scholarly journals 'Unmistakeably Visible:' Queen Victoria in Frith's "Marriage of the Prince of Wales"

Author(s):  
Pamela Fletcher

When William Powell Frith was asked to paint the marriage of Prince Albert and Princess Alexandra in 1863, it was impressed upon him that the “great object with the Queen herself” was that she be “unmistakably visible” in the composition. In this paper, I offer a close reading of the resulting painting and its reception, arguing that Victoria’s decision to commission the picture from Frith lent a very particular set of contexts to the form and content of her visibility. In 1863, Frith was at the height of his fame for this modern life subjects, Ramsgate Sands, Derby Day and The Railway Station. By commissioning the “successor” to this series, Queen Victoria placed herself quite deliberately into the very visible context of “modern life,” both in the painting and at the Academy. In Frith’s ingenuous composition, Victoria sits high above the crowd, clearly visible to the viewers of the picture, presiding over her citizenry and the continuation of her dynasty, even if within the space of the picture itself only the loving few can see her. Represented as both aloof from and fully present within the contemporary moment, Queen Victoria is unmistakably visible both as the vigilant monarch and the secluded widow. (This paper is part of the special issue edited by Michael Hatt and Joanna Marschner.)

2021 ◽  
pp. 67-93
Author(s):  
Gal Gvili

This chapter analyses the scholarship of prominent May Fourth writer Xu Dishan as gateway for understanding his fiction. A close examination of his engagement with Indian religions and mythology in his fiction constitutes a vision of a China–India literary horizon through a literary device termed as ‘transregional metonymy’: tropes that travelled between China and India through the cultural exchange of myths. The chapter elaborates on this literary device through a close reading of Xu Dishan’s ‘Goddess of Supreme Essence’ (1923). The reading shows how a shared China–India figurative domain emerges in the story to offer a new understanding of myths and how they function in modern life. It also suggests that instead of rewriting the past, myths can rewrite the present; instead of using myths to establish a national culture, literature can use myths to imagine a transregional horizon. Focusing on India to think about the nature of storytelling and the relationship between myth and reality, Xu Dishan undid the binary distinction between ancient India as a soul brother and colonial India as a cautionary tale.


2017 ◽  
Vol 137 (1) ◽  
pp. 167-173
Author(s):  
Tristram Wolff

In closing the special issue “Language-in-Use,” this afterword briefly reflects on the shared work of the essays gathered here. It then considers how a renewed relation with the critical perspectives of fields like linguistic anthropology and ethnopoetics might diversify concepts available for the study and practice of close reading by relocating form in affectively and culturally charged situations of social emergence.


2021 ◽  
Vol 10 (6) ◽  
pp. 225
Author(s):  
Matthew Valasik ◽  
Shannon E. Reid

The goal of this Special Issue is to examine the diverse nature of gang-related violence in modern life by providing insights into the growing complexities to better direct public policy solutions in the 21st Century [...]


2020 ◽  
Vol 11 (1) ◽  
pp. 274
Author(s):  
Hassan Haes Alhelou ◽  
Pierluigi Siano

The electrical demands in several countries around the world are increasing due to the huge energy requirements of prosperous economies and the human activities of modern life [...]


Somatechnics ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 125-136 ◽  
Author(s):  
Eugenie Brinkema

This Afterword performs a close reading of the contributions of the special issue on ‘Cinematic Bodies’ in relation to their shared rethinking of a co-implicated relationship of embodiment to the cinematic, focusing on interpretive and methodological similarities and differences between the pieces. From a reading of Spinoza and Deleuze on the equivalent questions of what a body is and what a body can do, the Afterword considers how each of the contributions ultimately poses the problem of aesthetic form—issues of scale, texture, framing, montage—as essential to their rethinking of what cinematic bodies are and might be and also what they can do. A simultaneous exploration notes the legacy of phenomenologies of spectatorship in the contributions, ultimately concluding that, amidst its reconsideration of its two titular terms, the special issue is also participating in debates about methods of reading and the speculative promise of different interpretive approaches to film.


2017 ◽  
Vol 21 (1) ◽  
pp. 1
Author(s):  
Luigi Fusco Girard ◽  
Oto Hudec ◽  
Karima Kourt ◽  
Peter Nijkamp

<p>Cities have in the course of history become the dominant geographic settlement pattern all over the world; we live in the ‘urban century’. Cities integrate all dimensions of modern life, ranging from socio-economic to technological aspects. The organisation of such complex entities calls for a more integrative an inclusive scientific analysis and understanding of urban systems. The aim of the Special Issue Science of the City: Towards a Higher Quality of Urban Life, is to offer a synthesis of the contributions from the Advanced Brainstorm Carrefour (ABC) meeting, held on March 22-23, 2016 in Naples, bringing together experts who have provided a significant contribution to a fundamental reflection on the roots and effects of the modern city.</p>


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