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Veronese, Paolo (1528–88) Reference library
The Oxford Companion to Western Art
...) and Gabriele Caliari ( 1568–1631 ), his output was enormous. The Marriage Feast at Cana for the refectory of S. Giorgio Maggiore, Venice ( 1562–3 ; Paris, Louvre) is the first of a series of large religious feast scenes with all the sensuous charm and pompous grandeur of a court function. The clear silvery tones of the classical architecture provide a stage set in which to place an assembly of people and the whole scene is suitably enlivened by spectators, dogs, fools, and musicians. As decoration these paintings are unsurpassed. Unfortunately their...
Rembrandt Harmensz. van Rijn (1606–69) Reference library
The Oxford Companion to Western Art
...glazes still fool the eye but also call attention to his handiwork. Although Rembrandt continued to receive commissions, his late style of broad brushwork yet complex layers was partly eclipsed by a new preference for smoothly finished, classically composed, and decorously conceived paintings. Rembrandt's Conspiracy of Claudius Civilis ( c. 1661 ; Stockholm, Nationalmus.), painted for the new town hall, was probably a victim of taste, for the artist soon had to take it back. The authorities may well have objected to Rembrandt's characterization of the heroic...
Africa Reference library
Elizabeth Edwards and Patricia Hayes
The Oxford Companion to the Photograph
...of modernity. Especially in West Africa, however, an alternative mode emerged which, by emphasizing a return to African traditions, had implicitly challenged Western cultural dominance. The advent of electricity in the 1940s, and thus of artificial studio lighting, ushered in a golden age of black‐and‐white studio photography. Photography. increasingly became part of daily life, taken not only for official purposes (identity documents) but to capture special moments, ceremonies, feasts, and rites of passage, and more mundane events like the acquisition of a...
Theatre Reference library
The Grove Encyclopedia of Northern Renaissance Art
...to the Use of Evidence from the Visual Arts for the Study of Early Drama (Kalamazoo, 1977) W. Tydeman : The Theatre in the Middle Ages: Western European Stage Conditions, c. 800–1576 (Cambridge, 1978) J. A. Bakere : The Cornish Ordinalia (Cardiff, 1980), chaps 2 and 6 S. M. Newton : ‘ Actors, Minstrels and Fools ’, Fashion in the Age of the Black Prince (Woodbridge and New Jersey, 1980) M. Twycross : ‘Apparell comlye’, Aspects of Early English Drama , ed. P. Neuss (Cambridge, 1983) III. Renaissance. By 1450 in Italy the rediscovery of Classical...
Utopia Reference library
Sean Cubitt
Encyclopedia of Aesthetics (2 ed.)
...before the Lenten season of fasting in the Catholic Church. Such carnivals, he argued, involved not only feasting and sexual license but also violence and traditions, like the election of a King of the Fools in parody of the structures of power. This sense of carnival as an integral element of rebellion, and vice versa, were also developed by historians, including Peter Burke, Emmanuel Leroy Ladurie, and Christopher Hill, whose work on early modern Europe and on the English Revolution highlighted the utopian dimensions of cultural expressions, including...
Irony Reference library
John Vignaux Smyth and Reginald McGinnis
Encyclopedia of Aesthetics (2 ed.)
...philosophy of language and concern with the performative effects of “the double-voiced word” resulted in a theory of novelistic “heteroglossia” and carnival that indirectly echoed both Schlegel’s collapse of genre in the roman and Kierkegaard’s comments on the ironic significance of the inversions of carnival—the Feast of the Ass, the Feast of Fools, Easter humor, and so on. The German novelist Thomas Mann stands out as providing perhaps the most extensive treatment of the term itself in modern fiction, a treatment whose elaboration of Romantic and...
Chinese Aesthetics Reference library
Haun Saussy, Susan H. Bush, and Ban Wang
Encyclopedia of Aesthetics (2 ed.)
...ritual as their reference and end value and music as their leading model: “The way of music and the way of governing are one.” “When the Eight Sounds harmonize, men and Spirits rejoice” ( Li ji [Records of Ritual], ca . 200 bce ). Musical performance was, of course, only one element in a complex of ritual activities including tribute, hunting, investitures, communal feasting, archery demonstrations, weddings, funerals, and ancestral sacrifice; but the theory of music possessed a formal language appropriate for elucidating the patterns common to all...
Medieval Music Reference library
Susan Boynton
The Oxford Encyclopedia of the Bible and the Arts
...known musical compositions of the entire Middle Ages, the Play of Daniel ( Ludus Danielis ), a sung drama composed in the twelfth century that dramatizes the book of Daniel. According to Margot Fassler ( 1992 ) , this composition was a reformed version of the annual clerical festivity, the Feast of Fools, celebrated by the subdeacons on January 1, and the biblical figure of Daniel was a role model for the young men in minor orders who created and performed the work. In the twelfth and thirteenth centuries a new genre of the Passion play emerged. Some early...
Irony Reference library
Encyclopedia of Aesthetics
...philosophy of language and concern with the performative effects of “the double-voiced word” resulted in a theory of novelistic “heteroglossia” and carnival that indirectly echoed both Schlegel's collapse of genre in the roman and Kierkegaard's comments on the ironic significance of the inversions of carnival—the Feast of the Ass, the Feast of Fools, Easter humor, and so on. The German novelist Thomas Mann stands out as providing perhaps the most extensive treatment of the term itself in modern fiction, a treatment whose elaboration of Romantic and...
English Literature, Early Modern Reference library
Kevin Killeen
The Oxford Encyclopedia of the Bible and the Arts
...nephew, Edward Phillips, glossed cognates of the word) a feast and game, or “to play the chamption” ( New World of English Words [ 1658 ], sig. B1v.)—are figured in the sensory deprivation in which this most physically brutal of characters experiences his intricate and delicate pain. Bodies such as his are not expected to feel so finely and suffer so exquisitely. Samson experiences a synesthesia of sounds, smells, and the touch of sun on worn limbs, as alternatives to the loss of delicate sight: … if it be true That light is in the soul, She all in every...
Theatre Reference library
The Grove Encyclopedia of Medieval Art and Architecture
...: The Cornish Ordinalia (Cardiff, 1980), pp. chaps 2 and 6 S. M. Newton : ‘Actors, Minstrels and Fools’, Fashion in the Age of the Black Prince (Woodbridge and New Jersey, 1980) G. Wickham : Early English Stages, 1300–1660 , 3 vols (London, 1981) P. Meredith and J. Tailby , eds: The Staging of Religious Drama in Europe in the Later Middle Ages: Texts and Documents in English Translation (Kalamazoo, 1983) M. Twycross : ‘“Apparell comlye”’, Aspects of Early English Drama , ed. P. Neuss (Cambridge, 1983) R. Leacroft and H. Leacroft : Theatre and...
Chinese Aesthetics Reference library
Encyclopedia of Aesthetics
...courtly ritual as their reference and end value, and music as their leading model. “The way of music and the way of governing are one.” “When the Eight Sounds harmonize, men and Spirits rejoice” ( Li ji [Records of Ritual], c. 200 bce ). Musical performance was, of course, only one element in a complex of ritual activities including tribute, hunting, investitures, communal feasting, archery demonstrations, weddings, funerals, and ancestral sacrifice; but the theory of music possessed a formal language apt to elucidate the patterns common to all these...
