an important function of ruins in landscape parks was to symbolise ..

Flavio Biondo’s originality and scope were shaped by the political and cultural turmoil of his time. Addressing the enduring complaints among scholars that Biondo has received less attention than some of his contemporaries, this collection of articles celebrates his intellectual interests and literary production. At the same time, the book represents a significant expression of the renewed scholarly attention that is being paid to Biondo in recent years. This collection of articles explores a variety of topics, from language and philology to archival research and antiquarianism.

Ruins in a Landscape: Essays in Antiquarianism

Ruins in a Landscape: essays in antiquarianism

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Flavio Biondo regarded the triumphs of ancient Rome as the antecedents of the Christian processions. However, his contemporaries did not all agree. They were more inclined to see the building of churches and the ruins of pagan Rome as God’s work.

As Anne Janowitz writes in her Ruins in the Landscape,

As Anne Janowitz writesin her ,

Though the spectacle of ruins in the landscape offers evidenceof a nation possessed of a long history, the materials that ruinists drawon to make figures may produce different meanings within some other group'simagination.

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By the beginning in 1815 of the Regent’s Park scheme for redeveloping London, new and conflicted social practices had already begun to emerge. The New Street and related redevelopment of fashionable London stimulated a new type of print media that modernized and popularized the production of (less obviously commercial) antiquarian books on ancient, medieval, and overseas design.

Living the Faith in Exile Edwin Faust

The legitimating force of imitated culture was most manifest in the British Museum (1818-1826), designed by another antiquarian architect, Sir Robert Smirke. A major public function of the British Museum was the display of the architectural and sculptural relics removed by Lord Elgin from Athens and environs as objects of study to enhance British art and manufacture design. These antiquities had become available for transport largely as a result of the British alliance with the Ottoman Empire against the French invasion of the modern Egypt and Palestine. They had been transported by the Royal Navy and purchased by the British government in 1816, partly as proof of its growing presumption of material and cultural superiority; through this kind of acquisition, imitation is giving way to the forms of appropriation examined in the Postcolonial aspect of Orientalist critique. The of this appropriation, however, was underscored by the incomplete success of British arms in the War of 1812 (recalling the disastrous loss of the American colonies three decades earlier), the escalating economic and social distress following the cessation of the Napoleonic conflict, and the scandals attending the Royal Family and especially the Prince Regent.

Living in the landscape : essays in honour of Graeme Barker / edited by ..

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A reading of Austen’s description of “English culture” in set within the context of Regency design suggests, however, the existence of a preliminary, less imperialist, phase of Orientalist sensibility. This proto-Orientalism was more associated with the cultural opportunism generated by antiquarianism and enabled by commercial expansion than with the strategic and cultural projection of British power.

Ruins in a Landscape

Volumes 51-55, 2012-2016 - History and Theory

This investigation of other cultures admittedly was imbricated with the processes of knowledge and power (later theorized by Michel Foucault), and it contributed to the institutional inscription of Empire through museums and art galleries. This kind of alliance of amateur antiquarianism and connoisseurship with social privilege was nicely scripted in : prior to the visit to Donwell Abbey, George Knightley arranges for Mr. Woodhouse to have access to his “[b]ooks of engravings, drawers of medals, cameos, corals, shells, and every other family collection within his cabinets” (362). Such private ownership of bits of the material and creative domains equated with private ownership of landed estates and public control of distant lands: the feudal social order growing forward into the ordering of the modern, latterly imperial world.

‘A Landscape of Ruins: ..

13: Dec15 | Journal of Art Historiography

The acquisitive appropriations accompanying such interchange became increasingly manifest and exotic in Austen’s lifetime. To a considerable extent, such appropriation reflected the potent if less patently acknowledged impact of colonial enterprise upon British economy and society. The limited reference to the colonial component within British economy and polity—with the partial exception of and —has contributed to the Orientalist interpretation of Austen’s writings as well as contemporary British culture. Such interpretation of Austen reflects most of the main lines of argument in Orientalist discourse. These can be summarized in terms of four areas of concern. First, and most generally, Orientalism is defined by the imitation or depiction of Eastern (chiefly East and South Asian, but including African, cultures) by Western (European or North Atlantic) artists or craftspeople. This phenomenon is typified in the realm of antiquarian enterprise by James Stuart’s depiction of Nicholas Revett dressed in Oriental garb studying the “Theatre of Dionysus Athens” in preparation for their celebrated folio volume .