Alle Publikationen
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2016
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(2016): Affecting Art and Theory. The Politics of Shame and Creative Academic Performance. In: Atlantis - Critical Studies in Gender Culture 37 (2), S. 216-224
Abstract: In this paper, the author explores their experience of integrating art-making into the academic conference presentation. This practice moves beyond the limitations of the traditional presentation by developing a dialogue between content and form. It is also productive in transgressing the norms of white, middle-class academic decorum and transforming shame into pride.
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(2016): ’Je ne voudrais prononcer ces mots’. The influence of the French Fabliau on two scenes from Henry V. In: CAHIERS ELISABETHAINS (91), S. 34-50
Abstract: Catherine’s language lesson in Henry V turns on the use of two bawdy French words, foutre and con – or rather, on the English words foot and gown which, when pronounced by the French speakers, sound like the bawdy words. In the courtship scene, Harry and Catherine avoid such words, yet each desires what they signify; both play a linguistic game in which they attempt to achieve what decorum prevents them from naming. Instead of direct and clear expression, this linguistic game involves figurative language and euphemism. A source for the linguistic principles underpinning both scenes is the medieval French fabliau.
2015
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(2015): Site Decorum. In: Architectural Theory Review 20 (2), S. 228-246
Abstract: Site decorum refers to the fitting relationship of the site to the building. In classical architectural theory, the character of place affected style and materials: for example, buildings in the country were decorated with less refined finishes than those in the city. Italian Renaissance architects also considered scenography as part of site decorum, so that the position of the observer was taken into account when calculating the appropriate volumes and detail. This resulted from the mastery of linear perspective, a technique that permitted the manipulation of elements to coordinate with the sight-lines of the viewer. Less well known in the context of architecture is the significance of atmospheric perspective, where things become indistinct as they move away from the eye, which could be countered by emphasising the main horizontal, vertical, and massed elements of a building. In the nineteenth century, Charles Robert (C. R.) Cockerell described the methods of designing for different vantage points, noting that the best architects reconciled the two modes of far and close view, and demonstrating how drawing conventions are instruments that might be harnessed to appropriate siting. The salient theme of site decorum is one of perception, namely that a building’s coherent order is relative to the beholder.
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(2015): Decorum and the Meanings of Materials in Triumphal Architecture of Republican Rome. In: JOURNAL OF THE SOCIETY OF ARCHITECTURAL HISTORIANS 74 (3), S. 289-311
Abstract: In Decorum and the Meanings of Materials in Triumphal Architecture of Republican Rome, Maggie L. Popkin argues that the literal and figurative values of materials in republican triumphal architecture stemmed from complex interactions among patron, architect, audience, and sociohistorical context. Several case studies—the Temple of Fortuna Equestris, the Porticus Metelli, the Round Temple on the Tiber, and Temple B in the Area Sacra di Largo Argentina—demonstrate that the juxtaposition of multiple materials, changing historical circumstances, and new groups of viewers resulted in constantly shifting meanings of materials in republican architecture. The Roman notion of decorum helps explain the shifting uses and valuations of materials. Factors such as the monument’s patron, the event that sparked its construction, its location, the monument type, the availability of materials, and the intended audiences affected the choice of materials and their intended and perceived meanings, which had rich conceptual and imaginative potential to evoke Roman conquest, piety, and spectacle.
Keywords: Architektur, Architektur (high and low ranking buildings), Art des Kommunikationsmediums, decorum, Geschichte, Häuser, Kunst, Öffentlicher vs. privater Raum, Raum/Ort, Situationsbedingter Kontext, Social Rank, Sozialer Raum / Kultureller Kontext, Sozialer Wert von Objekten/Prestigeobjekte etc., Strategien zur Erlangung von Sympathie, Wissen um Normen 2014
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(2014): Managing subjects, manufacturing citizens. Picturing sites of social control in nineteenth-century America. In: Early Popular Visual Culture 12 (2), S. 104-126. DOI: 10.1080/17460654.2014.923160
Abstract: This article examines structures of social control that became institutionalized in the United States in the 1870s and 1880s. In particular, it examines how key philanthropic and penal institutions within New York City, including the school, workhouse and prison, were represented in the illustrated popular press as sites for both controlling and training an industrializing workforce. Examining how the language of scientific management seeped into the social realm, this essay argues that visual representations of these sites helped to reinforce normative middle-class ideals about education, work and punishment. Examining the ways that artists interpreted and framed these sites for a group of primarily middle-class viewers and readers, this essay argues that social systems helped to construct an ideal, imagined citizen who is, first and foremost, an efficient worker. The purpose of these institutions was, in main part, to teach their inmates to labor and to replicate the state apparatus by maintaining social order. This article also deals with the increasingly structured and professional implementation of education and social work during the years leading up to the Progressive Era.
Keywords: Bildsemantik, education, Identitätsstiftung, Kulturtechnik, Kunst, Kunstgeschichte, labor, Rollen, social control, Social Rank, social systems, Soziale Klasse / Schicht, Soziale Ordnung, United States, Vergangenheit / Erziehung, visual culture, Vorurteile, Zuschreiben einer erwarteten Rolle 2013
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(2013): McGahern, Austen, and the Aesthetics of Good Manners. In: Essays in Criticism 63 (2), S. 203-222. DOI: 10.1093/escrit/cgt007
Abstract: "Now her only interruptions were rare telephone calls – and when her reading brought her face to face with some affection or sharp memory. ‘She had done more than she wanted to, less than she ought.’ She found herself repeating the sentence long after she had closed the book, seeing elements of her own life and people she knew reflected in it, elements of that life seen and given a moral sweetness that was close to smiling." MRS WALDRON in ‘Creatures of the Earth’ is quoting – misquoting, in fact – from chapter 20 of Jane Austen's Emma. Austen was one of the authors whom John McGahern most admired. He had been reading and rereading her novels from an early age,2 and they remained an important part of his literary imagination until the very end of his life. (McGahern brought only one book with him during his final stay in the Mater Hospital in Dublin, where he died in late March 2006, and that book was Mansfield Park.3) Yet the two writers are rarely connected in the minds of his readers, and the possibility that he may have assimilated aspects of her work in writing his own novels and stories has not been pursued in a systematic way by critics.
2009
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(2009): The Function of Decorum at the Present Time. Manners, Moral Language, and Modernity in ’an Oscar Wilde Play’. In: MODERN DRAMA 52 (2), S. 145-167
Abstract: In the distinctive, epigrammatic idiom of his society comedies, where dialogue is shaped by the formulae of conventional instructional maxims about what one should and shouldn't do, Oscar Wilde inverts and aestheticizes the assumed ethical basis of a code of conduct that relies on the language of decorum. His drama suggestively articulates a considerable degree of slippage between manners, on the one hand, and morals, on the other. This essay argues, in fact, that Wildean aphoristic speech playfully rewrites late-Victorian etiquette literature, exploiting the ironic distance between moral assumptions and a more formulaic reality.
Keywords: Beispiel, Code of conduct, decorum, humor, Kunst, Literaturwissenschaft, manners, Moral, Morals, Oscar Wilde, Regelwerke, Werte 2006
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(2006): Jane Austen's guide to good manners. Compliments, charades & horrible blunders. New York: Bloomsbury
Abstract: Jane Austen's Guide to Good Manners is a light-hearted, insightful handbook written as if intended for her original Regency Era readers, and illustrated throughout with beautiful watercolors. When Anna, Jane Austen's young niece, sent her a novel for ""literary comment," Jane loved everything about it, except its utter disregard for the manners of the day. The resulting and tender correspondence between the two serves as the foundation for this instructional book. Etiquette and social behavior of the early 1800s come to life in lovely chapters teaching one on how to pay and return formal "calls," how to properly refuse a proposal of marriage, who should lead off the dancing at a country-house ball, and what to wear for a morning walk. Jane Austen used these daily customs and niceties to brilliantly illuminate the cloistered world of high society women in her timeless novels. Now with this delightful handbook of correct social behavior, readers will learn just why Mrs. Bennet of Pride and Prejudice couldn't call alone on her new, rich, bachelor neighbor and had to force the reluctant Mr. Bennet to do so...even as he uttered "Tis an etiquette I despise." An indispensable gift for any Austen fan, this beautiful book will prove irresistible to anyone wishing to go back in time to the atmosphere of their favorite Austen novels. Henrietta Webb is the co-creator of Bad Hair. Josephine Ross has written a number of books including, most recently, Jane Austen: A Companion, published in England by Austen's original publisher John Murray.
2005
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(2005): Social Stratification of Musical Tastes. Questioning the Cultural Legitimacy Model. In: Revue française de sociologie 46 (5), S. 123-154. DOI: 10.3917/rfs.465.0123
Abstract: In sociological study of artistic tastes, the behavior of the upper classes is usually characterized by a penchant for "highbrow" arts and simultaneous rejection of popular arts and the products of mass culture. However, the trends brought to light by analysis of cultural practices survey data do not entirely confirm this representation. What distinguishes upper class behavior is in fact not so much familiarity with "legitimate" culture, as is often claimed, but diversity of stated preferences, in contrast to members of lower-status classes, whose preferences appear more exclusive. A contrast can therefore be established between the traditional model of cultural legitimacy and a model in terms of eclecticism. This article seeks to assess the import of the latter model on the basis of data on preferences in music from a 1997 survey of French cultural practices. First, French practices in this area unequivocally confirm the relevance of the eclecticism model, though that model appears more an extension of the cultural legitimacy model than a refutation of it. Second, the preference typology constructed through analysis of the data, and distribution of individuals by social factors among five music-listener profiles defined on the basis of that typology, forefront the importance of generation differences and uneven distribution of cultural capital and musical competence.
Keywords: Bekanntheitsgrad, Disziplin, familiarity, Geschmack (kulturell), Kunst, Musikologie, Soziologie -
(2005): The decorum of a defecating dog. In: PRINT QUARTERLY 22 (2), S. 119-132
Abstract: In his otherwise grandiose, monumental woodcut, the "Submersion of Pharaoh's Army in the Red Sea", Titian included a realistic depiction of a defecating dog (figs. 39-40). The dog is one small figure in a huge work, but is prominently placed in the foreground, so that it and Moses' commanding arm are the only elements projecting into a block otherwise filled with water. The few scholars who have commented on this detail have tended to dismiss it as an insignificant vulgarity or tasteless lapse in decorum.
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