Epic Arts in Renaissance France

Usher, Phillip John

doi:10.1093/acprof:oso/9780199687848.001.0001

Cited by 6 publications

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“…This has resulted in a potential conflict between what the audience actually wants versus journalists' judgment of newsworthiness (MacGregor, 2007;Tandoc & Thomas, 2014). However, at least on the journalism side, there appears to be a lack of systematization, especially in terms of how to use audience metrics (Usher, 2013).…”

Section: Media Industry and Startupsmentioning

confidence: 99%

“…Moreover, it benefited from sharing office Sommer, Startup Orientation services. The similarity to traditional media lies in the lack of systematization regarding how to use the data (Usher, 2013). However, while at traditional media outlets reservations to follow the data are common (MacGregor, 2007;Tandoc & Thomas, 2014), the startups are far more open to adjust to their findings and they are less concerned about journalistic values and media's implications for society.…”

Section: Competitor Orientationmentioning

confidence: 99%

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Market Orientation of News Startups

Sommer

2017

JOMI

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The media industry is undergoing major disruptions, which foster innovation but make starting a new business particularly difficult. In this instable environment, theory suggests market orientation being important for success. Based on four case studies of early stage news startups, I investigate processes and practices of market orientation in the media. The results show that startups generate market intelligence in various ways and, in doing so, prioritize markets. Most attention is dedicated to learning about users, while they put less effort into examining businesses and competitors. Overall, market orientation seems to have a positive influence on a news startup's survival and support innovation.

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Section: Media Industry and Startupsmentioning

confidence: 99%

Section: Competitor Orientationmentioning

confidence: 99%

Market Orientation of News Startups

Sommer

2017

JOMI

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The Fountain of the Innocents and its place in the Paris cityscape, 1549–1788

Gilks

2017

Urban History

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The Fountain of the Innocents and its place in the Paris cityscape, 1549-1788', Urban History (forthcoming).Abstract: This article analyses how the Fountain of the Innocents appeared and also how it was used and perceived as part of the Paris cityscape. In the 1780s, the plan to transform the Holy Innocents' Cemetery into a market cast doubt on the Fountain's future; earlier perceptions now shaped discussions over reusing it as part of the transformed quarter. The article documents how the Fountain was dismantled in 1787 and re-created the following year according to a new design, explaining why it was created in this form. The Fountain of the Innocents was one of the most iconic features in the Paris cityscape for over three centuries. But, rather than providing a focus for incremental incrustations of collective memory, its past fame now contrasts its present-day obscurity. Just as this obscurity makes it difficult to imagine why the Fountain once mattered, its present-day appearance belies its earlier forms and urban connections.This article therefore aims to reconstruct and analyse how the Fountain appeared, but also how it was perceived, represented and used between its creation in 1549 and its re-creation in 1788. My contention is that the Fountain provides a lens through which to observe wider cultural and intellectual trends and larger developments in and about Paris. The article will thus explore how changing social practices, administrative structures and stylistic expectations shaped efforts to integrate monuments of artistic, Paris were simply created alongside the old. But between the 1750s and 1780s, a private-sector building boom and crown-led urban improvements transformed much of the city in ways that required destroying existing urban fabric. As a result, many inconveniently placed hotels, gates, convents, churches, cemeteries and medieval houses were destroyed. Decades before the establishment of national monuments commissions, heritage laws and local societies for the conservation of historic buildings, these destructive changes made informed contemporaries acutely aware of the dilemma that urban improvements posed. In these contexts of cultural and urban change, the example of the Fountain provides a striking study of how successive generations of inhabitants of Paris tried to understand, reuse and eventually ensure that the past remained visible through making intelligible and conspicuous a monument that had become incomprehensible and inconspicuous. Threats to the city's historic identity thus prompted efforts to conserve evidence of its historic grandeur.2The approach adopted here is inspired by theoretical insights from different disciplines and authors. While taking a single built structure and asking how it has been interpreted over time follows the example of Bruno Latour's reflections on the Pont Neuf, the idea of scrutinizing the layers of existence of an urban space and showing how these interacted follows Henri Lefebvre.3 In describing the culture in

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Renaissance Homer and Wedding Chests: TheOdysseyat the Crossroads of Humanist Learning, the Visual Vernacular, and the Socialization of Bodies

Zerba

2017

Renaiss. Q.

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Broadening the interdisciplinary base of study on Renaissance Homer, this essay looks to cassone (wedding chest) painting in the Quattrocento to explore how the textual reception of the “Odyssey” was enriched by the visual arts. As artifacts, wedding chests had a role in the public sphere, though they were destined for the private, and they made the epic available to audiences of nonelites. Nausicaa is a key figure, merging the vernacular courtly love tradition and romance. In working across the fields of literary study and art history, this essay introduces new critical concepts to account for the complexities of Renaissance reception of Homer.

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Epic Arts in Renaissance France

Cited by 6 publications

References 0 publications

Market Orientation of News Startups

Market Orientation of News Startups

The Fountain of the Innocents and its place in the Paris cityscape, 1549–1788

Renaissance Homer and Wedding Chests: TheOdysseyat the Crossroads of Humanist Learning, the Visual Vernacular, and the Socialization of Bodies

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