Academic literature on the topic 'Upholders and (re)invention of traditions'

Between 1830 and 1914 in Britain a dramatic modification of the reputation of Edmund Burke (1730–97) occurred. Burke, an Irishman and Whig politician, is now most commonly known as the ‘founder of modern conservatism’—an intellectual tradition which is also deeply connected to the identity of the British Conservative Party. The idea of ‘Burkean conservatism’—a political philosophy which upholds ‘the authority of tradition’, the organic, historic conception of society, and the necessity of order, religion, and property—has been incredibly influential in international academic analysis and in th

This book examines the scope and ambition of Stephen Sondheim’s musicals by drawing on the perspectives of musicological and dramaturgical scholars, literary and film critics, and musical theater practitioners. Consisting of twenty-seven essays, it analyzes Sondheim’s radical re-invention of the artistic form of the Broadway musical in response to various traditions of artistic innovation and popular entertainment and how his work with several collaborators has radically transformed the history of American musical theatre. It explores problematic questions of authorship peculiar to the cultura

This chapter begins by examining the interrelationship of history and theology. From the Reformation onwards, church history presented a challenge to each confession in its own right. Protestants re-invented the prevailing models of church history; Catholics responded by underlining the uninterrupted continuity of the apostolic traditions. The second section of the chapter concentrates on the genre of papal biography, reviewing the various contemporary authors who wrote on the subject. By editing and continuing the humanist Bartolomeo Platina’s standard papal biographies from the fifteenth century, Panvinio put himself in the position of being considered the most important authority on papal history. The censorship of historical works by Catholic theologians is then discussed by comparing the cases of other important authors including Carlo Sigonio. The chapter investigates the question of the extent to which Panvinio’s unpublished Church History (Historia ecclesiastica) was an expression of the confessionalization of historiography. There follows a discussion of the censorships of several of Panvinio’s works, including that of his history of papal elections carried out by the Spanish jurist Francisco Peña and the German Jesuit Jakob Gretser.

This chapter argues that mannerism and traditions of mannerist art give greater definition to how computer-animated films playfully dismantle their illusionist activity by making false claims about their relation to live-action cinema. To consider these specific forms of Mannerist humour in the computer-animated film, this chapter plots Mannerism’s cinematic lineage within certain styles and genres (film noir, pop music film, heritage drama, period film and cinéma du look), and notes that despite scholars having employed a vocabulary drawn from European art history to describe the (often digitally-assisted) bravura camerawork of New Hollywood cinema, Mannerism has yet to be employed as a descriptor for digital animation. This chapter therefore re-imagines computer-animated film comedy as strongly Mannerist in its invention, and draws particular attention to their strategies of allusive anti-illusionism. Computer-animated films frequently stage false, illusory discourses of revelation (feigned blooper reels, outtake material, behind-the-scenes ‘actor’ interviews) as a comic flourish that maintains the genre’s illusion. To interrogate the wit of the genre’s Mannerist play, I examine its many trompe-l’œil illusion effects and activities of self-deception.