42 research outputs found
âFine specimens of the raceâ : Pourquoi se porte-t-on si bien dans Nouvelles de Nulle Part ?
La santĂ© est une caractĂ©ristique obligĂ©e de lâutopie. Dans News from Nowhere, William Morris lui donne une importance particuliĂšre. En mĂȘme temps quâelle propose dâintĂ©ressantes comparaisons avec des textes qui inspirĂšrent Morris, la question de la santĂ© permet de mettre en valeur quelques grands discours (darwinisme social, idĂ©ologie de la dĂ©gĂ©nĂ©rescence, sociologie naissante, hygiĂ©nisme) par rapport auxquels il prit position. Le couple âhealthâ/ âwealthâ apparaĂźtra comme un Ă©lĂ©ment structurant de la pensĂ©e politique de Morris.Good health is a necessary feature of utopias. In News from Nowhere, this theme takes on a particular importance. While drawing comparisons with some of William Morrisâs sources, this article shows that his description of healthy bodies constitutes a response to some contemporary discourses (social Darwinism, the ideology of degeneration, public hygiene and âThe Condition of Englandâ) and that the association between health and wealth is central to his political thought
â[B]eyond my landscape powersâ: Elizabeth Thompson Butler and the Politics of Landscape Painting
Ayant choisi trĂšs tĂŽt de faire carriĂšre dans la voie masculine de la peinture militaire, Elizabeth Thompson Butler (1846-1933) Ă©tait Ă la fin du XIXe siĂšcle la plus grande artiste britannique du genre, ce qui lui valut dâĂȘtre presque Ă©lue membre de la Royal Academy en 1879. Ses toiles, qui firent lâadmiration de Ruskin et de la Reine Victoria, sont organisĂ©es autour de personnages et leur monture engagĂ©s dans lâaction. Leur premier plan soigneusement dĂ©taillĂ© crĂ©e ce quâelle appelait un « intĂ©rĂȘt humain », mais lâarriĂšre-plan est gĂ©nĂ©ralement absent ou obstruĂ©. Dans ses Ă©crits autobiographiques, Elizabeth Thompson exprima pourtant son admiration envers les paysages observĂ©s pendant ses sĂ©jours en Italie, lors de ses voyages avec son pĂšre et au cours des expĂ©ditions militaires oĂč elle accompagna son mari, et les dĂ©crivit avec une minutie et un art qui confirment quâelle Ă©tait aussi une excellente « peintre de la plume ». Son ouvrage From Sketchbook and Diary (1909), rĂ©cit de ses voyages en Irlande, en Ăgypte et en Afrique du Sud, adressĂ© Ă sa sĆur, la poĂ©tesse Alice Meynell, et illustrĂ© de ses propres aquarelles, rĂ©vĂšle combien Ă©tait grande son apprĂ©ciation du paysage, mais exprime aussi son incapacitĂ© Ă atteindre dans ses toiles la qualitĂ© de lâoriginal, quâelle place au-delĂ de ses « capacitĂ©s de paysagiste ». Dans From Sketchbook and Diary et dans son autobiographie (1922), cet aveu dâimpuissance est sous-tendu par des considĂ©rations techniques mais aussi par des motifs politiques. Cet essai examine le paradoxe suivant : la fascination dâElizabeth Thompson pour les paysages contraste avec leur absence relative dans son Ćuvre peint, quâelle justifie par des motifs techniques. Par une mise en regard dâĂ©crits autobiographiques et de reprĂ©sentations picturales dans des pays colonisĂ©s (Irlande, Afrique du Sud), on fera apparaĂźtre que la peintre Ă©tait extrĂȘmement sensible aux enjeux politiques et culturels entourant les paysages.After joining the âtremendous ruckâ of battle artists very early in her career, Elizabeth Thompson Butler (1846-1933) became a major British military painter and was almost elected a member of the Royal Academy. Her paintings, which were admired by Queen Victoria and John Ruskin, place their focus mainly on human figures, horses and action. Most of them have a careful foreground with what she calls âhuman interestâ but no background. However, in her autobiographical writings, Elizabeth Thompson expressed great admiration for the landscapes she saw during her Italian youth, in the course of her travel with her father and her foreign expeditions as an officerâs wife, and she renders them in brief carefully-worded descriptions which confirm that she was also a fine âword-painterâ. In From Sketchbook and Diary (1909), an account of her stays in Ireland, Egypt and South-Africa, dedicated and addressed to her sister, Alice Meynell, the poetess, and illustrated with her own watercolours, she conveys a sense of her keen appreciation of landscape and of her own inability to raise her art to the effects produced by the original, which lies âbeyond [her] landscape powersâ. Behind this hyperbolic expression of her personal inability, there are technical and political reasons for the claim. Starting from Thompsonâs careful description of âpicturesqueâ and âpictorialâ scenery in her autobiographical writings, this essay will examine Thompsonâs fascination for actual landscapes with a view to showing that her limited painterly engagement with landscape, which she justifies in terms of technical difficulties, also stems from a very high vision of what landscape represents and a keen awareness of its politics. My paper will focus in particular on her perception of colonized countries (especially Ireland and South Africa) in From Sketchbook and Diary (1909) with occasional references to her Autobiography (1922)
Introduction
In a 29 January 1889 letter to Walter Hamilton, editor in the mid-1880s of Parodies of the Works of English and American Authors, Oscar Wilde declared that âparody, which is the Muse with her tongue in her cheek, has always amused me; but it requires a light touch, and a fanciful treatment and, oddly enough, a love of the poet whom it caricaturesâ (390). Despite Wildeâs use of the convention of describing a Muse as female, there were in fact very few women represented in Hamiltonâs multi-volu..
Breastfeeding in indigenous children from two cities in the West Brazilian Amazon
Objective: To analyze breastfeeding practice among indigenous children aged between zero and two years and the factors associated with ablactation. Methods: Cross-sectional study conducted with 94 indigenous children and 91 indigenous women. Data were collected in households by applying an instrument specifically developed for the study. Logistic regression was used for the analysis. Results: A total of 60.6% of the children were breastfeeding. Exclusive breastfeeding was present in 35% of the children aged under six months. The only association of early ablactation with the variables was the ethnic group, in which the chance of early ablactation among the Poyanawa, Nawa, and Nukini ethnic groups was 3.7 times higher than the Katukinas. Conclusion: The prevalence indices of breastfeeding is below the recommendations of the WHO. Only the variable ethnic group was found to be associated with early ablactation. These data highlight the need to implement programs to promote breastfeeding among indigenous people.Objetivo: Analisar o aleitamento materno de crianças indĂgenas de zero a dois anos e os fatores associados ao desmame. MĂ©todos: Estudo transversal realizado com 94 crianças e 91 mulheres indĂgenas. Os dados foram coletados nos domicĂlios, com aplicação de um instrumento construĂdo especificamente para o estudo. Para a anĂĄlise foi utilizada a regressĂŁo logĂstica. Resultados: Estavam em aleitamento materno 60,6% das crianças. Em menores de seis meses o AME esteve presente em 35% das crianças. A Ășnica associação do desmame precoce com as variĂĄveis foi a etnia, em que a chance de desmame precoce entre as etnias Poyanawa, Nawa e Nukini, foi 3,7 vezes maior em relação a etnia Katukina. ConclusĂŁo: As prevalĂȘncias de AM encontram-se aquĂ©m das recomendaçÔes da OMS. Somente a variĂĄvel etnia mostrou-se associada ao desmame precoce. Esses dados mostram a necessidade de implementaçÔes de programas de incentivo ao AM entre os indĂgenas.Univ Fed Acre, Cruzeiro Do Sul, AC, BrazilUniv Fed Sao Paulo, Escola Paulista Enfermagem, Sao Paulo, SP, BrazilUniv Fed Sao Paulo, Escola Paulista Enfermagem, Sao Paulo, SP, BrazilWeb of Scienc
Learning from Nature: Feminism, Allegory and Ostriches in Olive Schreinerâs The Story of an African Farm (1883)
This essay explores the interconnections between the discourses on animals, the Empire and women, three domains in which the confidence of the late-Victorian male was being tested at the end of the nineteenth century. It focuses on the South African novelist and essayist Olive Schreiner, whose allegorical turn of mind and intimate knowledge of the Veld predisposed her to look towards animals as conveyors of argumentative meaning. It contextualizes her first novel, The Story of an African Farm (1883), within the ostrich boom and the feather trade of the 1880s and 1890s. It examines how the ostrich participates in an aesthetic of relations, which ranges from Schreinerâs allegorical practice to the readerâs method of interpreting the novel
Emily Eells, dir., Wilde in Earnest
In Wilde in Earnest, Emily Eells has gathered some excellent pieces of scholarship written specifically about Oscar Wildeâs last comedy, The Importance of Being Earnest (1895). The contributors include famous Wilde scholars from all over the world. The beauty of the bookâs title is truer to its content than the rather austere cover design is, and admirers of Oscar Wilde, for whom style is a vital thing, should not let themselves be affected by it. Emily Eellsâs introduction takes up William A..
Jane Jordan and Andrew King, dir. Ouida and Victorian Popular Culture
Although largely forgotten by the general public today, Ouida (Marie Louise de la RamĂ©e, 1839â1908) was immensely popular in her time and was read by a broad spectrum of readers. Her fame extended to France and, in the early twentieth century, she was the only English female author on the French National Curriculum for the English exam set for children aged 14, ranking first before Wordsworth, Scott and Keats. The essays in Jane Jordan and Andrew Kingâs collection explain such immense popular..
Emily Eells, dir., Wilde in Earnest
In Wilde in Earnest, Emily Eells has gathered some excellent pieces of scholarship written specifically about Oscar Wildeâs last comedy, The Importance of Being Earnest (1895). The contributors include famous Wilde scholars from all over the world. The beauty of the bookâs title is truer to its content than the rather austere cover design is, and admirers of Oscar Wilde, for whom style is a vital thing, should not let themselves be affected by it. Emily Eellsâs introduction takes up William A..
Bram Stoker, Dracula
La nouvelle Ă©dition de Dracula chez OUP est prĂ©sentĂ©e par Roger Luckhurst, qui a Ă©galement fait le travail dâĂ©dition de The Strange Case of Dr Jekyll and Mr Hyde (2006) et du remarquable recueil Late Victorian Gothic Tales (2005) chez le mĂȘme Ă©diteur. Il sâagit de la troisiĂšme Ă©dition de Dracula dans la collection Oxford Worldâs Classics, et elle comprend un changement majeur : le texte est repaginĂ©. Sâil Ă©tait possible dans le cadre dâun cours de recommander indiffĂ©remment les Ă©ditions dâA. ..