Bibliography of Books, Articles and Reviews by Ronald Paulson

Paulson, Ronald

doi:10.1353/elh.2005.0011

Cited by 4 publications

(5 citation statements)

References 63 publications

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“…69 Lisa Paulson declared Sardinia 'a brand new territory with the pioneering element', likening twentieth century Sardinia to 1800s America. 70 Such framings had multiple historical resonances. For American audiences, of course, they tapped into the myth of the frontier.…”

Section: Help Celebrity Humanitarianism and Media Narrativesmentioning

confidence: 99%

Refugees as Resources: A Post-War Experiment in European Refugee Relief

Ballinger

2024

Contemporary European History

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This article explores the Homeless European Land Program, an experiment in resettling foreign refugees in post-Second World War Sardinia undertaken by two idealistic Americans with the support of the Brethren Service Committee and the fledgling UNHCR. Focusing on individuals rejected for immigration, the initiative aimed to integrate these ‘hard core’ refugees by rendering them agents of development of a ‘backwards’ region of the Italian South and to overcome Italian reluctance to serve as a country of permanent resettlement for the displaced. The history of this project reveals the contradictory impulses of early Cold War refugee relief and humanitarianism: the competition between intergovernmental and voluntary agencies, of secular and spiritual enterprises, and of images of refugees as dependent and difficult to settle and yet capable of self-sufficiency. Many of the ideas piloted in Sardinia, notably the linking of self-sufficiency and development, later became prominent in the UNHCR's work in the Global South.

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Section: Help Celebrity Humanitarianism and Media Narrativesmentioning

confidence: 99%

Refugees as Resources: A Post-War Experiment in European Refugee Relief

Ballinger

2024

Contemporary European History

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“…79 He further proposes that a very likely 'primary inspiration' for Hogarth would have been '[Louis François] Roubiliac's Hargrave Monument (Westminster Abbey, 1757) with crumbling figures and Time […] breaking his scythe across his knee'. 80 Bindman takes up Paulson's theme, arguing that Hogarth 'takes many images familiar from the elaborate figural tombs of his contemporaries like […] Roubiliac and strips them of all intimations of the afterlife' 81 83 From our vantage-point in that future we may see that his deeply pessimistic view of life, produced in the months before his own would come to an end, is in marked contrast with the 'relentless' and positive 'biographical coverage', and the frenzied collecting of his work, that followed his death 84 -after which he remained (and still remains) crowned for his artistic achievements in 'the memory of posterity'. 85 HOGARTH'S HONOUR'D DUST LIES HERE In addition to Garrick's words, Hogarth's tomb is embellished with objects symbolic of his success (Fig.…”

Section: Afterword: Afterlife and Situation Of Gravesmentioning

confidence: 99%

“…7 As Hogarth's more recent biographer, Ronald Paulson, observes, the artist's autobiographical notes, made during the final year of his life, reveal that '[h]e understood that what he had to say about contemporary English art was inextricably bound up with his own life'. 8 This essay discusses Hogarth's last graphic work and the ways in which it 'was inextricably bound up with' events that occurred at the end of his life. Drawing on life writing (including elements of the artist's autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist during the final years of his life.…”

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confidence: 99%

FINIS: Objects of the End of Time, Afterlife Writing and Situation of Graves

Wildgoose

2020

EJLW

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Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.

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“…Asimismo, podemos incluir la figura del Cíclope del canto IX de Odisea: el Cíclope, creemos, no solo representa la fuerza bruta, sino también la figura cómica del tonto, que será explotada a lo largo de la tradición literaria, junto con otros personajes tipificados. En la literatura romana, como señala Paulson (1971), el personaje del tonto o del malvado son propios del género satírico. En Horacio predomina la figura del tonto, y en Juvenal la del malvado (p. 350).…”

Section: El Personaje Tópico De La Comediaunclassified

La Dimensión Argumentativa De Los Tópicos Literarios: El Caso De Los Personajes-Tipo en La Comedia De Aristófanes

Schere¹

2017

Alpha

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The argumentative dimension of literary tópos: the case of the character types in the comedy of Aristophanes María Jimena SchereResumen La noción de tópos, concebido como un principio compartido por una comunidad, desempeña una función central en los tratados de retórica desde la Antigüedad grecolatina. Este concepto también resulta relevante, creemos, en el discurso literario y permite trazar relaciones entre literatura y retórica. Si bien la literatura comparada le asigna autonomía al término y tiende a disociarlo de su función persuasiva, entendemos que los tópicos desempeñan en la comedia antigua una función compleja: operan como motivos literarios, pero también adoptan a la vez una finalidad argumentativa. La comedia de Aristófanes, en particular, propugna ciertas ideas políticas, empleando varios tópicos, ya sea bajo la forma de enunciados o de personajes-tipo. Los tópicos se utilizan, entonces, tanto en la oratoria como en la comedia con fines persuasivos.Palabras clave: tópicos retóricos, tópicos literarios, personajes-tipo, argumentación, comedia antigua. AbstractThe notion of tópos, conceived as a principle shared by a community, has a central place in the treatises of rhetoric from Greco-Roman antiquity. This concept is also relevant, we believe, in literary discourse and it allows to establish a connections between literature and rhetoric. While comparative literature tends to disassociate this notion from its persuasive function, we understand that the tópoi have a complex function in ancient comedy: the tópoi are literary motifs, but also adopt an argumentative purpose. Aristophanes' comedy, in particular, advocates certain political ideas, using a series of tópoi, either in the form of statements or character types. The tópoi are then used in both oratory and comedy with persuasive purposes.

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Bibliography of Books, Articles and Reviews by Ronald Paulson

Cited by 4 publications

References 63 publications

Refugees as Resources: A Post-War Experiment in European Refugee Relief

Refugees as Resources: A Post-War Experiment in European Refugee Relief

FINIS: Objects of the End of Time, Afterlife Writing and Situation of Graves

La Dimensión Argumentativa De Los Tópicos Literarios: El Caso De Los Personajes-Tipo en La Comedia De Aristófanes

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