Popular Illustrations Research Articles

Designing an illustrated book as an educational medium to introduce Ronggeng Gunung dance to the younger generation: an effort to preserve traditional dance

This research delves into Ronggeng Gunung dance, a traditional folk art from West Java, Indonesia, which, despite its cultural significance, remains relatively unknown. The study focuses on the crucial task of introducing this dance form to the younger generation, leveraging their receptiveness and curiosity. The primary objective is achieved through an illustrated book, offering a visual journey into the cultural roots and historical context of Ronggeng Gunung. The research extends beyond documentation by integrating educational aspects, providing insights into dance attire and musical components, and a comparative analysis of the dance's evolution over time. To accomplish this, a qualitative descriptive method is employed, grounded in accurate facts. Diverse data collection methods include a Literature Study covering books, articles, and journals related to Ronggeng Gunung dance, Observation of the traditional art form through archival and documentary examination, and Interviews with original sources to obtain authentic information. Additionally, Questionnaires assess the younger generation's interest in traditional dance, their knowledge of Ronggeng Gunung, and their preferences for the illustrated book's style. The overarching aim is to cultivate awareness and facilitate the preservation of traditional Ronggeng Gunung dance. After meticulous data collection and analysis, the research advances through design, media, and visual concepts, culminating in the creation of the illustrated book. A beta test validates its impact on the younger generation, demonstrating that the incorporation of a popular illustration style effectively captivates the audience. This outcome underscores the success of the book in fostering a more engaging and comprehensible understanding of the Ronggeng Gunung dance narrative for the younger audience.

Sackville Street, Post Office & Nelson’s Column by George Petrie

Reviewed by: Sackville Street, Post Office & Nelson’s Column by George Petrie Angela Griffith (bio) George Petrie Sackville Street, Post Office & Nelson’s Column (1821) copper engraving; engraved by Thomas Barber Click for larger view View full resolution This tunc appears in Celtic Illuminative Art in the Gospel Books of Durrow, Lindisfarne, and Kells by Stanford F. H. Robinson (Dublin: Hodges, Figgis, & Co. Ltd., 1908), held in the Celtic Collection of the University of St. Thomas Libraries. in the early years of the nineteenth century, as the Napoleonic Wars limited Britons from touring Continental Europe, leisure travel increased across the British Isles. With the hopeful expectation that the legislative Union of Great Britain and Ireland in 1801 marked the end of political instability in the country, unprecedented numbers of travelers came from the British mainland to the “Sister Isle.” Tourists mostly wished to experience destinations that reflected their own perspectives and mores. These attitudes were consolidated by travel literature marketed to them. From the beginning of the 1800s, commercially printed illustrated guidebooks played a fundamental role in how the urban and rural space was read by increasing numbers of consumers. These volumes, largely published in England, were created with both the visitor and the local population in mind. While they informed and attracted (and assured) the tourist, residents wanted to read about where they lived—and to see neighboring attractions described positively, both textually and visually, on the printed page. These books also had a political and societal function, as they masked realities such as poverty or political unrest. And as George Petrie’s engraved illustration of Dublin’s fashionable Sackville Street (now O’Connell Street) demonstrates, they also expressed to a British readership that the so-called Second City of the Empire was thriving—modeling itself on and aligning itself with the First City, London. The production and dissemination of printed books greatly increased in the [End Page 156] industrial age. Their subject matter also expanded, and travel books became a popular genre among the British middle and upper classes. Comprising descriptive accounts of regions across the British Isles and further afield, illustrated guides were hugely in demand, and the quality of the illustrations, and the reputations of the artists and engravers who made them, became an important distinguishing factor in advertising these works. Publishers recognized that the role of the illustrator and the engraver had become increasingly important, as book markets demanded images that were well designed and finely engraved and that adhered to popular aesthetic tastes. The English publisher Henry Fisher claimed that the aim for his series of national and international illustrated travel guides was twofold, that of “Instruction and Amusement.”1 New steam technologies increased production levels, contributing to growth in the reach and impact of published materials, eventually leading to relative affordability and to increased transportability as the century progressed. Click for larger view View full resolution The most popular illustrator of Irish subject matter among British publishers was the artist George Petrie (1790–1866). In this image of Dublin, the viewpoint is at eye level, as the reader “walks” across the bridge spanning the Liffey toward a busy street scene with fashionable figures strolling leisurely, the city’s grand throughfare stretching before them. Following the tenets of William Gilpin (1724–1804), author, artist, cleric, and influential definer of the popular [End Page 157] picturesque aesthetic, Petrie’s engraved illustration presents details vividly through the exploration of textural variety.2 A sky of billowing clouds with beams of sunlight breaking through creates a vibrant atmosphere. In response to public demand, publishers requested that their artists add more details to their topographical designs so as to create visual interest and to divert and entertain the reader. Petrie’s Sackville Street illustration, one of seventeen in total, was first published in G. N. Wright’s An Historical Guide to Ancient and Modern Dublin, by the London-based company Baldwin, Cradock, and Joy, in 1821. Wright’s text provides a detailed description of Dublin’s history, buildings, and civic institutions. In 1835 the Irish publisher William Curry, in another Dublin-themed volume, titled The New Picture of Dublin . . . , reused Petrie’s Sackville Street image as a frontispiece...

An Aesthetic Model for Popular Illustration

Although the aesthetic experience of popular illustrations is frequent in modern life, no scientific research can fully explain its psychological structure so far. This study aims to develop an aesthetic model of perception, affection, and cognition, presenting an aesthetic psychological framework for contemporary popular illustration. Thirty representative illustrations were selected as experimental stimuli from design media, and a seven-point scale with 10 paired adjectives of underlying psychological factors was built by analyzing systematic aesthetic researches by literature review. A total of 386 volunteers were recruited for the experimental survey. Confirmatory factor analysis (CFA) through structural equation modeling (SEM) was used to confirm the proposed model. The results showed that beauty, pleasure, and interestingness are the optimum indicators measuring the aesthetic experience of popular illustrations, and instead of the underlying meanings, the positive self-rewarding quality makes aesthetic experience of popular illustrations special.

The Nineteenth-Century Lives of Juan de Pareja (ca. 1608–1670)

Abstract On the basis of precious few facts from the artist’s lifetime, nineteenth-century authors with varying agendas wove stories around Juan de Pareja, the seventeenth-century Afro-Hispanic painter who was enslaved by Diego Velázquez for some two decades. Before the opening of Paris’s Galerie espagnole in 1838, writers hewed closely to Pareja’s first biography, published in Antonio Palomino’s El museo pictórico y escala óptica (1715–24). Thereafter, however, fanciful plot twists and cameo appearances by other historical characters, notably Peter Paul Rubens, became part of tales relayed in the popular press, from newspapers and magazines to children’s books, language primers, and plays. This essay focuses on the origins of particularly persistent threads in this extensive body of previously unexamined narratives and considers how such dynamic fabulation intersected with abolitionist agendas, popular illustrations of Pareja’s life, and seventeenth-century works of art.

Reception of Illustrated Prints of Ovid’s Metamorphoses in Bohemian and Moravian Art: Johann Jacob von Sandrart and the Judgement of Tiresias

One of the major traits of Baroque art in Bohemia and Moravia is its receptive character. In the cycles thematically taken from Ovid's Metamorphoses artists often accurately followed widespread and popular illustrations. My paper focuses on rare example of reception of Metamorphoses edition published by J. J. von Sandrart in Nürnberg 1698. This edition includes several engravings depicting less frequently visualized stories that were followed in stucco decorations in the Silesian chauteau in Kravaře, irrecoverably damaged during a fire in 1937. The discovery of printed model allowed for the identification of all the iconographic motifs in Kravaře. The ceiling of the grand hall showed story about the prophet Tiresias. The article analyses visual representations of Judgement of Tiresias as well as its textual interpretations. The stucco ceiling in Kravaře was the only known monumental visual representation of this motif not only in the Central European context, but most probably in all Europe.

Opacidad y transparencia del Caribe en las representaciones de Yucatán. Dos casos de cultura visual

This paper discusses the imaginary arising around the Yucatan peninsula of Mexico, the relationship with its coastal boundaries and its Caribbean affiliation. From the analysis of journalistic notes, films and calendar illustrations, I present the transformations experienced between 1921 and 1948. Based on the notions of "transparency" and "opacity" proposed by Édouard Glissant and the modes of cultural circulation "from above" and "from below" by Ricardo Pérez Montfort and Christian Rinaudo, I develop the hypothesis of how economic and political issues have determined the displacement of Yucatan images, from its shores towards the Peninsula center and its best-known archeological zone, Chichén Itzá. However, in many popular expressions and specifically in the popular illustrations of the calendars, traces of their identification with the tropics and a cultural shared heritage with the Caribbean persisted.

Deafening Modernism: Embodied Language and Visual Poetics in American LiteratureBlasphemous Modernism: The 20th-Century Word Made FleshTransatlantic Aliens: Modernism, Exile, and Culture in Midcentury America

Deafening Modernism: Embodied Language and Visual Poetics in American LiteratureBlasphemous Modernism: The 20th-Century Word Made FleshTransatlantic Aliens: Modernism, Exile, and Culture in Midcentury America

Die Titelkupfer der Leipziger und Dresdner Künstler Peter Carl Geissler und Gustav Heinrich Naeke sowie Johannes Thomas und Friedrich Wagner zu Goethes Ausgabe letzter Hand

ABSTRACTThis contribution examines a selection of engravings in the parallel edition of frontispieces to Goethe’s last edition of his collected works, published in Leipzig by Fleischer (1829–34). Select engravings, based on the five designs by an independent painter and popular illustrator, Peter Carl Geissler, are juxtaposed with those by Gustav Heinrich Nae[c]ke, who was professor of painting at the Saxon Academy. Striking differences in style and the choice of subjects become apparent. Two special cases in the collection round out the analysis: the portrait of Cellini after Vasari, probably by the Nuremberg painter Friedrich Wagner; the Frankfurt painter Johannes Thomas provided the only design with a detailed representation of urban architecture in the collection.

카카오톡 인기 이모티콘 일러스트에 대한 소비자 반응 연구 ; 연령의 상호작용 효과를 중심으로

카카오톡 인기 이모티콘 일러스트에 대한 소비자 반응 연구 ; 연령의 상호작용 효과를 중심으로

Images of Animals in the Early Modern Spanish Empire

By exploring popular illustrations, courtly paintings, bureaucratic documents like the relaciones geográficas, and the works of intellectuals like Oliva Sabuco and José de Acosta, we can still see and hear a representation of animal agency that affected women and men from the late fifteenth through to the early nineteenth centuries. In the 1970s, John Berger reminded us that ‘seeing comes before words’, but then ‘we explain that world with words’. The imagination of the early modern Spanish empire was filled by images which evoked both wonder and dread, and they were captured by brush and pen alike. Subject to human displays of dominance and acts of compassion, nonhuman animals fascinated by reminding the Spanish empire's human actors that they remained part of nature, and that we still have not mastered nature, from our bodily needs to the animals who do not always obey. Living in a sensory and sensual world, the humans who imagined the Spanish empire were also animals living in that multispecies social organism. Embodied as they were, and as we are, their experiences resonate with us today.

Reiterating the Canadian West

Contemporary discussions of the Canadian West tend to differentiate it as a geographic space from American practices south of the border, or from Hollywood imaginaries. Such discussions are often developed through comparison: in terms of demography, representation, class, and political economy, or they conclude that national boundaries do not reflect cultural differences. Increasingly, research on the Canadian West troubles geographic understandings of place and imposed settler classifications and categories. The articles in this issue advance this arc to engage sensory, embodied, and more-than-representational features that reiterate multiple Wests. Through critically engaged methods of writing about archival ephemera, narratives and song, festive and tourist experiences, and popular media and illustration, these articles contribute to understanding the Canadian West as practiced and performed.

The Exquisite Amateur: FitzGerald, the Rubáiyát, and Queer Dilettantism

The Exquisite Amateur:FitzGerald, the Rubáiyát, and Queer Dilettantism Benjamin Hudson (bio) “I believe I love poetry almost as much as ever: but then I have been suffered to doze all these years in the enjoyment of old childish habits and sympathies, without being called on to more active and serious duties of life. I have not put away childish things, though a man. But, at the same time, this visionary inactivity is better than the mischievous activity of so many I see about me.” —Edward FitzGerald to John Allen, March 9, 18501 I. The Amateur Rubáiyát Robert Graves, in promoting his own “authentic” translation of Omar Khayyám’s quatrains in 1968, slandered Edward FitzGerald, the poem’s Victorian translator and popularizer, as a “dilettante faggot trying to pretend he was a scholar.”2 Graves believed he had access to an earlier manuscript of the quatrains, though literary scholars soon revealed he had instead been taken in by a forgery orchestrated by the Sufi mystic Omar Ali-Shah. To make matters worse for Graves, the forged manuscript was itself cultivated from a commentary published by the Persian enthusiast Edward Heron-Allen, who in 1899 had published FitzGerald’s fifth edition with, on the opposite page, “the Persian script of the ruba’i, half-ruba’i or ruba’iyat, which he believed had inspired FitzGerald’s translation” (Bowen, p. 2). Graves, not realizing how derivative of FitzGerald’s work his translation indeed was, grandiloquently titled his edition, which he released with Doubleday in 1968, The Original Rubaiyyat of Omar Khayyam. Yet Graves’s defamation of FitzGerald is revelatory, for it suggests how the perceived shortcomings of FitzGerald’s rendition, if not exclusively his character, are both amateur and homoerotic. Indeed, Graves was correct to perceive the same-sex entanglements of FitzGerald’s verse, for as Dick Davis has pointed [End Page 155] out, the cast of characters in FitzGerald’s poem appears to be entirely male.3 Before attempting the poem in English, FitzGerald had translated it first into “Monkish Latin,” for which he uses masculine forms to connote the speaker’s cupbearer and beloved.4 The second-person “Thou” of FitzGerald’s English versions obscures what the verses’ 1867 French translator J. B. Nicolas called “revolting sensualities which I refrain from translating,” and the gender of the Persian male beloved fades into second-person, English indeterminacy.5 In response, Graves’s reconstitution of “the original rubaiyyat” straightens out the queerer, ambiguous moments of FitzGerald’s verse: “some once lovely Head” (st. 28) of FitzGerald’s first version transforms into “some lovely girl” in Graves’s hands (st. 19), and the “Angel Shape” of a cupbearer (st. 42), admittedly FitzGerald’s own poetic innovation, becomes a tedious “Old man” and “fellow toper” (Graves, p. 64).6 Graves’s “original” version required a sanitization of the more homophile moments of FitzGerald’s verse and rewrote its ambiguities to tally with mid-twentieth-century homophobia. The changes are regrettable, for, as Erik Gray discusses regarding popular illustrations that regendered the poem’s cupbearer or beloved as female, “something crucial is lost when all of the poem’s erotic charge is automatically read as heterosexual—a sense of radical questioning of the world and its assumptions” (“Common and Queer,” p. 36). Yet, of course, FitzGerald did not print his Latin quatrains (though he very coyly shared them with Edward Cowell, his young married friend and Persian tutor), and he instead selected the ambiguity of a second-person address. The text’s uncertainty is productive, for it opens up the poem to enjoyment from readers of multiple erotic investments. Certainly, early critics like Charles Eliot Norton, who celebrated the “manly independence” of Omar in a review that bequeathed the poem to the heirs of American transcendentalism while elevating it above literal translations, might balk at the suggestion of same-sex eroticism in the verse, and the turn-of-the-century Omar Khayyam Club likewise anticipated Graves by asserting the female sex of the cupbearer in numerous illustrations.7 Conversely, other contemporaneous readers easily grasped the poem’s homoerotic engagements. For instance, Gray has demonstrated that Oscar Wilde, flirting with...

Host-parasite coevolution in populations of constant and variable size.

BackgroundThe matching-allele and gene-for-gene models are widely used in mathematical approaches that study the dynamics of host-parasite interactions. Agrawal and Lively (Evolutionary Ecology Research 4:79–90, 2002) captured these two models in a single framework and numerically explored the associated time discrete dynamics of allele frequencies.ResultsHere, we present a detailed analytical investigation of this unifying framework in continuous time and provide a generalization. We extend the model to take into account changing population sizes, which result from the antagonistic nature of the interaction and follow the Lotka-Volterra equations. Under this extension, the population dynamics become most complex as the model moves away from pure matching-allele and becomes more gene-for-gene-like. While the population densities oscillate with a single oscillation frequency in the pure matching-allele model, a second oscillation frequency arises under gene-for-gene-like conditions. These observations hold for general interaction parameters and allow to infer generic patterns of the dynamics.ConclusionOur results suggest that experimentally inferred dynamical patterns of host-parasite coevolution should typically be much more complex than the popular illustrations of Red Queen dynamics. A single parasite that infects more than one host can substantially alter the cyclic dynamics.

D-Day Through French Eyes: Normandy 1944 par Mary Louise Roberts

Reviews 253 all 16 of the full-page plates from Sous les pots de fleurs provides the opportunity for scholarly examination of an album that has now become quite a rarity, fetching prices in excess of a600 on the collector’s market. Those interested in the representation of the Great War in the neglected category of popular illustration will find this modestly priced book moving as well as informative. Skidmore College (NY) John Anzalone Roberts, Mary Louise. D-Day Through French Eyes: Normandy 1944. Chicago: UP of Chicago, 2014. ISBN 978-0-226-13699-8. Pp. 211. $25. Roberts surveys the Allied Landing of 6 June 1944 and its aftermath from the viewpoint of the French residents of the Norman towns and villages whose territory was invaded. After years of occupation, the residents were initially overjoyed to see the arrival of their liberators, but joy soon turned to fear and uncertainty as their lives were not only disrupted but placed in great peril.Allied strategy called for the bombing of German installations and transportation routes throughout the region; the city of Cherbourg was bombarded and captured in order to use its harbor as a supply port. The warning leaflets dropped by the Allies often went far astray of their targets, and the bombing itself was equally imprecise. Many civilians died in the rubble or witnessed loved-ones killed before their eyes. In the countryside, residents were forced to take cover in ditches, mines, and caves. Others tried to flee to relatives in other regions of France, mostly on foot and with no shelter en route. Over seven thousand civilians perished in bombing raids which followed the landing. Other civilians found themselves on the front lines of combat, caught between German and American forces, often in their own backyards. They were injured by mines set by retreating Germans and booby-trapped helmets which attracted children. Over nineteen thousand French residents perished in the campaign to take Normandy. Those who survived, city and country dwellers alike, saw their homes and livelihoods destroyed. So little remained of the cities of Le Havre, Caen, and Saint-Lô that returning inhabitants did not recognize them.Yet even amid the devastation, civilians were determined to contribute to the ultimate success of the invasion. They supplied intelligence about German locations and helped the Americans find hidden paths through the hedgerows of the local terrain. They cared for injured Americans, at great risk to themselves. At first, American soldiers were suspicious of French civilians, knowing that some were collaborators. Later, soldiers gladly accepted the hospitality of Norman families who offered them their best food and introduced them to Calvados. In turn, soldiers distributed gifts of chocolate, cigarettes, and chewing gum and showed children their military gear and equipment. In one touching detail, the reader learns that the colorful silk parachutes which the paratroopers no longer needed were given to women for use in making clothes. They became the fabric of wedding dresses for hundreds of Norman brides over the next several years. This work is a collection of selections, presented in English translation, from diaries and journals written by French citizens and situated in historical context. The impressions of most Americans concerning the invasion are largely shaped by the work of professional journalists and photographers. The tone of these first-person accounts, written by non-professionals, is personal and heartfelt. The selections are compelling evidence of both the sufferings and the contributions of the Norman civilians. For both general readers and specialists, the work adds an important dimension to the history of the D-Day invasion. Southeast Missouri State University Alice J. Strange Simon-Carrère, Anne. Chanter la Grande Guerre: les “Poilus” et les femmes (1914– 1919). Seyssel: Champ Vallon, 2014. ISBN 978-2-87673-928-4. Pp. 288. 25 a. Simon-Carrère presents an excellent study of societal attitudes reflected in popular music in France during the Great War. In particular, the book focuses on popular musical representations of male-female relations and the impact of the war upon them. In Chanter la Grande Guerre, Simon-Carrère engages in an analysis of songs written for venues such as the music-hall and the caf...

Encoding complex data in popular science genetics illustrations

Encoding complex data in popular science genetics illustrations

Prehistoric deforestation at Chaco Canyon?

Ancient societies are often used to illustrate the potential problems stemming from unsustainable land-use practices because the past seems rife with examples of sociopolitical "collapse" associated with the exhaustion of finite resources. Just as frequently, and typically in response to such presentations, archaeologists and other specialists caution against seeking simple cause-and effect-relationships in the complex data that comprise the archaeological record. In this study we examine the famous case of Chaco Canyon, New Mexico, during the Bonito Phase (ca. AD 860-1140), which has become a prominent popular illustration of ecological and social catastrophe attributed to deforestation. We conclude that there is no substantive evidence for deforestation at Chaco and no obvious indications that the depopulation of the canyon in the 13th century was caused by any specific cultural practices or natural events. Clearly there was a reason why these farming people eventually moved elsewhere, but the archaeological record has not yet produced compelling empirical evidence for what that reason might have been. Until such evidence appears, the legacy of Ancestral Pueblo society in Chaco should not be used as a cautionary story about socioeconomic failures in the modern world.

Caspar David Friedrich and the Anatomy of Nature

In the late 1820s, the German romantic painter Caspar David Friedrich created a series of landscapes without human figures, in which trees are magnified and treated with the same attention to character as portraits. These landscapes have a formal affinity to popular anatomical illustrations of the nervous and vascular systems. This resemblance is explored in the context of contemporary developments in natural science and philosophy, particualry the search for universal forms and processes across the animal and vegetable kingdoms. Friedrich's portraits of dendrites are interpreted as metaphors for the inner structure of the body and as a form of interiorized self-portraiture.

Thomas Nast: the father of modern political cartoons

Thomas Nast (1840-1902), the founding father of American political cartooning, is perhaps best known for his cartoons portraying political parties as the Democratic donkey and the Republican elephant. Nast's legacy also includes a trove of other political cartoons, his successful attack on the machine politics of Tammany Hall in 1871, and his wildly popular illustrations of Santa Claus for Weekly magazine. Throughout his career, his drawings provided a pointed critique that forced readers to confront the contradictions around them. In this thoroughgoing and lively biography, Fiona Deans Halloran focuses not just on Nast's political cartoons for Harper's but also on his place within the complexities of Gilded Age politics and highlights the many contradictions in his own life: he was an immigrant who attacked immigrant communities, a supporter of civil rights who portrayed black men as foolish children in need of guidance, and an enemy of corruption and hypocrisy who idolized Ulysses S. Grant. He was a man with powerful friends, including Mark Twain, and powerful enemies, including William M. Boss Tweed. Halloran interprets Nast's work, explores his motivations and ideals, and illuminates Nast's lasting legacy on American political culture.

Front Cover: All‐optical structure assignment of individual single‐walled carbon nanotubes from Rayleigh and Raman scattering measurements (Phys. Status Solidi B 12/2012)

Single-walled carbon nanotubes provide a paradigm of quasi one-dimensional nanomaterials and exhibit unique physical properties. In the zone-folding approach, the electronic properties of a nanotube can be derived from the two-dimensional band structure of graphene by considering the boundary conditions imposed by the diameter and the chiral angle. Consequently, a large variety of nanotube species with distinct physical properties can be formed. A popular illustration of this behavior is the existence of 1/3 of metallic species and 2/3 of semiconducting species. In order to uncover the relationship between the structural and electronic properties at the single nanotube level, fast and non-invasive characterization methods are needed. In their article on pp. 2436–2441, Berciaud et al. describe an all-optical approach based on a combination of elastic (Rayleigh) and inelastic (Raman) light scattering spectroscopies that allows for quantitative structure assignment of individual nanotubes. Rayleigh scattering probes the strong optical resonances, characteristic of a given species, while Raman scattering provides a measurement of the nanotube diameter through the radial-breathing mode frequency.

Review: Conjuring the Real: The Role of Architecture in Eighteenth- and Nineteenth-century Fiction, by Rumiko Handa and James Potter

Rumiko Handa and James Potter, editors. Conjuring the Real: The Role of Architecture in Eighteenth- and Nineteenth-century Fiction . Lincoln: University of Nebraska Press, 2011, 232 pp., 33 b/w illus. $35.00, ISBN 9780803217430. Given how much has been written about architecture and literature over the last few decades, the subtitle of this book might seem to promise a belated subject. The essays collected here are the result of a lecture series held in 2007 at the University of Nebraska–Lincoln, though the length and density of some of them suggest versions that preceded their presentation at that conference. This density is in fact one of the strengths of this book, which strays far from its title and announced theme. The other strength is the astounding roster of contributors, many of whom will be familiar to readers of this journal. For those not familiar with them, this volume is valuable as an introduction to some of the leading figures in fields as far apart as literary medievalism, structuralist art history, poststructuralist architectural theory, and Victorian set design. Most of the chapters restate arguments or present evidence that the authors have published in earlier forms. An analogy might be some projects that bring in a team of superstar architects to design separate buildings for what is supposed to be a common project. Rumiko Handa, one of the editors, provides the introduction to the volume, explaining that the lecture series was part of an effort to integrate architecture into the study of the humanities. One aspect of this effort is a …