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Starting with literary examples from Dickens, this lecture will untangle the complexity of shadow-meaning by exploring how artists have used shadows since ancient times.
Stereoscopic photography rapidly became a worldwide craze after the Great Exhibition of 1851. Cheap viewers and mass-produced stereographs brought startlingly vivid images within reach of a mass audience, making this the form in which most people first encountered photography.
After the founding of the Chinese Communist Party in 1921, many artists and intellectuals in China saw the overthrow of ‘tradition’ as the means to rescue the nation from poverty and backwardness.
The Rape of Lucrece set the mould for Shakespeare’s exploration of the tragic consequences of sexual desire turning to violence. Jonathan Bate will show how Shakespeare developed these themes from his reading of the great Roman poet Ovid.
The 1920s in China saw both the political chaos of warlordism, but also a flowering of creativity which drew on the keen awareness by many of China’s potential as part of a global modernism.
Samuel Palmer, in his Shoreham period in the 1820s and 30s, seized on the long tradition of classical pastoral landscapes, and wrested it into an English idiom.
Constable's Stour landscapes of the Regency period, during and just after the War with France, and his publication English Landscape Scenery, champion local and low-key rural England.
The late eighteenth and early nineteenth- century vogue for the Picturesque and for forging an English landscaping tradition (with frameable landscape scenery and managed wildness) will be the starting point for discussion.
An economic model for news that have existed for 200 years or more is disappearing. Are we facing the prospect of societies without 'news' as previously understood? And why does it matter?
Charles Dickens's expert eye for detail enabled him to describe many medical conditions in his writings. Dickens also suffered with a number of medical conditions which will be discussed in detail during the lecture.
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