Hogarth's hidden parts: satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Hildesheim [u.a.]
Olms
2010
|
| Schriftenreihe: | Studien zur Kunstgeschichte
186 |
| Schlagwörter: | |
| Links: | http://deposit.dnb.de/cgi-bin/dokserv?id=3541291&prov=M&dok_var=1&dok_ext=htm http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020781631&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Umfang: | XXVII, 514 S. zahlr. Ill. |
| ISBN: | 9783487144719 |
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Datensatz im Suchindex
| _version_ | 1819379916525797376 |
|---|---|
| adam_text | CONTENTS LIST OF ILLUSTRATIONS XIII PREFACE XXIX 1. INTRODUCTION 1.1.
FASHIONABLE TRENDS IN MODERN HOGARTHIAN SCHOLAR- SHIP: FROM NEW
HISTORICISM TO POST-STRUCTURALIST AMBIGUITY AND GENDER-ORIENTED STUDIES
1 1.2. A REASSESSMENT OF THE BAWDY IN HOGARTH AND HIS ART 8 2. HOGARTH:
THE BAWDY MORALIST? 2.1. HOGARTH THE MORALIST: QUESTIONING THE TRADI-
TIONAL VIEW 12 2.1.1. THE UNIDEALISED CHILD AS OPPOSED TO THE SENTIMEN-
TALISED DARLING 15 2.1.2. CHARITABLE ACTS SPRINKLED WITH UNCHARITABLE
MOTIFS 19 2.1.3. THE CAMPAIGN AGAINST ALCOHOLISM 20 2.1.4. THE DEPICTION
OF CRUELTY 23 2.1.5. TAKING A DELIGHT IN CRUEL AND ABHORRENT SCENES 29
2.1.6. INDUSTRY AND IDLENESS AND THE STRANGE SYMBOLISM OF AARON HILL S
MORAL GARDEN 37 2.1.7. THE MASSACRE OF THE INNOCENTS AT TOM IDLE S
EXECUTION 40 BIBLIOGRAFISCHE INFORMATIONEN HTTP://D-NB.INFO/1007175796
DIGITALISIERT DURCH 3.2. ENGLISH PORNOGRAPHY AND FRENCH EROTICISM 108 VI
CONTENTS 2.2. HOGARTH THE FROLICSOME, SARCASTIC, PUGNACIOUS MAN ABOUT
TOWN 43 2.2.1. OUTWARDLY FOLLOWING THE PATH OF MORAL PURPOSE 43 2.2.2.
SHOWING THE FRAILTY AND DARK SIDE OF EVERY SITUATION 46 2.2.3. UGLY
FACES WITHOUT GRACE 48 2.2.4. INTEREST IN THE PHYSIOGNOMY OF CRIMINALS
52 2.2.5. LITTLE OF THE NOBLE IN HOGARTH S CHARACTER AND ART 54 2.2.6. A
PREDILECTION FOR LOWER AMUSEMENTS 56 2.2.7. HOGARTH S INTOLERANCE
AGAINST CRITICISM AND HIS ATTACKS UPON FELLOW ARTISTS 59 2.2.8. ENJOYING
LONDON S BIBULOUS CLUB AND PUB LIFE 68 2.2.9. OBSCENE AMUSEMENTS 72 2.3.
HOGARTH THE SELF-SEEKING AND STUBBORN OPPORTUNIST 74 2.3.1. AMBITIONS TO
EXCEL IN HIGH ART: THE UNHAPPY CASE OF SIGISMUNDO 75 2.3.2. FLATTERING
PORTRAIT PAINTING 87 2.3.3. AMBITIOUS SELF-PORTRAITS 89 2.3.4. PAINTING
AND ENGRAVING FOR MONEY 90 2.3.5. HOGARTH THE ASTUTE BUSINESSMAN 95 3.
HOGARTH S HIDDEN PARTS: THE BAWDY FACTS 3.1. BOYS PEEPING AT NATURE 102
3.9. WORLDLY AUTHORITIES PENISES 161 CONTENTS VII 3.2.1. OBSCENE
BRITISH PRINTS 110 3.2.2. RISQUE FRENCH ROCOCO 116 3.3. STILL AN
UNRESOLVED PARADOX: MORAL PURPOSE AND BAWDINESS IN HOGARTH S ART 120
3.3.1. BEFORE AND AFTER 120 3.3.2. THE CALL OF NATURE 124 3.4. FORBIDDEN
LOWLINESS IN HIGH ART 131 3.4.1. LOW DUTCH TASTE 131 3.4.2. HOGARTH AND
DUTCH ART 133 3.5. SMUTTY MOTIFS VERSUS FALSE OPINIONS 137 3.6. ANIMAL
GENITALIA SIGNALLING THE STATES OF HUMAN PENILE ERECTION 139 3.7.
OBJECTS AS SUBSTITUTES FOR MEN S GENITALIA 142 3.7.1. SCROTAL PERIWIGS
AND A PHALLIC EFFIGY OF HUDIBRAS 142 3.7.2. GULLIVER S CLYSTER 143
3.7.3. HETEROSEXUAL OR SODOMITICAL PREFERENCES? 145 3.7.4. LUST IN
HOGARTH S SLEEPING CONGREGATION AND NATIONAL POTENCY IN NIGHT 151 3.7.5.
PHALLIC CHOREOGRAPHY IN THE COUNTRY DANCE 153 3.7.6. SPIRITUAL AND
CARNAL EXCESSES: INDECENT EXPOSURE IN THE PULPIT 155 3.8. THE LUSTFUL
CLERGYMAN 158 4.6.2. CHILD ABUSE IN HOGARTH S DAY 208 VIII CONTENTS
3.10. DEFLORATION AND INFANTILE SADOMASOCHISM 163 3.11. PUBLIC ONANISM
DRIVING PEOPLE MAD 166 3.12. FEMALE PUDENDA 170 3.12.1. CARNAL
SENSUALITY IN THE STROLLING ACTRESSES 111 3.12.2. A LAD PEEPING AT
NATURE DURING THE LORD MAYOR S PROCESSION 172 3.12.3. THE HARLOT S CAT
IN HEAT 173 3.12.4. THE CUNNUS IN CUNICULARII 174 3.12.5. MUSICAL
ECSTASY IN THE TOILETTE 111 3.12.6. HOGARTH S EROTIC COTTAGE 178 3.13.
THERE IS NO INDECENCY IN HISTORY PAINTING 180 4. ATTEMPTS AT DEEPER
UNDERSTANDINGS 4.1. THE LUSTFUL AND PHALLIC EIGHTEENTH CENTURY 182 4.2.
PROMISCUITY AND HARLOTRY IN LONDON 188 4.3. EROS AT THE ENGLISH
MASQUERADE 195 4.4. IMMODEST MEDIA: OBSCENITIES ON WINDOWS- LEWD
WRITINGS-LASCIVIOUS SONGS-INDECENT PRINTS 197 4.5. HOGARTH S BAWDY
LIFESTYLE 203 4.6. LOVE OR SEXUAL ABUSE OF CHILDREN? 206 4.6.1. ABUSED
BOYS IN EVENING AND NOON! 206 CONTENTS IX 4.6.3. CHILD MURDER AND CHILD
MORTALITY 211 4.6.4. SEXUAL ABUSE OF CHILDREN 213 4.6.5. HOGARTH AMONG
THE ABUSERS? 217 4.6.6. HOGARTH S PREDILECTION FOR UNDERAGE GIRLS 227
4.7. HOGARTH AMONG THE RAKES OF THE HELL FIRE CLUB 229 4.8. ALLUSIONS
AFFORDING AMUSEMENT 232 4.8.1. COMIC PUNS IN HOGARTH S WORKS 233 4.8.2.
COMIC PUNS AND SEXUAL ALLUSION IN EIGHTEENTH- CENTURY LITERATURE 236
4.9. MINGLING, AND REPLACING, THE HIGH WITH THE LOW 244 4.9.1. SCATOLOGY
IN POPE AND SWIFT 246 4.9.2. SHIT AND STINK IN SMOLLETT S SATIRE 248
4.9.3. LESS CRUDE HUMOUR IN HOGARTH S ART 249 4.10. TEASING THE
CONNOISSEURS BY DENIGRATING THEIR BELOVED OLD MASTERS 252 4.10.1.
ANTI-ICONOGRAPHY IN A RAKE S PROGRESS 253 4.10.2. IRONIC ALLUSIONS TO A
FLORENTINE SPOSALIZIO IN PLATE 5 OF A RAKE S PROGRESS 255 4.10.3. HIDDEN
ALLUSIONS TO RAPHAEL S TRANSFIGURATION IN PLATE 6 OF A RAKE S PROGRESS
259 4.10.4. CHAIRING THE MEMBERS: HOGARTH S SATIRIC PLAY WITH MOTIFS
TAKEN FROM RAPHAEL S EXPULSION OF HELIODORUS 266 4.10.5. ALLUSIONS TO
RAPHAEL, RUBENS, FRA ANGELICO, REMBRANDT AND CARAVAGGIO IN PAUL CONTENTS
4.10.6. ADDITIONAL EXAMPLES OF HOGARTH S SATIRICAL BORROWING FROM
TRADITIONAL RELIGIOUS ART 277 4.10.7. REFERENCES TO PAGAN MYTHOLOGY AND
LOW DUTCH IMAGERY 281 4.10.8. JUST WHO WAS AWARE OF HOGARTH S HIDDEN
BORROWINGS? 283 4.11. AMBIGUOUS ALLUSION AS A DISPLAY OF WIT 285 4.11.1.
IMITATION OF OTHERS AS A RECOMMENDED ARTISTIC PRACTICE 286 4.11.2.
HOGARTH S CRITICAL ATTITUDE TOWARDS IMITATION 293 4.11.3. DIFFERING
CONCEPTS OF WIT 295 4.11.4. HOGARTH S PLACE WITHIN THE TRADITION OF WIT
300 4.12. BEING VERY BRITISH: FREEDOM OF THOUGHT, NATURAL HUMOUR,
RAILLERY AND RIDICULE 301 4.12.1. ENGLISH PRIDE: COMIC REPRESENTATIONS
OF ABSURDITIES AND FOLLIES 304 4.12.2. FALSE WIT PRACTISED AT WITTY
ASSEMBLIES 310 4.12.3. THE TEST OF RIDICULE 312 4.12.4. A CLAIM FOR
LOOSE ESSAYS: VIEWS OF LEWD AND DISSOLUTE LONDON LIFE 314 4.13.
DIFFERENT LEVELS OF ALLUSION IN HOGARTH S ART 317 4.13.1. JOKING AT A
SUPERFICIAL LEVEL: INAPPROPRIATE SEXUAL ALLUSION WITHIN HOGARTH S
CONVERSA- TION PIECES 317 4.13.2. HOGARTH TRUMPING CAPTAIN LORD GEORGE
GRAHAM 321 CONTENTS XI 4.13.3. PRIVATE AND SEXUALLY ALLUSIVE JOKES: THE
GARRICK AFFAIR 322 4.13.4. BOREDOM WITH CONVERSATION PIECES: A TURNING
TOWARDS MODERN MORAL SUBJECTS 327 4.14. DIFFERING, DEEPER AND DARKER
DEGREES OF HOGARTH S HIDDEN HUMOUR 330 4.14.1. THE ENGLISH PARLOUR GAME:
SOLVING WITTY PICTORIAL ENIGMAS AND CROSS-READINGS 330 4.14.2.
CONTRASTING DIFFERENT IDEAS, PRINCIPLES, ATTITUDES AND STYLES 333
4.14.3. DELVING INTO DEEPER LEVELS OF HUMOUR 334 4.14.4. THE MOST
ADVANCED LEVELS OF ALLUSION: WITTY QUOTATIONS FROM HIGH ART 335 4.15.
BLASPHEMY AND DARK HUMOUR 338 4.15.1. A JEW SACRIFICING A LOUSE IN
HONOUR TO A BLIND AND LAME OLD GOD THE FATHER 339 4.15.2. GEORGE FOX
SNEEZING IN THE COCKPIT 342 4.15.3. TRANSUBSTANTIATION SATIRIZED 342
4.15.4. DARK HUMOUR AS TO BE LATER SEEN IN LUIS BUNUEL S VIRIDIANA,
MONTY PYTHON S THE LIFE OF BRIAN, OR SURREALIST ANTI-CLERICALISM 350
4.16. HOGARTH S PERSONAL ICONOCLASM 354 4.16.1. STRUGGLES IN FINDING
ALTERNATIVE EXPLANATIONS 355 4.16.2. HOGARTH AS A SUCCESSOR OF PURITAN
ICONOCLASM? 357 4.16.3. DEISTIC DEMYSTIFICATION 360 4.16.4. THE
ANTI-ICONOGRAPHY - A METHOD OF EXPOSING CONNOISSEURS: BEATING THE ART
MARKET AT ITS OWN GAM XII CONTENTS 4.17. BLASPHEMY OVER THE EDGE 370
4.17.1. CHRIST MAKING LOVE TO HIS MOTHER 370 4.17.2. A MIRRORED
TRIANGLE: DOG AS THE INVERSE OF GOD 372 4.17.3. THE HOLY GHOST IN A
MURDERER S BRAIN 373 4.17.4. THE HEAV NLY WIND AS A FART 374 4.18. A
WILD SATYR: HAVING A LASTING LAUGH 380 5. BIBLIOGRAPHY 5.1. PRIMARY
SOURCES 389 5.2. SECONDARY SOURCES 402 6. INDEX 449
|
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| dewey-ones | 759 - History, geographic treatment, biography |
| dewey-raw | 759.2 |
| dewey-search | 759.2 |
| dewey-sort | 3759.2 |
| dewey-tens | 750 - Painting and paintings |
| discipline | Kunstgeschichte |
| format | Book |
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| indexdate | 2024-12-20T14:43:36Z |
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| isbn | 9783487144719 |
| language | English |
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| physical | XXVII, 514 S. zahlr. Ill. |
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| publishDate | 2010 |
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| publishDateSort | 2010 |
| publisher | Olms |
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| series | Studien zur Kunstgeschichte |
| series2 | Studien zur Kunstgeschichte |
| spellingShingle | Krysmanski, Bernd 1955- Hogarth's hidden parts satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art Studien zur Kunstgeschichte Hogarth, William 1697-1764 (DE-588)118552805 gnd |
| subject_GND | (DE-588)118552805 |
| title | Hogarth's hidden parts satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art |
| title_auth | Hogarth's hidden parts satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art |
| title_exact_search | Hogarth's hidden parts satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art |
| title_full | Hogarth's hidden parts satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art Bernd W. Krysmanski |
| title_fullStr | Hogarth's hidden parts satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art Bernd W. Krysmanski |
| title_full_unstemmed | Hogarth's hidden parts satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art Bernd W. Krysmanski |
| title_short | Hogarth's hidden parts |
| title_sort | hogarth s hidden parts satiric allusion erotic wit blasphemous bawdiness and dark humour in eighteenth century english art |
| title_sub | satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art |
| topic | Hogarth, William 1697-1764 (DE-588)118552805 gnd |
| topic_facet | Hogarth, William 1697-1764 |
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