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  1. Arthur Hacker’s Syrinx (1892): Paint, classics and the culture of rape.Kate Nichols - 2016 - Feminist Theory 17 (1):107-126.
    Representations of rape and sexual violence abound in Victorian painting, but art historical analysis of this phenomenon has been scarce. This article uses Arthur Hacker’s 1892 painting Syrinx to examine late nineteenth-century approaches and responses to visually representing rape. How did the representation of rape relate to the newly respectable aesthetic category of the artistic nude? Syrinx depicts a standing unclothed young woman attempting to cover her body with reeds, subject matter derived from Book I of Ovid’s Metamorphoses. The painting (...)
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  • The mind’s magic lantern: David Brewster and the scientific imagination.Bill Jenkins - 2021 - History of European Ideas 47 (7):1094-1108.
    ABSTRACT The imagination has always been thought to operate primarily in conjunction with the sense of vision, imagined objects and scenes being conjured up before the ‘mind’s eye’. In early nineteenth-century Scotland the natural philosopher David Brewster developed a theory of the imagination that explained its operation through a reversal of the normal processes of visual perception. These ideas were rooted in the mental philosophy of the eighteenth-century Scottish Enlightenment. For Brewster the mind’s eye was also the eye of the (...)
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  • The Doctor by Luke Fildes: An Icon in Context. [REVIEW]Y. Michael Barilan - 2007 - Journal of Medical Humanities 28 (2):59-80.
    This paper discusses one of the most famous paintings on medical themes: The Doctor by Sir Luke Fildes (Fig. 1), which exemplifies how an ideal type of doctoring is construed from reality and from the views and expectations of both the public and doctors themselves. A close reading of The Doctor elucidates three fundamental conflicts in medicine: the first is between statistical efficiency in accordance with scales of morbidity and mortality and the personal devotion that every sick child or suffering (...)
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