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Bourgeois existence was a world of interior space, heavily curtained off and wary of intrusion, and opened only by invitation for viewing on occasions such as parties or teas. " The essential, unknowability of each individual, and society's collaboration in the maintenance of a façade behind which lurked innumerable mysteries, were the themes ...
They made Victorian intellectuals aware of Sappho, and their writings helped to shape the modern image of lesbianism. [22] The Labouchere Amendment to the Criminal Law Amendment Act 1885, for the first time, made all male homosexual acts illegal. It provided for two years' imprisonment for males convicted of committing, or being a party to ...
The Modern French word bourgeois (/ ˈ b ʊər ʒ w ɑː / ⓘ BOORZH-wah or / b ʊər ˈ ʒ w ɑː / ⓘ boorzh-WAH, French: ⓘ) derived from the Old French borgeis or borjois ('town dweller'), which derived from bourg ('market town'), from the Old Frankish burg ('town'); in other European languages, the etymologic derivations include the Middle English burgeis, the Middle Dutch burgher, the ...
John Plotz, reviewing The Bourgeois in Victorian Studies, found some weaknesses in Moretti's approach: "This functionalist credo lies at the core of The Bourgeois: Moretti presumes that we can say what a text is by saying what it did to the society on which it was initially unleashed. It is a reading strategy that reveals much but that can also ...
The Staffordshire spaniel was the quintessential Victorian bourgeois status-symbol ornament: no mantelpiece was complete without a pair of spaniels standing guard. Staffordshire dogs were also placed on the window sill. Staffordshire dogs are nowadays collectors’ items. [11]
Whatever the name, the popular print format joined the photograph album as a fixture in the late 19th-century Victorian parlor. The reverse side of the card as seen above. Early in its introduction, the cabinet card ushered in the temporary disuse of the photographic album which had come into existence commercially with the carte de visite ...
The most familiar work from this series was used for the cover of critic Lucy Lippard's influential 1976 collection of feminist essays on art, From The Center. [1]The image of the female nude with the head of a home is also present in the film The Skin I Live In by director Pedro Almodóvar, who develops a relationship between the main character, Vera, and the works of Louise Bourgeois.
The term was rarely used in the Soviet Union to describe any portion of the Soviet society because, Hemmerle argues, following the Russian Revolution of 1917 "millions of people passed through economic conditions that bore a resemblance to the traditional meaning of lumpenproletariat".