Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- 1 “Je suis Voltaire,” or, Appropriating the Philosophe in the Social Media Age
- 2 “Who Lives, Who Dies, Who Tells Your Story?”: The Uses of Hamilton in Special Collections Pedagogy and Public Engagement
- 3 Performing Frankenstein in the South: Sex, Race, and Science across the Disciplines
- 4 French Fairy Tales and Adaptations in the Twenty-First-Century Classroom
- 5 Select Trials at the Sessions-House in the Old-Bailey (1742) and Mark Ravenhill’s Mother Clap’s Molly House (2001)
- 6 Teaching with The Pilgrim’s Progress Video Game
- 7 Eliza Haywood’s “Bad Habits”: Teaching Adaptations of Fantomina: or, Love in a Maze and The Distress’d Orphan; or, Love in a Madhouse
- 8 Teaching Eighteenth-Century Literature through Eighteenth- Century Adaptations: Adaptive Structures
- 9 “A Private Had Been Flogged”: Adaptation and the “Invisible World” of Jane Austen
- 10 Fifty Shades of Pamela in the Undergraduate Classroom
- 11 Teaching the Austen-Monster-Mashup: Sense and Sensibility and Sea Monsters
- 12 Learning to Adapt: Teaching Pride and Prejudice and Its Adaptations in General Education Courses
- 13 Race and Romance: Adapting Free Women of Color in the Long Eighteenth Century
- 14 The Crusoeiana: Material Crusoe
- 15 Adaptation in Strange Places: Terrence Malick’s To the Wonder and the Narrative Effect and Form of Samuel Richardson’s Pamela
- 16 Adapting the Tombeaux des Princes: A Study in Media Variations
- 17 Experiential Pedagogy to Join the Thread of Conversation with Paul et Virginie
- 18 “Lookin’ for a Mind at Work”: Hamilton, Adaptation, and Enlightenment Ideals for the Core Curriculum
- Notes on the Contributors
- Index
16 - Adapting the Tombeaux des Princes: A Study in Media Variations
Published online by Cambridge University Press: 26 April 2020
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- 1 “Je suis Voltaire,” or, Appropriating the Philosophe in the Social Media Age
- 2 “Who Lives, Who Dies, Who Tells Your Story?”: The Uses of Hamilton in Special Collections Pedagogy and Public Engagement
- 3 Performing Frankenstein in the South: Sex, Race, and Science across the Disciplines
- 4 French Fairy Tales and Adaptations in the Twenty-First-Century Classroom
- 5 Select Trials at the Sessions-House in the Old-Bailey (1742) and Mark Ravenhill’s Mother Clap’s Molly House (2001)
- 6 Teaching with The Pilgrim’s Progress Video Game
- 7 Eliza Haywood’s “Bad Habits”: Teaching Adaptations of Fantomina: or, Love in a Maze and The Distress’d Orphan; or, Love in a Madhouse
- 8 Teaching Eighteenth-Century Literature through Eighteenth- Century Adaptations: Adaptive Structures
- 9 “A Private Had Been Flogged”: Adaptation and the “Invisible World” of Jane Austen
- 10 Fifty Shades of Pamela in the Undergraduate Classroom
- 11 Teaching the Austen-Monster-Mashup: Sense and Sensibility and Sea Monsters
- 12 Learning to Adapt: Teaching Pride and Prejudice and Its Adaptations in General Education Courses
- 13 Race and Romance: Adapting Free Women of Color in the Long Eighteenth Century
- 14 The Crusoeiana: Material Crusoe
- 15 Adaptation in Strange Places: Terrence Malick’s To the Wonder and the Narrative Effect and Form of Samuel Richardson’s Pamela
- 16 Adapting the Tombeaux des Princes: A Study in Media Variations
- 17 Experiential Pedagogy to Join the Thread of Conversation with Paul et Virginie
- 18 “Lookin’ for a Mind at Work”: Hamilton, Adaptation, and Enlightenment Ideals for the Core Curriculum
- Notes on the Contributors
- Index
Summary
In 1713, the enterprising and resourceful Irish impresario and playwright Owen, or Eugene, McSwiny (1676–1754) found himself unable to pay the mounting debts in his London theatre and absconded to the Continent. Ultimately settling in Italy, he commissioned a cycle of twenty-four paintings, most about seven-feet high, and directed teams of artists from Bologna and Venice to execute them according to his conceptions. The series is unique, following no tradition in its genesis and subject matter. He referred to the works as depictions of “monuments,” each an allegorical commemoration of a major English political, military, or intellectual figure of the recent past; most had firm Whig links and several had been directly or indirectly con- nected with the Glorious Revolution of 1688. Among these “worthies” were kings William III and George I, the Duke of Marlborough, Isaac Newton, John Locke, and Joseph Addison. Having successfully implemented his plan to sell the paintings to members of the English nobility, McSwiny later employed several leading Parisian printmakers to reproduce the paintings as engravings, probably in hopes of increasing the earnings from his project. This collective group of transnationally created paintings and engravings is known as the Tombeaux des Princes.
Teaching the Tombeaux series facilitates critical discussion of how visual artists engage adaptation and appropriation, and broadens students’ under- standing of the ways that scholarly discourse in the field of art history has itself adapted and changed. In the classroom, analysis of the various media employed in the Tombeaux series invites students to examine modes of rep- resentation and artistic practice comparatively. These comparisons can reveal the multiple rhetorical purposes to which images may be adapted. Teaching the Tombeaux series in this way illustrates a shift in scholarly approach to art history that parallels the shift in scholarly approach to adaptation stud- ies. Each field has moved away from a focus on attribution or imitation, or fidelity studies, and toward more intertextual and intermedial analyses. The discipline of art history has broadened to include visual culture stud- ies’ emphasis on technology and process as a way to understand historical as well as contemporary artifact creation.
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- Information
- Adapting the Eighteenth CenturyA Handbook of Pedagogies and Practices, pp. 250 - 268Publisher: Boydell & BrewerPrint publication year: 2020