Plain Style Research Articles

Merchants, Money, and the Economics of “Plain Style” in William Bradford's Of Plymouth Plantation

Merchants, Money, and the Economics of “Plain Style” in William Bradford's <i>Of Plymouth Plantation</i>

Visual Texts: Format and the Evolution of English Accounting Texts, 1100–1700

Emphasis on page design, as an aid to visual accessibility, did not receive attention in modern technical writing until the 1970s. However, accounting documents and instructional texts utilized format and document design strategies as early as the twelfth century to enhance the organization of quantitative data and linear bookkeeping entries. Format in text was used to reflect the arrangement used in oral accounting practices and to produce uniform documents. Thus, format was integral to the rise of pragmatic literacy of the commercial reader. During the Renaissance, these early format strategies received impetus from Ramist method. The result was design strategies that attempted to capture the rigid principles of organization fundamental to commercial accounting. These early accounting documents also illustrate the plain style that would become the focus of the later decades of the seventeenth century. Clarity in language paralleled clarity in page design for the sole purpose of eliminating ambiguity on the page and on the sentence level. Plain style was thus nurtured by financial forces long before the advent of natural science.

Ordinary lives: Platoon 1005 and the Vietnam War

Ordinary Lives: Platoon 1005 and the Vietnam War. W. D. Ehrhart. Philadelphia: Temple University Press, 1999. 333 pp. By any measure of his work, W. D. Ehrhart stands as one of the most accomplished and seasoned contemporary nonfiction writers who has devoted his pen to the Vietnam War experience. With his work divided between narrative and poetry, Ehrhart has managed to become well known, well read, well liked, and highly respected. He is an artist who writes in a plain style devoid of far-flung imagery, popular myth, or furry references to literary or psychological jargon; yet it is just this quality of honest simplicity, call it a mix between integrity and forthrightness, that makes Ehrhart's work so engaging and appealing. In a little more than 300 pages, he writes Ordinary Lives with mixed emotions about a diverse group of American Marines, himself included, who suffered traumas, wounds, sometimes death and heart-breaking defeats; and others who bathed in real victories. Whereas Vietnam-Perkesie: A Combat Marine Memoir (1983) was Ehrhart's first offering, which initiated his readership into the seemingly chaotic but highly organized world of the Marine Corps in Vietnam, Ordinary Lives introduces his readers to what happened to nearly all the eighty members of Ehrhart's recruit platoon during and after the war. This book is a result of Ehrhart's deep curiosity and respect for his fellow Marines. His methodology, which evolved from his experience with detective-style journalism and called for patience and persistence after many years of searching, required enormous numbers of phone calls and interviews. The results? There are no stereotypes here, no caricatures or composite characters. Ehrhart listened to everyone he could find and who agreed to talk to him. He explains how he attempted to find the right Marines from cumbersome lists of men with the same names; how he would talk to wives or family members; how he double-checked service jackets with FOIA requests; how he discovered that some men were dead, and others just wanted to be left alone. The joy, of course, came when many of these men and their families welcomed him into their homes with grace and hospitality. To be sure, this book is anything but simple. Ehrhart manages to put aside his own feelings about the Vietnam War and its effects on him as he seeks out the perceptions of others. What makes this book different is that Ehrhart goes beyond Ehrhart into the minds, hearts, and experiences of his fellow Marines of Platoon 1005 with a good deal of grace. As a result, Ordinary Lives not only tackles the requisite themes of initiation, disillusion, personal survival, random death, and human tragedy so often found in the broad spectrum of Vietnam War literature and films like Stanley Kubrick's Full Metal Jacket (1987), but also takes into account the common positive traditions of American individualism, diversity, ingenuity, and success. The story begins in 1966, when Ehrhart and other recruits arrive at the Marine Corps Recruit Depot, Parris Island, South Carolina (1-7). Tired from a long bus ride from home, each man gets off the bus in the middle of the night and crosses the dividing line between civilian and military life. …

Christian Plain Style: The Evolution of a Spiritual Ideal by Peter Auksi

Christian Plain Style: The Evolution of a Spiritual Ideal by Peter Auksi

The voices of English women technical writers, 1641–1700: Imprints in the evolution of modern English prose style

The first books and the first technical books published by English women during the 1475–1700 period can be useful in teaching students about the emergence of technical style or “plain style.”; If we examine the style of these women writers, long ignored by canonical studies, we can see that plain English existed before Bacon and received its impetus not from science, but from the utilitarian attitude that pervaded the 1475–1700 period. These women writers provide a microcosm for studying the rise of modern English prose and what we now call technical (or plain) style. They also provide an efficient way to expose students to early published works by women and their contribution to the history of technical writing. Examining style from such a perspective helps students see that technical communication was a prevalent kind of writing before Bacon and the Royal Society. Thus, technical communication—and the style of technical communication—studied from this unique historical perspective deepens students’ awareness of the roots of technical communication as it contributed to the history of English discourse.

The Politics of Portraiture: Oliver Cromwell and the Plain Style*

AbstractLong dismissed as aping monarchical forms, Cromwellian portraiture has been neglected by art historians, historians, and literary critics alike. But rather than simply mimicking monarchical iconography, Cromwellian portraiture reflected the character — and contradictions — of Cromwell's own plain style. Paintings by Robert Walker, Samuel Cooper, and Peter Lely all drew upon and significantly revised courtly and idealized Van Dyck portraiture. During the protectorate, Cromwellian portraiture became less, not more, courtly, and the final portrait of Cromwell by Edward Mascall was the most puritan and plain style of all. Visual satire on Cromwell after 1660 attested to the ongoing influence of the plain style as an alternative mode of piety and of power.

The Russian Icon: From Its Origins to the Sixteenth Century by Viktor Nikitich Lazarev

The Russian Icon:From Its Origins to the Sixteenth Century. By Viktor Nikitich Lazarev. Edited by G. I. Vzdornov. Translated from the Italian by Colette Joly Dees. English text edited by Nancy McDarby (Collegeville, Minnesota: The Liturgical Press. 1996. Pp. 402. $99.95.) Viktor Nikitich Lazarev (1897-1976) was a renowned scholar of early Russian, Byzantine, and Western art, whose innovative books and articles are treasured by scholars and artists in many lands and in several academic disciplines. Within the field of Russian studies, Lazarev is much admired for his masterful studies of Byzantine religious painting and his pioneering scholarship on Russian iconography. This volume, a grand presentation of Russian religious painting from the mid-eleventh to the sixteenth century, serves as a magnificent memorial to Lazarev's accomplishments. Those unfamiliar with the Russian icon might well find this work the finest possible introduction to this field. With patience and this book in hand, the inquiring beginner can undertake a brief but intense course of study and smoothly gain sound appreciation of Russian iconography in its historical and cultural context. Lazarev begins with an absorbing introductory chapter concerning the discovery and restoration of early Russian icons; his plain style of exposition enables him to encompass a great array of factual and historical data in a few pages. Most non-specialists will be surprised to learn that aesthetic appreciation of Russian icons dates only to the very late nineteenth and early twentieth centuries and that scientific cleaning and restoration of icons became widespread only as late as 1905. The antireligious campaign later mounted by the Soviet state was responsible for greatly encouraging the collection, preservation, and restoration of icons, because of the Soviet policy of restoring confiscated icons and state support of many scholars who served in Soviet state commissions and studios for preserving and renewing treasures of Russian national art. Lazarev then offers interesting general observations on the history of religious art in early Russia. He explains the various historical forces that isolated the Russian North from Byzantine influence, making it easier for the Russians to find their own artistic path in creating a national school of sacred painting. He examines the artistic centers that arose in Novgorod, Pskov, Moscow, and the central Russian principalities, placing in historical context their more important icons and their creators. His explanation always is direct and thoroughly engaging, perhaps the finest short account of this subject now available in English. …

The Comedy of Menander: Convention, Variation and Originality (review)

Reviewed by: The Comedy of Menander: Convention, Variation and Originality David Konstan Zagagi, Netta. The Comedy of Menander: Convention, Variation and Originality. Bloomington and Indianapolis: Indiana University Press, 1995. 210 pp. Cloth, $39.95. In his comedies, Menander exploits a relatively limited range of characters and scenes. His achievement, as Netta Zagagi shows, lies in subtle variations on inherited formulas rather than in radical departures from them. As an example of Menander’s art, Zagagi (32–33) cites the characterization of the young Moschion in Perikeiromene, who is gloriosior than Polemon, the love-sick miles. Again, Chrysis in Samia, because she acts in league with Moschion against his father, “represents a pattern of behaviour traditionally reserved for the character of the mother in comedy” (33). Behind these modifications and mergings of types, Zagagi sees an ethical motivation, best illustrated in Micio’s condemnation of his stepson’s behavior toward the woman he has raped; Terence’s Adelphi, based on Menander’s, is “the only play known to us in which any serious consideration is given to the problematic nature of the story pattern under review” (43). Surely Charisius’ soliloquy in Epitrepontes is another example. Zagagi’s reflections on Menander’s sensitivity to his personae, in contrast to Aristophanes’ delight in caricature (45), are fair enough. It is less clear that Menander differs significantly from the practice of other poets of New Comedy, as Zagagi suggests (32). In the second chapter, Zagagi explains Menander’s method of composition by invoking three principles or techniques that are fundamental to his plays: “polyphony,” “economy,” and “emphasis on human interaction.” These are catch-all terms. “Economy,” for example, refers to Menander’s restraint in the development of scenes that might have “diverted the spectator’s attention from the main subject” of an episode (60). The same term covers Menander’s ability to set out necessary information without undue repetition (62), as well as his thrifty use of devices such as Knemon’s bucket, which first gets dropped in the well and subsequently causes the misanthrope himself to fall in (64). Such dramatic parsimony is the stock-in-trade of well-made plays. Polyphony too, designates three different things. Zagagi ignores Bakhtin’s now classic use of the term to refer to the amalgamation of generic voices characteristic of the novel. Instead, she describes as polyphony the mixture of registers achieved by crossing para-tragic bits of dialogue with the plain style of comedy (54), divine intervention in mortal affairs (57), which is treated in detail in the sixth chapter, and the interweaving of two plot lines in a single play—not contaminatio, precisely, but rather a deft combination of two or more story patterns. [End Page 127] Thus, Dyskolos is analyzed (47) into a “romantic” strand, involving Sostratos’ efforts to win Knemon’s daughter as his bride, and a story line centered on the character of the misanthrope (Zagagi adds for good measure two “minor strands”: the sacrifice to Pan and the Gorgias plot). Zagagi sees as the price of this complexity a loss of dramatic unity: in order to avoid compromising the sketch of Knemon’s grumpiness, Menander does his best to keep the two plots of the comedy separate: “It is precisely from Menander’s constant effort to preserve the credibility of his main hero’s [i.e., Knemon’s] character by shielding him from the romantic action of the play, that the disunity of the Dyskolos stems” (47). This interpretation illustrates a major weakness in Zagagi’s search for elementary units of narrative as the basis of Menandrean composition. Every romantic plot requires not only a lover, but an obstacle or blocking figure (in Northrop Frye’s expression) as well, who, for motives of his own, inhibits the realization of the lover’s passion. In many plays, this function falls to the father of the adulescens, who disapproves of his son’s liaison with a slave-girl or otherwise unsuitable partner. In Dyskolos, the father of the girl (who by the same token is represented as a citizen) plays this role. This is as simple a scheme as one can have, and violates no presumed rule of unity of action. Menander...

A Feeling Disputation

This, the latest volume in The Douglas Walton Encyclopedia of Argumentation—well, it's starting to look like that, anyway—is primarily concerned with four purported fallacies that involve an appeal to emotion: ad populum, ad misericordiam, ad baculum, and ad hominem. In very rough outline, the layout of the book is this. After some preliminary remarks about the four fallacies in the first chapter, and some remarks about the theoretical framework he will be working with in the second, Walton devotes a chapter apiece to each of the four in the order indicated above. A seventh chapter focuses on “borderline cases,” in which more than one of the so-called fallacies is involved, and an eighth summarizes and refines the findings of earlier chapters. As is obvious, The Place of Emotion is well organized; and, as would be a safe inference for anyone acquainted with any of Walton's work, it is written in a readily accessible and unpretentious style: a plain style, in the best sense of the term. Walton has something to say, and it's virtually impossible to miss it—and that independently of the fact that this book, like a number of his others, is somewhat repetitive. The Place of Emotion is one of those rare books that a specialist in a field would find of interest, but that could also be taught in an undergraduate course.

:Christian Plain Style: The Evolution of a Spiritual Ideal

Locating the roots of the plain style in secular and philosophic classicism, Auksi examines theories on classical rhetoric from Demetrius and Dionysius of Halicarnassus to Cicero and Quintilian. He shows how biblicists deliberately transformed a heathen mode, and demonstrates that rhetoric served a pragmatic function among the church fathers. He also discusses the different responses of Renaissance translators, rhetors, polemicists, and humanists to the stylized medieval inheritance, paying particular attention to the issue of sacred plainness in preaching. The epilogue provides a convincing argument for the decline of the plain style in the late seventeenth century and describes how the almost vanished ideal of plainness was transformed by Methodists, Quakers, Mennonites, Amish, and Hutterites.

Teaching Argument and the Rhetoric of Orwell's "Politics and the English Language"

its principles in the linguistic formulation of Newspeak in 1984, I am surprised to have searched Orwell scholarship unsuccessfully for a specifically rhetorical treatment of the essay. Briefly analytic (and critical) is AlbertJ. Brouse's 1974 note registering his disagreement with Orwell's criticism of Harold Laski's prose in the former's list of not especially bad examples of English as it is now habitually written. Brouse feels that Orwell should be stripped of the golden essay award for the most anthologized essay in college texts on the basis of a miscount of negatives in one of the pieces Orwell attacks (Brouse argues that there are really seven negatives in the sentence rather than, as Orwell would have it, five). The closest to a developed analysis is Cleo McNelly's 1977 On Not Teaching Orwell, in which the first two sentences of Politics are shown, in a long paragraph, to be rhetorically complex, and thus, from McNelly's perspective (following Mina Shaughnessy's Errors and Expectations of the same year), unsuitable for the basic or developmental writing student, as is the entire essay, in that Orwell will fail [the student] as a guide, if not as a model as well (557). Shaughnessy writes of Orwell's plain style, To urge a student to emulate such 'simplicity' without exploring it thoroughly is to push him far beyond his verbal resources and encourage the very formalese a writer such as Orwell was careful to avoid (196-97). McNelly's and Shaughnessy's points, in terms of my essay, bear, as noted, on the uses of Politics as a model or

The French tradition and the literature of medieval England

Calin includes chapter on Gower (pp. 371-98) in this lengthy and detailed survey of the relation of late medieval English literature to its continental French and Anglo-Norman predecessors. Most of the chapter has already appeared in nearly identical form as an essay in the special Gower issue of Mediaevalia in 1993. There, Calin surveyed Gower's Continuity in the Tradition of French Fin' Amor, using CB and CA to show how the richness and complexity of Gower's work is oversimplified in seeing it simply as rejection of earlier French ideals of love. The present chapter includes discussion of MO, also emphasizing both its debt to its French predecessors and its own inherent richness. Calin is anxious to defend the poem from the charge that as moral work, it is inherently mediocre and dull. He sees it first of all as satire, and considers two of its principal achievements Gower's creation of suitable persona and his choice of the style in which the entire poem is conducted: where CA is a masterpiece of the plain style, MO is a master¬piece of the flowing, passionately lofty register of the vernacular literature of ideas (p. 373). The poem is structured not just by its external frame but by the dominant metaphor of combat — between virtue and vice, reason and passion, light and darkness, God and Satan — and by patterns of antithetical imagery: evil and Satan are depicted in the demonic and bestial, in rot, corruption, and decomposition, in poison, and in lies and illusion, all of which are countered by the imagery used in the depiction of the virtues. Ethically, Gower counsels the domination of reason over passion and of hard work and liberality over sloth, but the poem ends with the telling of the story of Mary and Jesus, the persona's own act of penance in an effort to gain his own salvation, and the poet's final answer to the problem of evil in the individual and in society. In the drama of salvation, the individual to be saved, the Omme of the title, like the implied author, is male; the adversaries and adjuvants are all female: phenomenologically, the Self is man and is passively subject to onslaught or to succour, to being dragged down or pulled up, by woman as the Other (p. 379), until finally turning to the greatest mother of all at the end. The devil is in the details, as we have been reminded so often recently: Calin gets the rhyme scheme of MO wrong (p. 372), he confuses Anthony Farnham with Winthrop Wetherbee (p. 388), and in his survey of Gower's sources for CA (p. 387), he casually overstates the poet's dependance on French rather than Latin sources. The virtual absence of notes, in this paragraph and throughout the entire chapter, makes it difficult to assess whether Calin has achieved some new insight through his own research or is merely carelessly misrepresenting the labors of his predecessors. [PN. Copyright The John Gower Society. JGN 14.1]

The Eighteenth-Century Hymn in England

List of illustrations Introduction 1. Dr Byrom of Manchester, FRS 2. Isaac Watts: the axiomatic hymns 3. Watts's atrocity hymns 4. The 'Ending Up' of Isaac Watts 5. The carnality of Charles Wesley 6. Psalmody as translation 7. Inwardness and the dictionary 8. Christopher Smart and English rococo 9. Smart's elegance 10. The author of 'Amazing Grace' 11. William Cowper and the plain style Conclusion Index.

Juan de Herrera: Architect to Philip II of Spain.

In the second half of the 16th century, Philip II of Spain set out to use the revenues of the richest state in the world to create buildings worthy of his Habsburg inheritance and he chose a young and inexperienced gentleman soldier, Juan de Herrera, to be his principle architect. The remarkable partnership between the king and Herrera - courtier, intellectual and architect - lasted more than 30 years. The buildings they produced, among them the Escorial, the Merchants' Exchange in Seville and the urban renewal of Madrid, instilled new ideas that were to nourish Spain and European architecture for centuries to come. This treatment of Herrera examines the roles of a great architect and patron in their creation of a new era of Spanish architecture. Catherine Zerner begins with the events that led to Herrera's becoming an architect and proceeds to reconstruct his architectural thought and practice in the Spanish context. Herrera's intellectual outlook was closer to the sciences than to the fine arts and his ambition was to reconstitute architecture as an art of building that embraced all kinds of structures in a new aesthetic that was independent of painting and sculpture. His designs, unornamented to the point of plainess, were based upon the repetition of simple and recognizable forms that could be adapted to virtually any building. In a series of chapters on the royal palaces, the Escorial, religious architecture and civic projects, the author aims to show how and why Herrera's plain style of uncompromising abstraction - the famous estilo desornamentado - became indelibly associated with the ideology of Philip II's kingship and the values of Spanish Habsburg rule.

The Matter of Scotland: Historical Narrative in Medieval Scotland by Roy James Goldstein (review)

288ARTHURIANA and kinship; moreover, it serves to establish mindset similar to the one which provided the basis for nationalist ideologies in the nineteenth and twentieth centuries. By the time one arrives at chapter 9, a paradigm shift has occured. To explain Blind Haty's displacement ofhistorical 'suthfastnes' with racial mythology, symbolism, and romance elements, Goldstein has gradually augmented the importance ofcontemporary psychoanalytic theory for his study. In a bold (and fairly unproblematized) analogy Goldstein transposes Harold Bloom's theory ofpoetic revisionism (usually confined to post-Enlightenment poets) to Hary's replacement of 'misprision' of sources/masters/ fathers' readings ofScottish history. Thus, Wallace's transgression against king Bruce, just like Hary's transgression(s) against the authority ofhistory, emerges as an antithetical completion ofa precursor/father's work. Goldstein's study obviously follows in the wake ofrecent historicizing investigations in medieval studies. It is immensely learned and employs a concise and lucid language. In addition, it avoids - Pattersonian-style - the danger of applying 'absolutizing, totalizing schemes' to arrive at its social readings (L. Patterson, Chaucerandthe Subject ofHistory. Madison, WI: U. ofWisconsin Press, 1991: 425). Despite a few typos (e.g., Ranke's 'wie es eigentlich gewesen' p. 9, 'Vees[l]er' p. 291, 'Wolfenbüt[t]el' p. 312, 'Geschic[h]te' p. 320), the book is also a fine example of scholarly and editorial exactitude. Mote importantly, it should bear testimony to the quality oftheory-driven readings of medieval texts. RICHARD J . UTZ University of Northern Iowa ROY james Goldstein, The Matter of Scotland: Historical Narrative in Medieval Scotland. Lincoln, NE: University of Nebraska Press, 1993. Pp. 386; index, bibliography, end-notes, illustrations, map. isbn: 0-8032-2144-4. $40.00. Professor Goldstein's difficult but rewarding book is an attempt to explain an explanation. Medieval Scotland, ever The Other to England, deliberately set out to set itself apatt from its neighbor to the south by a series of 'historical' or 'myth-historical' narratives called upon to justify its claimed status as a separate nation within a feudal setting where its independence was repeatedly in conflict with claims to homage by the English crown. The dispute even reached as far as the Pope in Rome, being memorialized in the lines from Dante's Paradiso xix 121-23 which form the epigraph for this book: 'Le si vedra la superbia ch'assetajchefa Io Scotto e l'Inghilesefollejsi che non puo soffrir dentro a sua meta.' (trans Singleton ...'There shall be seen the pride that quickens thirst, which makes the Scot and the Englishman mad, so that neither can keep within his own bounds.) The 'Historical Narrative' of the title, then, refers to these acts of prideful self-definition, brandished in the scriptorial war of words and used as rallying cries in the all-too-real battles which ensued. 'Freedom,' cried John Barbour, author of the Bruce, 'is a noble thing!' Never mind the pun inside the slogan; Scotsmen ofall ranks fought alongside the nobles for this perhaps illusory birthright, and when the Wats of REVIEWS289 Independence were over, took it to heart as their own invention, causing no end of proud trouble to the present day, leading directly from Bannockburn to Flodden Field to Bonnie Prince Charlie to the quarrel over North Sea oil. The original texts ate, ofcourse, obscure to all but the specialist in Old or Middle Scots, and Prof. Goldstein does an admirable job of elucidating and paraphrasing them, placing them in context with one another and with the historical events they were intended to illuminate or define. Here, of course, his confessedly neo-Marxist critical vocabulary may prove something ofa stumbling block for readers reared on the Plain Style. Faced down, however, the difficulties resolve themselves into unfamiliar jargon that becomes at least potentially useful in rethinking, in necessarily different terms, the problems an earlier generation of scholars had left at the margins. Learning to translate this terminology quickly repays itself in a deeper understanding of the ideology and the power relationships in the borders between Scotland and England. Admittedly, sometimes this vocabulary and the conceptual structures it reflects can be heavy going for the unwary or the lightly-armed. The 'semiotic rectangle' deployed to illustrate the...

Self-Help Medical Literature in 19th-Century Canada and the Rhetorical Convention of Plain Language

In earlier centuries, authors of medical works intended for popular readers defended their use of the vernacular against potential criticism from their learned colleagues. Scholars have shown that by the sixteenth to seventeenth centuries such defence reflected rhetorical posturing more than political reality. This article examines self-help medical literature in 19th-century Canada, revealing that authors adopted a similar stance in writing for the public. Not only did this rhetorical convention continue, but it also did not assure adoption of the plain style advocated. Moreover, a comparison of their style with that of medical textbook authors reveals few real differences.

The Pragmatic Idealism of Nicholas Rescher

In the first volume of the trilogy, Rescher concentrates on knowledge from the combined points of view of idealism and evolutionary epistemology; in the second volume, he offers a deontological account and justification of values; and in the third volume, he develops a metaphilosophical position, perspectival pluralism, that makes possible the systematization and justification of our claims about knowledge and values. Rescher's approach to presenting pragmatic idealism involves the discussion of just about all the major questions of metaphysics, epistemology, and axiology. The remarkable feature of his work is, however, that his answers to these questions are more than building blocks of the system-they deepen our understanding of the philosophical terrain by the transformation that his systematic view of them brings about. Again and again, new light is shed on hoary philosophical problems and positions. The experience of the reader is that of active engagement with the argument as Rescher develops it. The argument is forthright, provocative, presented in a plain style, and it is pervaded by the author's evident conviction that the traditional problems of philosophy are amenable to rational solutions. The reader always knows where Rescher stands and why; there is a sense communicated that the author has struggled hard with the questions he answers, and that he has ended up in positions where his nagging intellectual conscience has permitted him to rest. There is nothing in contemporary philosophy that even approximates the synoptic ambition and scope of Rescher's undertaking. His work is a testimony that the old philosophical endeavor to develop a systematic and rational view of reality and the place of humanity in it is not only possible but actually practiced. The idealistic component of Rescher's system is a view of human knowledge as a combination of elements contributed by the human mind and by the world external to it. Each is essential; neither is reducible or analyzable in terms of the other. The pragmatic component is partly the evolutionary view that the success of our knowledge-gathering activity is our greatest

The Politics of Obscurity: The Plain Style and Its Detractors

The Politics of Obscurity: The Plain Style and Its Detractors

Turkish Traditional Art Today

Introduction Turkish Traditional Art Today Part One: Istanbul 1. Istanbul Kapali Carsi: Commercial Entry Tahtakale: The ArtisansO District and the MasterOs Role Suleymaniye: Sinan and the CityOs Centers Turkish Art: A First Summary (Spirit and Mastery) 2. Mahmut Oncu: Master Calligrapher 3. Yusuf Sezer: Young Master of Calligraphy The Recent Past: Context for Revival 4. Celal Atalay: Handwork in the Factory 5. Mustafa Kesici: Woodworking and Representation 6. Mustafa Sargin: Woodworking and Artistic Process Turkish Art: A Second Summary (Creative Integration) 7. Ahmet Sefa: Time and Spirit Change and Continuity: Pattern in the Present 8. Sebire Aktas: Weaving, Mastery, and Life in the City Part Two. Anatolia 9. Anatolia: The Landscape The Village Home: Domestic Architecture The Market Town: Connections The ArtisansO City: Context for Creation 10. Erzurum: The Urban Market 11. Konya: The ArtisansO Mevlana Turkish Art: A Third Summary (The Styles) 12. Bursa: Historical Setting Kayan Demirciler Carsisi: Work and Art Sogukkuyu: Pottery in the Plain Style 13. Kinik: Pottery in the Spirited Style Part Three: Kutahya 14. Kutahya: Pottery in the Masterly Style Cini: Ceramic Process 15. Ahmet Sahin: The Old MasterOs Family 16. Ibrahim Erdeyer and Mehmet Gursoy: Young Masters 17. Roses Picked from the Fire: Form and Meaning Part Four: Canakkale 18. Ezine: The CarpetOs Conext Hali: Form and Meaning in Carpet Design Types and Regions: Carpets in Space 19. Ahmetler: Carpet Technique and Life in the Village Rahime Balci and Nezihe Ozkan: Master Weavers 20. Karagomlek: Innovation in Carpet Design Aysel and Hanife Ozturk: Skill and Affection 21. Ayvacik: Commerce in the Carpet Tradition Conclusion: Turkish Style 22. Turkish Style: A Frame for Viewing 23. Turkish Art: A Fourth Summary (Style and Meaning) Meaning in Time: Experience and Significance Service, Discipline, Tolerance: Turkish Art Defined A Note of Turkish Bibliography Acknowledgments Gunumuzde Geleneksel Turk Sanati Index of Objects Index

CHAPTER 10: FOLLOWERS OF THE PLAIN STYLE TRADITION (B) THE JUDGEMENT GROUP, THE THYRSUS AND LAMPAS PAINTERS Suppl. I, pp. 33–5

Journal Article CHAPTER 10: FOLLOWERS OF THE PLAIN STYLE TRADITION (B) THE JUDGEMENT GROUP, THE THYRSUS AND LAMPAS PAINTERS Suppl. I, pp. 33–5 Get access Bulletin of the Institute of Classical Studies, Volume 37, Issue Supplement_60_Part_1, February 1991, Pages 61–68, https://doi.org/10.1111/j.2041-5370.1991.tb02226.x Published: 22 February 2011