Pictorial Mode Research Articles

Multimodal metaphors in a Sino-British co-produced documentary

Metaphor is an important tool for people to use in their perception of the world, but its representational forms vary across genres. Using Nvivo 12 plus as a tool, this study employs a combination of quantitative and qualitative methods to investigate the multimodal metaphorical representations, modal characteristics and cognitive rationales in the Sino-British co-produced documentary Through the Seasons: China. It has been discovered that: (1) Multimodal metaphorical representations in documentaries are found to be divided into two primary categories and five sub-categories. Implicit source-verbal and pictorial target is the primary way of representation for documentaries. (2) Various modes, including verbal mode, pictorial mode, verbal and pictorial mode, and implicit mode are employed in documentaries. However, the most commonly used modes are verbal and pictorial mode as well as implicit mode. The relationship between verbal and pictorial modes in the documentary is primarily characterised by juxtaposition and interpretation. (3) The documentary’s genre attributes and purpose, as well as the target audience’s physical and cultural experiences, are important cognitive justifications for the multimodal approach to metaphorical representation. This study further enriches the study of multimodal metaphorical representations and contributes to the theoretical refinement of multimodal metaphors. Additionally, it offers a theoretical reference for the development of dynamic multimodal discourses, such as documentaries, and aids in the improvement of audiences’ multimodal literacy.

In her hands: navigating [sexual] identity and gender roles in a Portuguese graphic novel for young adults by Joana Estrela

ABSTRACT Visual narratives, such as graphic novels and comic books, are powerful forms of literature that use verbal and pictorial modes, in intersemiotic complementarity, making them an effective tool to tackle social issues, namely to explore hidden or sensitive topics in a thought-provoking, entertaining, and inspiring way. This is the case in the last graphic novel published by a young Portuguese writer and illustrator for children and young adults, Joana Estrela, the recipient of numerous prestigious awards. In this study, then, we intend to focus on Raquel, the protagonist in Pardalita, who takes her future into her hands and ventures to navigate the waters of self-discovery, crossing prejudice and challenging gender role stereotypes. Through her theatre group, she enters a third space that promotes inclusivity and empowers individuals regardless of gender. By analysing the multimodality that characterises this book, we come to realise the synergistic and transformative potential that visual narratives hold.

EFFECTS OF HOMOGENEOUS AND HETEROGENEOUS REACTIONS ON THE THERMALLY STRATIFIED WATER-BASED NANOFLUID STREAMING ABOVE AN EXTENDING SURFACE

The effect of homogeneous and heterogeneous reactions, as well as second-order velocity slip, on the magnetic influenced flow of nanofluid (Cu-water and MgO-water) passes above an extending surface has been examined. To alter the nature of leading equations of this problem, a new set of dimensionless variables have been employed. The resulting equations with the corresponding surface restrictions are solved using the Runge-Kutta-Fehlberg technique (RKF45) by developing a code in Maple-18. The outcomes of this investigation are presented in terms of pictorial mode with the effects of different novel flow parameters. Also, numerical values of physical quantities that are associated with this problem are set in terms of tabular mode. It is perceived that increasing the number of solid particles, the thermal and mass fractions of the nanofluid behave as an enhancing function, whereas the motion of the nanofluid is a decreasing function.

Функции живописной образности в прерафаэлитической балладе: на примере произведения А.Ч. Суинберна «Дочь короля»

This article focuses on intermediality as one of the foundations of Pre-Raphaelitism. Intheir work, the Pre-Raphaelites practise both more complex and more applicative approach to intermedial interaction, seeing in the material and method of other arts the potential to enrich the poetic language. This was particularly evident in the frameworkof pictorial-poetic synthesis, which affected not only those Pre-Raphaelites who worked simultaneously as poets and painters but also those of them who were engaged in one kind of art. The first partof the article deals with the intermedial aspect of Pre-Raphaelitism, its theoreti-cal foundations, historical and cultural context, and the specificity of the approach in comparison with previ-ous periods. The particular focus is on painterliness and attention to detail as key qualities of Pre-Raphaelite poetics; these were mainly reflected in the principle of fidelity to detail that the Pre-Raphaelites embraced and also in the use of light and color in their poems. The next part of the article shows the innovative ap-proach which involved the active use of material-oriented and visual imagery not only in static genres but also in narrative ones, such as the ballad. The third part illustrates how pictorial imagery was modeled in A.C.Swinburne’s ballad The King’s Daughter, and what functions it fulfilled. The result of the study is the conclusion that the pictorial mode of representation manifests itself in the Swinburne’s ballad despite the fact that the author himself was not an artist. It is manifested not only on the lexical but also on grammatical and syntactical levels. Such a model of a visual image transmission performs several important functions, partici-pating both in the compositional organization of the work and in the plot development and character building.

“Mit vielen Kupfern”: The Second Kamchatka Expedition as multimodal discourse in the diaries of G.W. Steller and the comic strip by T.E.Bak

The article discusses some literary incarnations of the Second Kamchatka Expedition led by V.Bering as stages of a multimodal discourse that corresponds to an important trend of literary evolution between the 18th and 21st centuries: the negotiation between the verbal and pictorial modes of representational design, particularly with respect to visual information. The study focuses on border cases of conditional literariness, in G.Genette’s terminology: nonfiction and comics. The diaries of an Expedition participant, German traveler and naturalist G.W. Steller, the illustrated editions of those diaries in three languages (German, English, and Russian), and the American cartoonist T.E.Bak’s graphic novel based on Steller’s narrative belong to different media, whose multimodality (the use of several sensorial and semiotic channels of communication within one art and/or medium) is explicit to various extent but crucial in terms of both authorial intention and readerly perception. The article lists three main functional types of visual data transmission (cartographic, panoramic, and experiential) in the documentary travelogue and the comic strip. A discursive continuity is revealed in how those modes and types combine from Steller (1774) to Bak (2013). Together, the two authors’ books exemplify a multimodal discourse, whose formal and medial properties are determined by their disposition to represent and transmit the experience of new land exploration. Such a task was natural for Steller the explorer, but Bak “inherits” it by virtue of discursive inertia despite his total lack of commitment to the goals of academic report writing.

Dark Caravaggism

Abstract Many of Caravaggio’s late istoria altarpieces differ from what is commonly called Caravaggism (the artist’s pictorial mode during his Roman period) strongly enough that together the paintings form a distinctive approach to istoria that requires its own term: Dark Caravaggism. This paper identifies and analyzes this second Caravaggism, a pictorial mode as innovative as the first, but one that has been neglected in the literature. In the Resurrection of Lazarus, Burial of St. Lucy, and other works including the Death of the Virgin and Beheading of St. John, Caravaggio extends narrative moments in even muted palettes, stilled movement, and cavernous spaces. These paintings command the viewer’s attention by employing the eye’s physiological process of dark adaption in which the eye adjusts over time to dim light conditions. Eschewing Early Caravaggism’s instantaneity and fragmented tenebrism, Dark Caravaggism asks the viewer for quiet meditation rather than frantic search. If not for the artist’s untimely death at age 38, late Caravaggism likely would have produced a second revolution in European painting on par with the first.

Multimodal Portrayal of Joko Widodo on Tempo's Cover Story: A Multimodal Critical Discourse Analysis

An Indonesian-language Tempo Magazine's cover story published in the September 14, 2019 edition was controversially perceived and interpreted by some parties as an insulting discourse towards Indonesian President Joko Widodo (Jokowi). The cover story in that edition was undeniably motivated by a political issue in Indonesia at the time. The issue was President Jokowi's approval of the new bills for the Corruption Eradication Commission (Indonesian: KPK). In this research, we investigated how the cover story in that edition had portrayed President Jokowi. The Tempo Magazine's cover story was selected as this research data. The cover story consisted of pictorial and linguistic modes. In the analysis, we employed a Multimodal Critical Discourse Analysis (MCDA) approach to reveal ideological meanings behind those modes. After analyzing them, we found that the cover story had portrayed President Joko Widodo negatively. The negative portrayal came from the silhouette in the pictorial mode and the social actions represented in the linguistic mode. The results of this research can scientifically contribute to answering the question of whether the cover story insulted the Indonesian President or not. Keywords: Cover Story, Insulting Discourse, Joko Widodo, Multimodal Critical Discourse Analysis, Visual Grammar.

New Dimensions in Business Communication: Unconscious Layers, Strategic Judo, and Camouflaged Reversal

(1) Individuals differ in: (a) cognitive/cogitative types; (b) modal types: (c) degree of awareness of unconscious layers of thought process; (d) utilization of strategic judo and camouflaged reversal. (2) Cognitive/cogitative types should not be confused with skill types, aptitude types, emotional types, or personality types. (3) Individual differences in cognitive/cogitative types are mostly phenotypically innate. Therefore the assumption that you should be able to make everybody understand you is incorrect. (4) Communicational modal types are: factual mode, contextual mode, pictorial mode, insinuative mode, deceptive mode, etc. (5) Unconscious layers include self-deception, repression of one's own perception, inability to distinguish whether or not one is lying to oneself. (6) Strategic methods are a part of communication, and include strategic judo, and camouflaged reversal.

Preference for Solution Methods and Mathematical Performance: A Critical Review

Preferences for solution methods have an important implication teaching and learning mathematics and students’ mathematical performances. In the domain of learning mathematics, there are two modes of processing mathematical information: verbal logical and visual-pictorial. Learners who process mathematical information using verbal logical and visual -pictorial modes are respectively called verbalizers and visualizers. Based on the verbalizer-visualizer continuum, students can be placed in a continuum with regard to their preference for solution methods and correlation between the two modes of thought. They belong to one of three categories: (a) visualizers (geometric), who have a preference for the use of visual solution methods, which involve graphic representation (i.e., figures, diagrams, and pictures); (b) verbalizers (analytic), who have a preference for the use of nonvisual solution methods, which involve algebraic, numeric, and verbal representation; and (c) harmonics (mixer), who use visual and verbal methods equally. Several research studies have been conducted to examine the relationship between preferences for solution methods and mathematical performances; however, no conclusive findings were reported. Regardless of inconclusive findings, it is important for students to develop preferences for both solution methods: visual and nonvisual. The mathematical instructional strategies need to equally incorporate preferences for both solution methods, utilizing different modes of mathematical representations, in order to enhance learning mathematics.

Depicting Movement

ABSTRACT The paper addresses an underexplored puzzle about pictorial representation, a puzzle about how depiction of movement is possible. One aim is to clarify what the puzzle is. It might seem to concern a conflict between the nature of static surfaces and the dynamic things that they can depict. But the real conflict generating the puzzle is between the pictorial mode of presentation and what can be seen in pictures. A second aim of the paper is to solve the puzzle. While many take it that depicting movement is to make visible something that has duration, I suggest that it is to make visible something atemporal.

Material Conditions and Semiotic Affordances: Natsume Fusanosuke's <em>Many Fascinations with the Lines of Manga</em>

Material Conditions and Semiotic AffordancesNatsume Fusanosuke’s Many Fascinations with the Lines of Manga Lukas R. A. Wilde (bio) Comics and manga, in all their generic and cultural variations, are typically considered multimodal forms of expressions. Although many wordless variants exist, they typically combine written and pictorial modes of expression to represent worlds, as well as characters and sequences of events located within these worlds. The specificity and distinctiveness of pictoriality, however—of “being an image”—remains extremely hard to define. Since pictoriality is often treated as a material given, at core “untranslatable” in other semiotic modes such as the written language, it should come as no surprise that many picture theories dissociate themselves from semiotics as clearly as possible. James Elkins’s highly insightful study On Pictures and the Words that Fail Them (1998), for instance, is opened up by the following words: This book might well have been titled The Antisemiotic, since much of what I have to say here runs against the tendency to interpret pictures as systems of signs, or—in the looser but more prevalent formula—as examples of visual language.1 In striking contrast, it has been argued within Japanese manga discourse—by practitioners as well as by theorists, maybe most prominently by Ôtsuka Eiji—that the pictures of manga should not be considered pictures at all but rather a form of “hieroglyphics” or a “semiotic code.”2 Since around the mid-1990s, a strand of theory became visible that is now called manga hyôgenron. It is usually translated as “theories of manga expression,” understood in a rather narrow sense as “stylistics” or “aesthetics” of manga. Nearly at the same time when Scott McCloud published Understanding Comics (1993), in which he separated any “contents” of comics from their “form,” Natsume Fusanosuke and Takekuma Kentarô expressed a similar interest with Manga no yomikata (How to read manga, 1995).3 Here, they developed fundamental theories, taxonomies, [End Page 62] and typologies of basic manga elements such as speed and impact lines, pictograms (kei’yu), sound words, speech balloons, background patterns, and so on. Within this line of discourse, highly sophisticated semiotic theories have since been developed that focus on formal functions, internal structures, and the meaning of discrete elements within the medium. On the first glance, our everyday understanding of comics as, say, “sequential images,” should apply to Natsume’s conception of manga as well: At least the contemporary manga (including the one-panel-manga) is composed in the format of frames [koma] with contents of pictures [e]. To Japanese people today, manga is a particular form of expression [hyôgen] based mostly on pictures included in consecutive frames. If one of both elements disappears, no manga emerges.4 Why, then, is Natsume insisting that we should not mistake the “manga expressions” (manga hyôgen) for anything but “an accumulation of conventions”?5 Why, for that matter, does his collaborator Takekuma Kentarô state that “any manga-frame does not merely contain ‘pictures and letters,’ but actually various structures of accumulated, heterogeneous signs [kigô].”6 Many manga theorists, in fact, build their conceptions not at all on the idea of a verbal/visual-divide but rather on an emphasis on “line-pictures” (senga) with clear “outline borders” and “demarcations” (rinkaku, sakaime, or kyôkaisen):7 “The line is the most important element for the emergence of pictures.”8 What, then, are the very material conditions at the core of the Japanese media mix, and in what way can they be addressed as semiotic “affordances” that might cross a threshold toward pictoriality?9 I argue that Natsume’s “emergence” of pictoriality in manga constitutes in fact not one but two threshold conditions and that these must be addressed independently from each other, one way or the other; at least, if we are to make sense of the author’s manyfold “fascinations” or “attractions” (miryoku) that “capitalize on the ambiguity of the line.”10 And, if Natsume is right, the same “primordial attraction of the line” that we can observe with respect to certain visual puns must also be taken into account in most (if not all) works of the medium.11 Natsume’s overall fascination rests...

The impact of visual media on social cognitive concept: The case of cultural object Ru (Korea)

<div data-canvas-width="266.11469461802045">There have been very few studies explaining the theoretica l basis on the importance of visible cultural heritage. This study provides the philosophical background of this topic based on a phenomenological point of view and</div><div data-canvas-width="408.0393972989316">explains the significant impact on social members’ cognition. The case of Ru, one of the traditional Korean building types, is introduced as a representative example; how its concept has been defined, changed, and forgotten in Korean culture. The importance of having a correct understanding of how cognition is composed of different types of experiences of cultural heritage is further explained. In this context, the importance of semantic mode and pictorial mode classified by Husserl is argued as the most powerful medium in human cognition based on phenomenological analysis. In this respect, the important role of Virtual Reality (VR) was highlighted. Considering the pace of recent technology and researches, breaking the barrier between experiencing the physical object and the VR may be a matter of time. Phenomenological classification of cultural heritage, which was designed for explaining all the types of cultural heritage, is introduced. The importance of developing a valid VR model and its role in cultural studies is emphasized via the phenomenological classification of cultural heritage. Finally, the balance of the inductive and deductive approach in a cultural study is suggested for more prolific and balanced achievements.</div><div data-canvas-width="408.0393972989316"> </div><div data-canvas-width="408.0393972989316"><p>Highlights:</p><ul><li>This article provides the philosophical background of the importance of visible cultural heritage based on the phenomenological point of view.</li><li>Significant impact on social members’ cognition of the visible cultural heritage is discussed in the case of the traditional Korean building.</li><li>In this respect, the important role of Virtual Reality technology is highlighted.</li></ul><p> </p></div>

How abstract concepts emerge from metaphorical images: The metonymic way

While concrete concepts can be graphically represented within the pictorial mode by showing the referent that they designate, abstract concepts lack concrete referents that can be easily depicted. Nonetheless, in verbo-pictorial metaphors viewers are typically invited to construct comparisons between entities and this process often involves abstract concepts.This paper investigates the role of metonymy in abstract concepts representation within the pictorial mode. By means of qualitative and quantitative analyses we show how various types of metonymy, extracted from existing lists of metonymies identified within the cognitive linguistic literature, can motivate the emergence of abstract concepts in the analysis of verbo-pictorial metaphors.We discuss the results in relation to abstract concepts' cognitive grounding, proposing the Abstraction by Metonymy principle.

Delivering emoji/icon-based universal health education messages through smartphones.

Health information technology (HIT) refers to the comprehensive management of health information across computerized systems and its secure exchange between patients, health care providers, government, and others [1],[2]. A broad and consistent use of HIT can potentially improve the quality of primary health care, reduce medical errors, reduce basic health care costs, decrease paperwork, increase administrative efficiency, and expand access to affordable care. The World Health Organization has identified HIT as a tool with which to address health problems and transform quality of life [3]. India is a hub of IT-enabled service industries. Despite this tremendous potential, there is limited use of HIT in the public health sector as compared with other sectors such as banking, railway, tourism, and entertainment, which have embraced IT on a considerable scale [1]. According to the technology acceptance model [4], the speed of acceptance and dissemination of a particular technology depends primarily on its perceived usefulness and ease of use (Figure 1). England et al. [5] conducted a study which revealed that the complexity of health care organizations and their fragmented internal structure constrained their ability to adopt organization-wide IT. The authors concluded that both organizational and technological factors lead to the slow adoption of strategic IT. Open in a separate window Figure 1. Technology acceptance model [4]. Another important contributing factor to the limited use of IT in health care is the comparatively less revenue generation in the public health sector. For most governments, primary health care is an investment with no immediate return though there are obvious long-term benefits. Such myopic perception at the policy level may function as a barrier to the adoption of any technology [6]. Other reasons of low use of technology in health sector include language barriers, use of outdated technology, and lackluster appeal for the general public [1]. With use of the smart phones by general public increasing day by day, an important way of use of HIT is popularization of emojis, images, and icons are pictorial methods of expression as health-related communication. India is now considered a major mobile technology consumer [7], and communication through mobile phones is no longer limited to text messages. We communicate more with each other using emojis, images, and icons in chats or on social media. The inclination toward this pictorial mode of expression is quite natural. If we consider paleo-anthropology and the history of linguistic development, we can clearly see that Homo Sapiens have always used symbolic languages and wall paintings to communicate with each other (Figure 2). Even the earliest traces of language, dating back to the age of the caveman and woman, were also strikingly similar to icons, paintings, and symbols. These are still observed in tribal hamlets. The symbol/icon is thus a connecting link between our past and the present. Open in a separate window Figure 2. Similarity in symbolic communication earlier and now (Source-https://www.freepik.com/free-photos-vectors/design). Emojis, images, and icons help break the barriers of languages. Meanings of symbols are easily understood across the globe. Furthermore, images tend to have more appeal than text. As the saying indicates, “A picture speaks more than a thousand words.” Interestingly, the written language (script) of some Asian countries (e.g., China, Korea, and Japan) are symbol-based. Apart from being linked with human emotions, Emojis, images, and icons can also be developed or tailor-made to appeal to the cultural norms prevalent in a society. One cannot ignore the strong influence of culture [6].

The Falling Gods: Charles de La Fosse’s Allegory of Autumn as Theme and Variation

La Fosse’s Allegory of Autumn as Bacchus and Ariadne, painted for the ensemble of The Four Seasons conceived by Jules Hardouin-Mansart for the Grand Salon of Marly in 1699, brings into focus the artist’s means of allegorization. This essay analyzes the painting in two interrelated aspects: it considers the mode of temporality in La Fosse’s individual visual poiesis and its bearing on the development of French painting on the cusp of the eighteenth century. Considering the temporality of allegory, the essay seeks to demonstrate how the ensemble of paintings from the Grand Salon signals a new stage in the development of the French academic school, marked particularly by a departure from logos-driven allegories and an embrace of more complex, temporal allegories grounded in a pictorial medium. In addition, the essay points to the emergence of the pictorial mode of lamentation adapted by La Fosse from contemporaneous opera.

Paintings of Flower, Vegetable, and Fruit from the Late Joseon Period: Focusing on Sim Sajeong and Gang Sehwang

This essay explores new aspects of paintings of flower, vegetable, and fruit that Sim Sajeong (1707~1769), Gang Sehwang (1713~1791), and their artistic circle escalated into one of the major pictorial genres in the late Joseon dynasty. Falling into a conventional category Bird-and-Flower painting, this branch of painting has hitherto been studied only in the context of an individual artist’s development without receiving a proper recognition as a sign of a new pictorial trend of the period. The rise of the novel genre and its characteristics will shed a new light on the eighteenthcentury painting. The late Joseon period witnessed growing interests in pragmatic horticultural knowledge beyond a tradition of associating plants with idealistic virtues or subjective sentiments. Also a cultural phenomenon of appreciating and favoring flowers and trees has developed into extreme aestheticism and an extravagant pastime. Gardening books and related materials from the Ming and Qing dynasties were widely read, including painting manuals that inspired Kim Ingwan’s (act. fl. early 18th century) Landscape, Fish and Crab, Flower and Insects. The artistic currents, which Sim and Gang channeled into new heights, feature an increase of a single plant motif, the growth of paintings combining flowers and garden rocks, and the emergence of new subject-matters (e.g. begonias, rose mallows, lilies, hydrangeas, red plum blossoms, and narcissi). In addition, new pictorial modes settled, the kernels of which lie in the Idealistic inkmonochrome method or color-washed boneless manner. As such it made solid its status as a subject of privileged scholar-artist paintings. Although Sim and Gang display pictorial modes and subjects in common, their styles differ according to their social standings (Sim as a semi-professional literati painter, while Gang an amateur scholar painter). Sim sought rich and animated brushworks, a sophisticated composition inviting birds and worms against a garden background, and the picturesque. On the contrary Gang liked to employ somewhat monotonous ink tonalities, calligraphic strokes, concise structures, and blandness. Sim’s combined application of light-color washes and vivid paints contrasts with Gang’s nearly exclusive use of limpid color washes. Whereas Sim had an eclectic tendency to derive visual constituents from various painting manuals, Gang deliberately pursued the flatness of the prints. Those who shared subjects, modes, and styles with Sim and Gang are Choe Buk (1712~ca. 1786), Jeong Chungyeop (1725~after 1800), Ryu Sin (1748~1790), Jang Siheung (act. late 18th century), Kim Deokhyeong (act. late 18th~early 19th century), and Yi Bang-un (1761~after 1815). Their individual styles and brushworks based on sketching from life contributed not only to the proliferation of paintings of flower, vegetable, and fruit but also to the enrichment of late Joseon art world.

The effect of pictorial mode on children’s learning of new L1 lexical items

<p>This research is aimed at investiagting the influence of using pictorial mode towards children’s learning of L1 new lexical items. This study is based on an experimental design. To reach the goal, 20 children<strong> </strong>as the sample were randomly selected from nurseries in Shiraz, Iran. The participants were 3 years old children divided in two groups of experimental and control. To estimate the impact of pictorial mode on children’s learning of L1 new lexical items, the same lexical items (the name of 3 animals) were provided to each group with different media; flashcard used in the experimental group, and in the control group just used some explanations about the characteristics of the animals. To collect the data, the researchers recorded children’s voice and then transcribed and scored their answers. The data were then analyzed using independent-samples t-test. The result shows that inasmuch as those in the experimental group surpassed those in the control group, it came to light that the use of pictorial mode greatly influenced children’s learning of new L1 lexical items.</p><br /><p align="left"> </p>

Art made for pictures

Over the last fifteen years, communication has become pictorial in a manner that it never was before. Billions of people have smart phones that enable them to take, edit, and share pictures easily whenever they choose to do so. This has created expressive niches within which new activities, with their own norms, continue to develop. Ready availability of these pictorial modes of communication, we claim, not only constitutes a change in the range of our communicative practices, but also changes the world about which we communicate. Increasingly, we are making a world that’s worth depicting, using the tools we now possess. This paper will unpack one example of this phenomenon, trompe l’oeil street art. More and more of this seems to be produced with the intention that it is seen primarily in pictures. It makes sense that anything someone makes, and wants to be seen, would be made with decent photography potential in mind. You want photos to be able to, as they say, do justice to your work no matter what kind of visual work you make. In these cases, however, the pictures of the work are reliably more interesting than the pieces seen in the flesh.

Making sense of Rome in the eighteenth century: walking and the French aesthetic imagination

This article traces the contours of a new way in which Rome was explored, imagined, and represented in the eighteenth century in texts and images by French travelers. These narratives, found in epistolary writings and the pictorial arts, reflected and suggested that viewers, readers, or strollers could enter into landscapes, wander through streetscapes, and commune with the past in both the space of the city and the space of representation. These narratives, found in epistolary writings and the pictorial arts, reflected and suggested that viewers, readers, or strollers could enter into landscapes, wander through streetscapes, and commune with the past in both the space of the city and the space of representation. French travelers brought with them a new modern form of walking linked to the creation of Parisian public boulevards, while contemporary philosophy associated the production of knowledge directly to the sensorial apparatus of the body. Writers would describe contemporary encounters with imagined figures from ancient history, while artists would visually reconfigure such encounters through the genre of the Roman capriccio. This pictorial mode was turned toward an exploration of the various ways in which movement, real or imagined, gave rise to popular forms of experiencing the Eternal City directly as well as to a verbal and visual language to express it to others. What this teaches us is that, for the enlightenment visitor, looking was not a passive act of consumption, but an active engagement with complex, confusing, and evocative material remains of the ancient city within the frame of the modern one.

G. E. Bentley, Jr., <i>Thomas Macklin (1752–1800), Picture-Publisher and Patron: Creator of the Macklin Bible (1791–1800)</i>

No one who knows the quality and quantity of his work will be surprised to hear that G. E. Bentley, Jr., published one more meticulous, thoughtful, and eminently readable book before his death in 2017. This one is an account of the publishing career of Thomas Macklin, patron of William Blake (and most of his colleagues in art), proprietor of the Poets’ Gallery (the name of a printshop, a gallery, and a series of publications), and the publisher of the largest and most opulent illustrated letterpress King James Bible ever produced. Little is known about Macklin beyond the public facts of his commercial activities—even the year of his birth is expressed by a span of nearly a decade—but in his day he was second in importance only to John Boydell among English publishers of prints and illustrated books. Boydell began building his publishing empire in the early 1750s, cannily introducing vertical integration into the prevailing model of printselling, in which independent engravers sold their prints and sometimes their plates to printsellers, who retailed them to the public. Except for Hogarth’s works, the English print market in the first half of the eighteenth century was dominated by portraits, landscapes, and genre subjects with only modest aesthetic pretensions, using merely functional graphic techniques. Hoping to raise the dignity of the English print, Boydell began to hire the best painters in England to create grand images of historical (that is, narrative) subjects from myth and ancient and modern history, then hired the best engravers to create large, highly polished prints, often on the scale of small paintings, using elegant graphic techniques that had been the specialty of European engravers. “History painting” was the most exalted, among critics, at least, of the pictorial modes, but had been largely avoided in the early English print market, whether because of vestigial Protestant iconoclasm, objections to the “Roman” associations of traditional religious subjects, or aversion to classical paganism. Boydell’s new English prints often appealed to patriotism (as in the large engraving of Benjamin West’s Death of Wolfe) and were marketed as fine art for those who could not afford oil paintings but could manage a few fancy prints, framed and glazed, perhaps hand colored, for their parlors. This phenomenon expanded and exalted the English print market for a while, but bourgeois parlors had limited space on the walls, and only wealthy collectors could afford to buy and store, much less display, large numbers of prints.