authors, this chapter analises the role played by law reports in guiding Castilian high courts arbitrium to provide legal interpretation within the ius commune. Crucially, it shows the value of precedent (exempla) in Castilian law, highlighting the arguments used by some of these authors to bring about changes in the hierarchy of Castilian sources when needed to solve dubious judicial cases. Such changes in legal interpretation are studied in relation to three main legal sources: statutory law, customary law, and legal literature. The last one, literature, is crucial in clarifying the role played in Castile by Canon law and the criteria to conform the so called communis opinio doctorum. Finally, the chapter seeks to explain the demise of the decisiones literature during the second half of the eighteenth century, and the success of the Castilian commentaries on royal laws, especially the Leyes de Toro and the collections of statutes.
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Romanou, Katy. "The Music of the Modern Greeks in Western and Eastern Music Literature, from the 9th to the 19th Centuries." In The Music Road, 257–78. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0013.
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This chapter concerns the interactions between Eastern and western music from the ninth to the 19th century. Through observations of western writers (such as Zarlino, Burney, Martini, Villoteau, Fétis) about the music of their contemporary Greeks, it is shown that most of the Eastern terms and concepts described in western treatises of the 9th century (when the East influenced the West) have been preserved almost unchanged in the Greek church over the centuries. By the end of the 18th century, westernisation of the East and the spread of nationalism brought great political and cultural changes to the population of Asia Minor. In Constantinople, music theory and the notation of the Greek chant were then rationalised (westernised). In the books of the reformer, Chrysanthos of Madytos, the strong influence of the French Enlightenment is most evident, side by side though with, still vivid, Eastern concepts and ideas.
Conference papers on the topic "Literature, modern (collections), 18th century"
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"The Three-Hundred-Year Demographic History of Ekaterinburg: Sources and Historiography." In XII Ural Demographic Forum “Paradigms and models of demographic development”. Institute of Economics of the Ural Branch of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.17059/udf-2021-1-12.
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The paper presents the results of the historical study of the population formation in Ekaterinburg over a 300-year period. Historical sources and the process of accumulating knowledge about the number of city residents were examined. Analysis of population data revealed that the process of collecting demographic information on Russia (and, accordingly, on Ekaterinburg) took a century and a half (from the 18th century until almost the 1870s). The role of the head of the Ekaterinburg mining plants, academician I. F. Herman, in the development of population tables is shown. Since 1873, when the first one-day census of the city’s population was conducted, and then 1887, statistical and demographic information has become representative. The main source for examining the population formation of the city were the censuses of 1897, 1920, 1923, 1926, 1931, 1937, 1939, 1959, 1979, 1989, 2002, 2010, as well as the current population records. A brief review of historical literature showed that the study of the population of Ekaterinburg is in its infancy.
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Carneiro De Carvalho, Vânia. "Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001365.
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In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.