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Paternalism --- History. --- Paternalism - England - History.
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In this groundbreaking book, David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution. The total work of art is usually understood as the intention to reunite the arts into the one integrated whole, but it is also tied from the beginning to the desire to recover and renew the public function of art. The synthesis of the arts in the service of social and cultural regeneration was a particularly German dream, which made Wagner and Nietzsche the other center of aesthetic modernism alongside Baudelaire and Mallarmé. The history and theory of the total work of art pose a whole series of questions not only to aesthetic modernism and its utopias but also to the whole epoch from the French Revolution to the totalitarian revolutions of the twentieth century. The total work of art indicates the need to revisit key assumptions of modernism, such as the foregrounding of the autonomy and separation of the arts at the expense of the countertendencies to the reunion of the arts, and cuts across the neat equation of avant-gardism with progress and deconstructs the familiar left-right divide between revolution and reaction, the modern and the antimodern. Situated at the interface between art, religion, and politics, the total work of art invites us to rethink the relationship between art and religion and art and politics in European modernism. In a major departure from the existing literature David Roberts argues for twin lineages of the total work, a French revolutionary and a German aesthetic, which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890's forward.
Modernism (Aesthetics) --- Arts, Modern --- Arts, European --- European arts --- Modern arts --- Philosophy. --- Aesthetics
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Guerre mondiale (1914-1918) --- Littérature et guerre --- Poésie de guerre anglaise --- English literature --- Poésie --- Poésie de guerre anglaise. --- Littérature et guerre. --- Poésie.
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Restoration London's leading actor and theatre manager Thomas Betterton has not been the subject of a biography since 1891. He worked with all the best-known playwrights of his age and with the first generation of English actresses; he was intimately involved in the theatre's responses to politics, and became a friend of leading literary men such as Pope and Steele. His innovations in scenery and company management, and his association with the dramatic inheritance of Shakespeare, helped to change the culture of English theatre. David Roberts's entertaining study unearths new documents and draws fresh conclusions about this major but shadowy figure. It contextualizes key performances and examines Betterton's relationship to patrons, colleagues and family, as well as to significant historical moments and artefacts. The most substantial study available of any seventeenth-century actor, Thomas Betterton gives one of England's greatest performing artists his due on the tercentenary of his death.
Actors --- English drama --- English drama (Comedy) --- Betterton, Thomas, --- Betterton, --- Betterton, Thomas
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In 1830, the dominant social outlook of the early Victorians was a paternalism that looked to property, the Church, and local Justices of the Peace to govern society and deal with its ills. By 1860, however, the dominant social outlook had become a vision of a laissez faire society that relied on economic laws, self-reliance, and the vigorous philanthropy of voluntary societies. This book describes and analyzes these changes, which arose from the rapid growth of industry, towns, population, and the middle and working classes. Paternalism did not entirely fade away, however, just as a laissez faire vision had long antedated 1830. Both were part of a social conscience also defined by a revived philanthropy, a new humanitarianism, and a grudging acceptance of an expanded government, all of which reflected a strong revival of religion as well as the growth of rationalism. The new dominance of a laissez faire vision was dramatically evident in the triumph of political economy. By 1860, only a few doubted the eternal verities of the economists’ voluminous writings. Few also doubted the verities of those who preached self-reliance, who supported the New Poor Law’s severity to persons who were not self-reliant, and who inspired education measures to promote that indispensable virtue. If economic laws and self-reliance failed to prevent distress, the philanthropists and voluntary societies would step in. Such a vision proved far more buoyant and effective than a paternalism whose narrow and rural Anglican base made it unable to cope with the downside of an industrial-urban Britain. But the vision of a laissez faire society was not without its flaws. Its harmonious economic laws and its hope in self-reliance did not prevent gross exploitation and acute distress, and however beneficent were its philanthropists, they fell far short of mitigating these evils. This vision also found a rival in an expanded government. Two powerful ideas—the idea of a paternal government and the idea of a utilitarian state—helped create the expansion of government services. A reluctant belief in governmental power thus joined the many other ideas that defined the Victorian’s social conscience.
Paternalism --- Charities --- Social Conditions --- Sociology & Social History --- Social Sciences --- Alms and almsgiving --- Benevolent institutions --- Charitable institutions --- Endowed charities --- Institutions, Charitable and philanthropic --- Philanthropy --- Poor relief --- Private nonprofit social work --- Relief (Aid) --- Social welfare --- Associations, institutions, etc. --- Poor --- Social service --- Endowments --- Parentalism --- Social classes --- Social control --- Social systems --- History --- Societies, etc. --- Services for --- Great Britain --- Social policy
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In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution. The total work of art is usually understood as the intention to reunite the arts into the one integrated whole, but it is also tied from the beginning to the desire to recover and renew the public function of art. The synthesis of the arts in the service of social and cultural regeneration was a particularly German dream, which made Wagner and Nietzsche the other center of aesthetic modernism alongside Baudelaire and Mallarmé. The history and theory of the total work of art pose a whole series of questions not only to aesthetic modernism and its utopias but also to the whole epoch from the French Revolution to the totalitarian revolutions of the twentieth century. The total work of art indicates the need to revisit key assumptions of modernism, such as the foregrounding of the autonomy and separation of the arts at the expense of the countertendencies to the reunion of the arts, and cuts across the neat equation of avant-gardism with progress and deconstructs the familiar left-right divide between revolution and reaction, the modern and the antimodern. Situated at the interface between art, religion, and politics, the total work of art invites us to rethink the relationship between art and religion and art and politics in European modernism. In a major departure from the existing literature David Roberts argues for twin lineages of the total work, a French revolutionary and a German aesthetic, which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890s forward.In this groundbreaking book, David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution. The total work of art is usually understood as the intention to reunite the arts into the one integrated whole, but it is also tied from the beginning to the desire to recover and renew the public function of art. The synthesis of the arts in the service of social and cultural regeneration was a particularly German dream, which made Wagner and Nietzsche the other center of aesthetic modernism alongside Baudelaire and Mallarmé.The history and theory of the total work of art pose a whole series of questions not only to aesthetic modernism and its utopias but also to the whole epoch from the French Revolution to the totalitarian revolutions of the twentieth century. The total work of art indicates the need to revisit key assumptions of modernism, such as the foregrounding of the autonomy and separation of the arts at the expense of the countertendencies to the reunion of the arts, and cuts across the neat equation of avant-gardism with progress and deconstructs the familiar left-right divide between revolution and reaction, the modern and the antimodern. Situated at the interface between art, religion, and politics, the total work of art invites us to rethink the relationship between art and religion and art and politics in European modernism.In a major departure from the existing literature David Roberts argues for twin lineages of the total work, a French revolutionary and a German aesthetic, which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890s forward.
Philosophy --- Art --- anno 1800-1999 --- Europe --- History of art / art & design styles --- History of art
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Introducing readers to the key texts, theatrical practice and context of late seventeenth-century drama, David Roberts combines literary and theatrical approaches to show how Restoration plays were written, performed, received and printed. Structured according to the 'life cycle' of the dramatic text, this book reproduces extracts from twenty-four of the most influential Restoration plays to provide readers with a comprehensive and colourful introduction to the period's drama. Roberts encourages readers to look beyond a limited canon of established plays and practice, and to see how Restoration Drama has been revived and adapted on the modern stage. Restoration Plays and Players is of great interest to undergraduate and non-specialist readers of seventeenth-century drama, Restoration literature and theatre studies.
English drama --- Theater --- Theater and society --- Actors --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Society and theater --- History and criticism. --- History --- Social status --- Social aspects
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