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首页> 外文期刊>Visual Culture in Britain >a??The Catholic Florista??: Flowers and Deviance in the Mid-Nineteenth-Century Church of England
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a??The Catholic Florista??: Flowers and Deviance in the Mid-Nineteenth-Century Church of England

机译:a?天主教弗洛里斯塔??:英国十九世纪中叶的鲜花与畸变

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The middle decades of the nineteenth century saw a dramatic change in the appearance of many ecclesiastical interiors due to the growing popularity of Catholic revivalism in the Church of England. One aspect of this process was the increasing abundance of flowers in churches in defiance of opinions that regarded such practices as incompatible with Protestantism. Such opposition also drew strength from cultural associations between flowers and dangerously alluring femininity and sexuality. It was popularly feared that priests were using flowers to lure women into their clutches. The medievalizing work of Pugin and the members of the Ecclesiological Society played a major role in the moral legitimization of both flowers and floral motifs in the decoration of churches. At the same time, rising living standards were bringing cut flowers, including those forced in hot houses, within the budgets of middle-class households. The enhanced respectability of flowers as suitable for sacred contexts fuelled the development of an emergent craze for floral decoration in the home. Practices of using flowers as ornaments increasingly crossed back and forth between domestic and ecclesiastical contexts. The continued association of blossoms with the realm of the feminine did not, however, lead to sustained moral panic because flower-arranging Anglo-Catholic priests were increasingly seen as effeminates rather than as sexual predators. This analysis of developments in the early to mid-Victorian periods is seen as forming the basis for further work into the subsequent floral interconnections between sacred contexts, aestheticism and the Arts and Crafts Movement.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; var addthis_config = {"data_track_addressbar":true,"ui_click":true}; Add to shortlist Link Permalink http://dx.doi.org/10.1080/14714787.2011.541138
机译:十九世纪中叶,由于天主教复兴主义在英格兰教会的日益普及,许多教堂内部的外观发生了巨大变化。这一过程的一个方面是,教会中鲜花的数量越来越大,他们不顾认为这种习俗与新教不相容的观点而无视。这种反对也从鲜花之间的文化联系以及危险诱人的女性气质和性爱中汲取了力量。人们普遍担心,祭司们会用鲜花诱使妇女抓住他们的手掌。普金(Pugin)和教会学会成员的中世纪化工作在教堂装饰中的花卉和花卉图案的道德合法化方面发挥了重要作用。与此同时,生活水平的提高使切花,包括被迫进入热房的鲜花,在中产阶级家庭的预算之内。花朵在神圣环境中的受人尊敬程度得到了增强,从而推动了家庭中花卉装饰的热潮。在家庭和教会背景之间,使用鲜花作为装饰品的做法越来越多地往返。然而,开花与女性领域的持续联系并没有导致持续的道德恐慌,因为插花的盎格鲁天主教神父被越来越多地证明是天生的,而不是性掠食者。维多利亚时代早期到中期的发展分析被认为是进一步开展后续工作的基础,这些后续工作在随后的神圣背景,唯美主义和手工艺运动之间进行了相互联系。查看全文下载全文相关的var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,services_compact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,发布号:“ ra-4dff56cd6bb1830b”}; var addthis_config = {“ data_track_addressbar”:true,“ ui_click”:true};添加到候选列表链接永久链接http://dx.doi.org/10.1080/14714787.2011.541138

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