bluuebunny/crossref_metadata_2025_split huggingface dataset:
Visualisation of ‘Marx's line’ along the marginal eyelid conjunctiva of human subjects with lissamine green dye
Authors: Doughty Michael J. , Naase Taher , Donald Claire , Hamilton Leona , Button Norman F. 
Published: December 2003

AbstractPurpose:  To qualitatively assess the frequency and intensity of the staining of Marx's line with lissamine green dye.Methods:  Eighty‐five non‐contact lens wearers, aged 18–78 years and of white (European) or Arabic origin, were assessed. The subjects had no major eye disease, although some had mild‐to‐moderate congestion of the main tarsal (Meibomian) glands and/or anterior blepharitis. Lissamine green dye strips were used to stain the marginal zone of the palpebral conjunctiva, and then high magnification photo slitlamp images were taken.Results:  A lissamine green staining line was unmistakable in 83 of the subjects, and just evident in the other two. The line extends along the entire length of the upper and lower lid margins, and the staining broadens and extends over the puncta. In most subjects, the lissamine green‐stained line was posterior to the main tarsal gland orifices, but in five subjects it was distinctly anterior to the orifices. In over two‐thirds of the subjects, the width of line was much less than the distance between the gland orifices, and was at a similar distance to its width from the orifices. However, in one‐third of the subjects, the width of the line was around half that of the distance between the orifices or slightly greater (i.e. approximately 0.5 mm), and this feature was more commonly present in those of non‐European origin.Conclusion:  Lissamine green dye highlights a very distinct line of cells along the marginal zone, and should be a useful tool to visualise this feature. This line of cells is thought to be the natural site of contact between the eyelid margin and the surfaces of the bulbar conjunctiva and cornea.
Prevalence of refractive errors in teenage high school students in Singapore
Authors: Quek Timothy P. L. , Chua Choon Guan , Chong Choon Seng , Chong Jin Ho , Hey Hwee Weng , Lee June , Lim Yee Fei , Saw Seang‐Mei 
Published: December 2003

AbstractWe aimed to study the prevalence of refractive conditions in Singapore teenagers. Grade 9 and 10 students (n = 946) aged 15–19 years from two secondary schools in Singapore were recruited. The refractive errors of the students’ eyes were measured using non‐cycloplegic autorefraction. Sociodemographic data and information on risk factors for myopia (such as reading and writing) were also obtained using an interviewer‐administered questionnaire. The prevalence of refractive conditions was found to be: myopia [spherical equivalent (SE) at least −0.50 D] – 73.9%, hyperopia (SE at least +0.50 D) – 1.5%, astigmatism (cylinder at least −0.50 D) – 58.7% and anisometropia (SE difference at least 1.00 D) – 11.2%. After adjusting for age and gender, currently doing more than 20.5 h of reading and writing a week was found to be positively associated with myopia [odds ratio 1.12 (95% CI 1.04–1.20, p = 0.003)], as was reading and writing at a close distance and a better educational stream. The prevalence of myopia (73.9%) in Singapore teenagers is high. Current reading and writing habits, reading at close distances and a better educational stream are possible risk factors for myopia.
Verbal Landscapes
Authors: Bumpus Judith 
Published: December 2003

Michael Rosenthal, Christina Payne and Scott Wilcox (eds), Prospects for the Nation: Recent Essays in British Landscape 1750–1880Paul Groth and Todd W. Bressi (eds), Understanding Ordinary LandscapesDeborah Frizell, Humphrey Spender's Humanist Landscapes: Photo‐Documents 1932–1942
An Unwholesome Standard
Authors: Wootton David 
Published: December 2003

Stephen Calloway, Aubrey BeardsleyPeter Raby, Beardsley and the NinetiesMatthew Sturgis, Aubrey Beardsley. A BiographySimon Wilson and Linda Zatlin, Aubrey Beardsley: A Centenary TributeLinda Gertner Zatlin, Beardsley, Japonisme and the perversion of the Victorian ideal
The Female Artist — can she stand alone?
Authors: Northcote Vivien 
Published: December 2003

Witney Chadwick (ed.) Mirror Images: Women, Surrealism and Self‐RepresentationJane H M Taylor and Lesley Smith (eds.) Women and the Book: Assessing the Visual EvidenceChrista Grossinger Picturing Women in Late Medieval and Renaissance ArtPaola Tinagli Women in Italian Renaissance Art: Gender, Representation, IdentityFredrika H Jacobs Defining the Renaissance Virtuosa: Women artists and the language of art history and criticism
‘Clem’, aka ‘Mr Modernism’
Authors: Martin Jean 
Published: December 2003

Books reviewed in this article:Florence Rubenfeld Clement Greenberg: A LifeJohn O’Brian (ed.) Clement Greenberg: The Collected Essays and CriticismJohn O’Brian (ed.) Volume 1: Perception and Judgments, 1939–1944John O’Brian (ed.) Volume 2: Arrogant Purpose, 1945–1949John O’Brian (ed.) Volume 3: Affirmations and Refusals, 1950–1956John O’Brian (ed.) Volume 4: Modernism with a Vengeance, 1957–1969
Artists of Genius
Authors: Railing Patricia 
Published: December 2003

Books reviewed in this article:Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova and Madezhda Udaltsova. Ed by John E Bowlt and Matthew Drutt Amazons of the Avant‐GardeNina Gurianova Exploring Color: Olga Rozanova and the Early Russian Avant‐Garde 1910‐1918Magdalena Dabrowski, Leah Dickerman, Peter Galassi et al Aleksandr RodchenkoMargarita Tupitsyn, with contributions by Matthew Drutt and Ulrich Pohlmann El Lissitzky: Beyond the ‘Abstract Cabinet’. Photography, Design, Collaboration
Kiefer the Great and Terrible
Authors: Madar Chase 
Published: December 2003

Books reviewed in this article:Matthew Biro, Anselm Kiefer and the Philosophy of Martin HeideggerLisa Saltzman, Anslem Kiefer and Art After AuschwitzSabine Schütz, Anslem Kiefer: Geschichte als Material: Arbeiten 1969–1983
Where Meaning Lies
Authors: Ford Charles 
Published: December 2003

Mariët Westermann, The Art of the Dutch RepublicMichael North, Art and Commerce in the Dutch Golden AgeReindert Falkenburg, Jan de Jong, Mark Meadow, Dulcia Meijers, Bart Remakers, Herman Roodenburg and Frits Scholten (eds), Natuur en Landschap in de Nederlandse Kunst, 1500–1850 (Nature and Landscape in Netherlandish Art, 1500–1850)Wayne Franits (ed.), Looking at Seventeenth‐century Dutch Art — Realism Reconsidered
‘Beastly Sights’: the treatment of animals as a moral theme in representations of London c. 1820–1850
Authors: Donald Diana 
Published: December 2003

The huge growth of London in the first half of the nineteenth century projected the city’s financial and cultural dominance; but celebrations of ‘improvement’ coexisted with unease over the social effects of laissez‐faire capitalism. Thus, the ubiquitous exploitation of animals in London, a direct effect of commercial competition and intensive building, acquired great symbolic force in the imagery of illustration. While efforts to end cruelty to animals apparently testified to the humane and civilizing impulses of the time, their relative failure suggested a fundamental barbarity in capitalism itself, in its heartless commodification of both men and animals.Conflicting impressions of human–animal relationships in nineteenth‐century London are exemplified through a range of publications, from the Illustrated London News to George Cruikshank’s books and the journals of the anti‐cruelty groups themselves. Animals and their treatment could evoke, at one extreme, the vital energy and aggressively competitive spirit of the capital, at the other its endemic cruelty and alienation from nature and God. The varying conventions of pictorial representation are shown to have had a crucial role in these constructs, particularly in the underlying imagined antithesis between ‘city’ and ‘country’.
The Urban Landscape of Hyde Park: Adrian Stokes, Conrad and the topos of negation
Authors: Kite Stephen 
Published: December 2003

Adrian Stokes's (1902‐72) construct of the urban landscape of Hyde Park as a topos of negation is a remarkable recorded instance in twentieth century criticism of the influence of environment in directing an aesthetic position. Stokes's London landscape of Hyde Park and the monuments embedded within it represented, for him, a powerful negative heuristic; a set of negative rules inscribed within his personal cultural system for the purposes of rejection, and deployed to define — in antithesis — his critical direction. His accounts of Hyde Park are, outwardly, a withering critique of Edwardian moral vacuity and Victorian eclecticism while inwardly — on the psycho‐analytic level — they register projections of inner anxiety and personal guilt at the ‘destroyed mother’ that the Park represents and drive his need to make reparation. The paper examines the formation of Stokes's mental construct of the Park through a close mapping of this landscape and a concrete examination of its artefacts in relation to readings of Stokes's own writings and those of Joseph Conrad, Ruskin and others.Following an outline of Stokes's thought in the context of Kleinian psychoanalysis the paper takes Lakatos's concept of the negative heuristic as a point of departure to chart a journey from Stokes's childhood home in Radnor Place, Bayswater through the park to the Albert Memorial. These topographies disclose Stokes's offensive responses to the Park and its artefacts and show how — in eschewing Hyde Park and all it represents – he begins to discover formal and ethical positions that will frame the core of his architectural‐artistic theories.
Lost Works of Art: the problem and a case study
Authors: Lilley Ed 
Published: December 2003

This article, which is presented in two parts, aims to raise awareness of the position of lost works in art‐historical practice. The first section seeks to question the status of the information which can exist regarding work of art that are no longer extant. Without claiming to be comprehensive, it details examples of the different sorts of material that may exist (photographs, engravings, explanatory texts, etc.) and considers these in relation to the original object. The secondary sources are considered individually, as being nearer to, or further from, the original, but they are also seen together as ‘traces’. It is explicitly stated that these traces cannot provide access to the meaning of the original but that they may help to elucidate its ‘message’ (its historical, political or social significance).The second part focuses on two lost paintings by Leclerc which were shown, as pendants, at the 1756 exhibition of the Académie de Saint‐Luc in Paris and which are now known only from a single critical text. One of them was a history painting, while the other was a genre scene. The latter, according to the textual source, depicted women in eighteenth‐century dress disrobing on the banks of a stream. It is argued that such an immodest scene would not normally have been thought fit for public exhibition in eighteenth‐century Paris and reasons are sought for its production and its exposure. The mid‐eighteenth century saw doubts cast on frivolous erotic mythology (such as is seen in Leclerc’s other painting) as being suitable for artistic depiction. Later events show that the loves of the gods were eclipsed by moral tales from ancient history (the rise of neoclassicism, in a word). It is suggested here, however, that Leclerc perhaps sought to provide an alternative. As his history picture and his genre scene were presently explicitly as pendants, he perhaps aimed to suggest that the way forward might be an acceptance of contemporary sexuality as a suitable subject in art.The paper is exploratory in every sense. It seeks to put the question of lost works on the agenda, to provide the first, rather than the last, word on the subject. In the final analysis, it is even suggested, not entirely frivolously, that Leclerc’s paintings may never have existed. But even if they did not, a text describing possible pictures does, and this is of itself an important intervention in the thinking about suitable themes for depiction in eighteenth‐century France.
Sighting Sound: Post Media, a Question of Genre?
Authors: Shaw‐Miller Simon 
Published: December 2003

Books reviewed in this article:Karin v. Maur, The Sound of Painting: Music in Modern ArtMichel Chion, Audio‐Vision: Sound on ScreenNicholas Cook, Analysing Musical MultimediaDouglas Kahn, Noise‐Water‐Meat: A History of Sound in the Arts
Mediating Generation: the mother–daughter plot
Authors: Tickner Lisa 
Published: December 2003

Virginia Woolf famously claimed that: ‘We think back through our mothers if we are women‘ and yet feminine creativity required the murder of the Angel in the House. Woolf and her sister Vanessa Bell could square this circle by drawing on Julia Margaret Cameron’s photographs of their mother – her niece and namesake – as a way of memorializing her while staking a claim to a specifically matrilineal artistic heritage.For Harold Bloom, on the other hand, generation is a matter of oedipal rivalry and ‘creative misreading‘. The ‘anxiety of influence‘, successfully negotiated, ensures the fertility of a vigorous, patrilineal genealogy. While it is much too tidy to propose a different genealogy for feminine creativity (women mis‐read their fathers and struggle with their brothers too), it is important to note that women artists have grown up for the first time in the twentieth century in a landscape of actual as well as elective artist – mothers, and that this is in itself ‘generative‘ and has contributed to their ability to produce new forms of public and monumental art.This paper explores the relevance of Woolf’s and Bloom’s arguments, among others, to an understanding of the patterns of inheritance and affiliation productive for women artists, with particular reference to the work of Rachel Whiteread.
Monuments and Texts: Antiquarianism and the Beauty of Antiquity
Authors: Lolla Maria Grazia 
Published: December 2003

Maria Grazia Lolla has published articles in English and Italian on various aspects of antiquarianism, aesthetics and eighteenth–century culture, as well as on Caribbean poetry and literature. She received her PhD from the University of Cambridge, has been awarded fellowships from the British Council and the Italian Ministry of Foreign Affairs, and has held research fellowships at the Wesleyan University Center for the Humanities and the Huntington Library. Now at work on Rivers Unknown to Song: Antiquarian Explorations of the East and West Indies, she is an adjunct professor at New York University.From the beginning of the Renaissance antiquaries had been publishing monuments at such a pace that publishing as much as collecting or studying monuments could be counted amongst the defining features of antiquarianism. However widely and routinely practised, the publication of monuments revealed substantial divisions within the world of antiquarianism. Antiquaries were faced with the choice of either textualizing monuments – turning monuments from visual or tactile objects into reading material – or attempting to reproduce their materiality – even if the monument was a text. The paper analyses Johann Joachim Winckelmann’s Monumenti antichi inediti (1767) as a significant example of the former and the discussion concerning the publication of Domesday Book that took place in the rooms of the London Society of Antiquaries in 1768 as a compelling example of the latter. Juxtaposed to one another, Monumenti antichi inediti and the projected facsimile of the Domesday Book provide mutually revealing accounts of the aesthetic and intellectual complexities of eighteenth–century antiquarian practice. Where Winckelmann patently sought to rid monuments of their materiality in an effort, perhaps, to nobilitate antiquarianism – while nevertheless keeping it in a suitably ancillary position to literature – the fellows of the Society of Antiquaries chose the facsimile as the vehicle of preservation and transmission best suited to conveying their admiration of texts as material objects, indeed, as non–representational art. As necessarily (and self–consciously) imperfect attempts to reproduce original monuments, facsimiles provide both a marker of deep scepticism about the possibility of ever really knowing the past and a precious trace of past versions of the past – of what could be seen and deemed worthy of preservation, scholarly investigation and aesthetic appreciation.
Facts or Fragments? Visual Histories in the Age of Mechanical Reproduction
Authors: Arnold Dana 
Published: December 2003

Dana Arnold is Professor of Architectural History at the University of Southampton. She is the series editor of New Interventions in Art History and general editor of two further series: Companions to Art History and Anthologies in Art History, all published by Blackwell. Her recent publications include Reading Architectural History (Routledge, 2002), Re–presenting the Metropolis: Architecture, Urban Experience and Social Life in London (Ashgate, 2000) and the edited volume The Metropolis and its Image Constructing identities for London c. 1750––1950 (Blackwell, 1999). She is the author of the forthcoming A Very Short Introduction to Art History (Oxford University Press, 2003).The Temples at Paestum were ‘rediscovered’ in the mid–eighteenth century and information about the temples in the form of printed images was widely disseminated across Europe. In this essay attention is paid to innovative forms of visual representation and their relationship to the ever–refining set of cultural values applied to and associated with antiquity. This new visual language made three–dimensional objects widely available in a readable and coherent two–dimensional formula and equipped polite society with the critical faculties necessary to determine the associative values of Modern and Antique architecture and design. The importance of this new language and its impact on the quality of experience of the past and the development of aesthetic ideas and histories in the eighteenth century allows the exploration of the changing relationship between text and image which is a theme in this article. Moreover, the relationship of prints to the original object both in terms of the effect on its aura and the print acting rather like an historian as an interlocutor between the original (event) and the viewer (reader) is also considered here. This raises important questions about the relationship between the mass–produced image and the original, and the implications for the aura and status of the original object in an era before Walter Benjamin’s ‘Age of Mechanical Reproduction’.
The Sources and Fortunes of Piranesi’s Archaeological Illustrations
Authors: Dixon Susan M. 
Published: December 2003

Susan M. Dixon earned her doctorate from Cornell University in 1991 with a dissertation on the archaeological publications of Giovanni Battista Piranesi. She studies the history of pre–scientific archaeology, from Pirro Ligorio to Piranesi, with a particular focus on illustration as a means to convey historical knowledge. She has published on this subject in a variety of venues, and is beginning a book–length manuscript on the subject. In 1995–96, she was awarded a J. Paul Getty post–doctoral fellowship to study the Accademia degli Arcadi, a society founded in 1690 primarily to restore good taste in literature, and its successes and failures in bringing about the reform of Italian society and architecture. She has written a book entitled The Bosco Parrasio: Performance and Perfectibility in the Garden of the Arcadians, which focuses on their garden meeting place as a breeding ground for a utopian society. Dr Dixon teaches art history at the University of Tulsa in Oklahoma.Giovanni Battista Piranesi (1720–1778) developed a way of representing the archaeological past by using the multi–informational image, an engraved illustration which appears to be a composite of various drawings, on various surfaces, and employing various modes of representation, scale and detail. The cartographic tradition, particularly maps from sixteenth–century Europe, offer a precedent for this type of illustration. Piranesi found theoretical underpinnings for it in contemporary discussions about the workings of the human memory, which was identified as a viable tool for those pursuing historical knowledge. His illustrations make visible the processes of memory on an assemblage of archaeological information, and they were a means to historical reconstruction.Archaeologists of the generation after Piranesi did not use the multi–informational image as the science of archaeology underwent a sea change at the end of the century. However, some compilers of travel literature, in particular Jean–Laurent–Pierre HoÃel, author and illustrator of Voyage pittoresque des isles de Sicile, de Malte, et de Lipari, found the format suitable to their purposes. Like Piranesi’s, Hoüel’s multi–informational images reveal the hand of the artist on the information he had diligently collected and ordered; Hoüel’s picturesque illustrations of the southern Italian islands’ people and places are self–consciously subjective. The format also makes apparent what was so appealing to many a voyager –the apparent survival of the past in the culture of the present.
Data, Documentation and Display in Eighteenth–Century Investigations of Exeter Cathedral
Authors: Smiles Sam 
Published: December 2003

Sam Smiles is Professor of Art History at the University of Plymouth. His books include The Image of Antiquity: Ancient Britain and the Romantic Imagination (Yale University Press, 1994) and Eye Witness: Artists and Visual Documentation in Britain, 1770–1830 (Ashgate, 2000). He wrote J.M.W. Turner (2000) for the Tate Gallery’s British Artists series and is currently working on a re–evaluation of Turner and his critical legacy.Antiquarian inquiries into mediaeval architecture developed new approaches in the eighteenth century. In England, empirical observation, drawing inferences from the built structure and its embellishments, was championed as a corrective to the authority of earlier written accounts. Starting in the middle decades of the eighteenth century, medievalist research was put on a new footing, with careful surveys and accurate drawings promoted as the means to recuperate the development of mediaeval building techniques and architectural style. The work done on Exeter Cathedral is an early example of this turn in antiquarian research. With two nationally important antiquarians serving successively as Deans, Charles Lyttleton and Jeremiah Milles, work on restoring and researching the cathedral was undertaken from the 1740s onwards. The Cathedral was also one of the first to be published by the Society of Antiquaries (1797), with important engravings after John Carter’s drawings, and essays by Charles Lyttleton and Sir Henry Englefield. The success of Lyttleton, especially, in overturning the received understanding of the Cathedral’s development is notable, but his terminological looseness and his respect for textual authority were to be challenged in their turn by Englefield. The clarification of the history of Exeter Cathedral can thus stand as an epitome of wider changes in method in antiquarian scholarship in the second half of the eighteenth century.