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Building on recent specialised studies on the critique of illustration in individual authors or periods, this article develops a new methodology for a large comparative study of the critique of literary illustration. Notably, this article argues for the benefits of developing a catalogue of basic arguments levelled against the pictorial illustration of literary texts. By distinguishing between these arguments and by tracing these arguments throughout history, we stand to gain new insights into not only the history of literary illustration but also into broader trends in literary and cultural history, which inform the critique of illustration. These general remarks are further developed through exemplary analyses of three prominent criticisms of illustration from the nineteenth century as well of their varying legacies in the twentieth and twenty-first centuries: illustrations limit the reader's imagination; illustrations are merely included for commercial gain; and illustrations limit intellectual pursuits. [ABSTRACT FROM AUTHOR]

In many histories of nineteenth-century literature of the Low Countries, only a handful of authors are associated with emerging genres of regional fiction such as the village tale. In view of the immense popularity of regional literature, these histories overlook a large part of the literary field. This article aims to provide complementary perspectives by looking at how nineteenth-century Dutch and Flemish regional literature was framed and understood in contemporary reception, by systematically tracing all mentions of other artists and authors in reviews of selected authors. This has resulted in a 'co-mention network', revealing associations contemporary reviewers made between Dutch and Flemish regionalist writers and other cultural figures. This network functions as a starting point for investigating the impact of genre, gender and nationality on associations between authors, while also attending to which connections are not made, and which authors are left out of dominant narratives. Network analysis suggests that genre boundaries were fluid, and that numerous transnational authors were associated with Dutch and Flemish regionalists. At times nuancing or amending existing accounts of regionalism in literary histories, this article is also a tentative investigation of processes of canon-formation more broadly. [ABSTRACT FROM AUTHOR]

The article focuses on the influence of esotericism on the creative arts, highlighting its historical significance and contemporary relevance. It explores how esoteric traditions have impacted modern art and literature, emphasizing the intuitive and experiential knowledge they offer beyond traditional faith and rationality. It also discusses the marginalization of esoteric currents by dominant cultural institutions and the resurgence of esoteric ideas in popular culture.

The publication of French translations of Mao's canonical works in the 1950s and 1960s sparked interest among French-left intellectuals. This paper investigates Rancière's appropriation and reinvention of Mao's thinking as an illustration of the exchange between Maoism and contemporary French left-wing theories on literature and art. First, drawing on Mao's "mass line," Rancière values the autonomy of the people rather than the leadership of the Althusserian intellectual elites. Second, Rancière's "part of those that have no part" differs from Mao's "the people" in the concept's scope and in how they are transformed into political subjects. Third, deeply indebted to Mao's "the people's literature and art" that underscores the centrality of ordinary people and their lives, Rancière's theory of politics of literature unleashes the liberating force of art and literature for the sensible of ordinary people, and calls for overthrowing the hierarchy of class politics. [ABSTRACT FROM AUTHOR]

This study aims to investigate the image reconstrual of Shan Gui 山鬼 in the multimodal translation from the poem Shan Gui to three renowned paintings, i.e., Li Gonglin's 李公麟 (date unknown; 1049–1106), Fu Baoshi's 傅抱石 's (1945) and Xu Beihong's 徐悲鸿 (1943), within the framework of social semiotics, and to explore the reason why the image changed through recontextualization. It is found that the image of Shan Gui reconstrued by Li looks like a detached sprite; Fu is a sentimental goddess, while Xu is a mundane human girl. Contextual factors, including scholastic explanations of the poem, the individual orientation of painters, and their media choices, contribute to such image divergence. [ABSTRACT FROM AUTHOR]

This article asserts the critical role of art and literature in the resistance against fascism by situating the aesthetic work of African Americans as central to the transnational phenomenon of the Spanish Civil War. This article highlights the prehistory to the African American support of the Spanish Civil War in 1936 when news of Benito Mussolini's invasion of Ethiopia galvanized members of the Harlem Renaissance. These two conflicts triangulated the imaginaries of the United States, Spain, and Ethiopia, producing a distinct form of antifascist Black transnationalism that extends work by Brent Hayes Edwards, Robert F. Reid-Pharr, and Nadia Nurhussein. To manifest this argument, this article examines Paul Robeson's speeches at rallies in London that he later reprinted in his autobiography Here I Stand (1958) and Claude McKay's posthumously published novel Amiable with Big Teeth about 1936 Harlem. Using archival research, this article analyzes the collage aesthetic of the scrapbook that the activist Thyra J. Edwards compiled in 1937 to record the actions of the Negro People's Committee to Aid Spain. In sum, this article demonstrates the integral role of African American visual culture and literature to the development of twentieth-century antifascist ideology within a transnational perspective. [ABSTRACT FROM AUTHOR]

Jacques Rancière and J. M. Coetzee, exact contemporaries, are both interested the worker's access to aesthetic experience. In Rancière's case, this involves looking backward to the fact that nineteenth-century workers were able to squeeze time from their working lives for art and literature. In Coetzee's case, however, this problem of distributing aesthetic sensibility turns out to be a matter of looking forward in history, and of his own practice. How is he to write in a way that does not unfairly exempt him from work? [ABSTRACT FROM AUTHOR]

The Allgemeines Historisches Taschenbuch, oder Abriss der merkwürdigsten neuen Welt-Begebenheiten (General Historical Pocketbook, or Outline of the most remarkable new world events), published in Berlin in 1784 and supported by the Academy of Arts, contained one of the most important contemporary accounts of the North American Revolution, titled Geschichte der Revolution von Nord-Amerika (History of the North American Revolution) by Matthias Christian Sprengel, professor at Göttingen University. It further contained influential illustrations, among them twelve engravings designed by Academy member Daniel Chodowiecki, each depicting a key motif from the American struggle for independence and its outcome. In the Metropolitan Museum of Art (New York), an original copy of the pocket book with the Geschichte der Revolution has been preserved, and it is unique in that eleven drawings by Johann Heinrich Ramberg are glued in in addition to the original plates. Ramberg of Hanover was to follow Chodowiecki as the most prolific artist in German book illustration. Several of the drawings are dated 1786 or 1787, when the young Ramberg was a fellow at the Royal Academy of Arts in London, studying under the American history painter Benjamin West. These drawings are examined and published in their entirety here for the first time. An article published in Amerikastudien in 1978 first mentioned the drawings in the Metropolitan Museum and their obvious connection to the Chodowiecki prints, stating they posed a "puzzling iconographic problem" because the German artist in London appeared to change the viewpoint in at least one case. This article follows up on Jantz's observation. It examines how Chodowiecki's designs all show the perspective of the British or share a "neutral" outsider perspective. I argue that in nearly all cases, Ramberg moves the observer closer to the action, takes on the perspective of the Americans or one sympathetic to them, shows more emotion and movement than Chodowiecki, and thus invites an emotional reaction from the viewer. The question of whether Ramberg planned publication, though, remains unanswered. [ABSTRACT FROM AUTHOR]

Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain art forms, like music and literature, are such that there can be no forgeries that purport to be of an actually existing work—what Lamarque calls "referential forgeries." Put more clearly, any attempt at referentially forging a musical or literary work just results in making a copy of that work. Lamarque motivates this claim via appeal to another distinction, first made by Nelson Goodman, between "allographic" and "autographic" artforms. This article will evaluate Lamarque's argument that allographic literary works are unable to be referentially forged and will find that it does not pass muster. In so doing, the distinction between allographic and autographic artforms will also be called into question. In Section I, I will characterize referential forgery and Lamarque's definition of allographic and autographic artforms. Section II will critically examine Lamarque's argument against the possibility of referential forgery in allographic artforms. Section III will offer a case where it appears that a putatively allographic text's type membership is sensitive to facts about its causal-intentional provenance. This case will serve as pretext for Section IV's identification of this causal-intentional relation with the sanctioning relation of Sherri Irvin (2005). On the basis of considerations treated in Sections I through IV, Section V will question the tenability of the allographic/autographic distinction. [ABSTRACT FROM AUTHOR]

The article present literary criticism of on Maggie O'Farrell's novel "Hamnet". It discusses O'Farrell's reimagining of William Shakespeare's life and art in the novel is a critical intervention; challenging established perceptions of Shakespeare's personal life and his work. O'Farrell's approach is likened to Shakespeare's own technique of radical excision; and the concept of creative criticism as a genre born of the desire for a renewed encounter with a text.

Starting with the liberal projects of modern nation-state formation, our territory had to be desertified to imagine, build and sustain this process. To challenge these policies and their narratives, it becomes necessary to rewrite new fictions. We begin by examining the figure of the taperas, legacy of the 19th century modernizing project, as a dynamic component of the landscape and, at the same time, as a critical device waiting to be questioned and exhumed as a surviving trace. In this way, the encounter among the poetic traces in the Quiñihual railway station, the vital traces that inhabit the LincoRln desert's Tapera del desierto and the map that emerges between them, interrupt and destabilize the story imposed in the territory of the province of Buenos Aires. [ABSTRACT FROM AUTHOR]

Francisco de Zurbarán’s Crucifixion with a Painter (ca. 1650–55, Museo Nacional del Prado, Madrid) illustrates the devotional aspects of his religious imagery and suggests that artistic production is the result of profound visionary experiences with the artist ultimately acting as a mediator between the divine and the viewer. This article explores the complex intersection of artistic identity and stature and religious devotion and naturalism in evaluating the originality of Zurbarán’s theme. This work’s subject matter also raises essential questions about the relative merits of painting and sculpture that shape one of the core arguments of the paragone in early modern Spain. In addition to the art literature of the Spanish Golden Age, this essay also considers the spiritual texts of the period to establish a theoretical framework for Zurbarán’s art. [ABSTRACT FROM AUTHOR]

The article offers information on Carolyn Forché, an American poet and memoirist known for setting her works beyond America. It discusses Forché's life and work; how her international focus challenges the American-centric worldview; scrutinize the country's ideals and historical narratives, especially in a globalized context; Forché's childhood experiences and how they foreshadowed her artistic and literary commitment; and her efforts confront unpleasant truths through her art and activism.

In the novels Elizabeth Costello, Slow Man, and Life & Times of Michael K, J.M. Coetzee fashions an ethical mode of "writing photographs" rather than "writing about photographs" via the technique of ekphrasis to recreate in prose several vivid and often unsettling images. Through ekphrasis, the reader becomes what Liliane Louvel terms a "reader/viewer" and is drawn into a palimpsestic encounter in which the image activates collective knowledge and experiences of visual media. The use of ekphrasis comes with unique ethical imperatives. Close analysis enables an exploration into the strategies of writing, such as foregrounding what is unseen, that Coetzee employs to respond to such concerns. [ABSTRACT FROM AUTHOR]

This article explores some of the dynamics related to ekphrasis between Late Antiquity and the Middle Ages, focusing particularly on the often problematic, but always fruitful, interplay between the object and its description. My interest lies, more specifically, in what has often been called 'reverse ekphrasis', that is, the process through which the figurative arts engage in producing an equivalent of the verbal text, instead of the other way around. The analysis is structured around a series of case studies related to King Solomon and to the rich artistic patronage attributed to him by the Bible—a patronage that not only was exploited for centuries to create a powerful imagery around kingship, but also had a fruitful effect on the creation of artefacts. [ABSTRACT FROM AUTHOR]

The Arab uprisings ushered an unrealistic level of euphoria across the Middle East and North Africa (MENA); however, ten years on, most of the same dictatorships continue to rule and reactionary forces have only become more powerful. For many, the Arab street has become a more dangerous, even dystopic, place. With democracy curtailed and economic prosperity an unlikely possibility in the near future, some writers and artists in the MENA region are turning away from the nightmares of the present towards the futuristic lands of science fiction and fantasy, imaginary places where they have the freedom to openly reflect upon their predicament. Indeed, it is reported that dystopian literature in Arabic fiction has proliferated in recent years. The same trend can be seen in art: a 2016 exhibition in London billed itself as 'a dazzling journey into the future of Palestine—through both utopian and dystopian visions of what lies ahead'. In this article, I first briefly detail the recent oppression in Egypt and Palestine—what I call the dystopian present—including against artists and writers. I then look at the contemporary role of art and literature as social critique. [ABSTRACT FROM AUTHOR]

This article establishes the works of women poets in the UK, especially those of non-white and mixed-race ancestries, as major players in poetic ekphrasis. Ekphrasis has been defined as 'the verbal representation of a visual representation' (Heffernan 3). Building on the critical studies of the ekphrases by twentieth-century women poets, this article recognizes the increasingly multicultural landscape of contemporary British ekphrastic poetry and engages in detailed studies of the ekphrastic poems from Grace Nichols's Picasso, I Want My Face Back (2009) and Pascale Petit's What the Water Gave Me: Poems after Frida Kahlo (2010). The two case studies demonstrate how women poets of non-white and mixed-race ancestries return to engaging with art from a diasporic perspective or art from a foreign culture and to exploring the potential and limits of art as a life-, self- and trauma-transmuting agent. The article simultaneously reveals the diverse purposes of ekphrasis in contemporary poetry, as seen in the ekphrastic practices of Nichols, Petit and other women poets. [ABSTRACT FROM AUTHOR]

A literary criticism of the essay "Para una teoria del arte," written by Macedonio Fernández is presented. It examines Fernández's place in art history, the general theory of art discussed in the essay, critics' view of the role of Fernández's literary project in art history, and Fernández's conceptualization of art in terms of emotion.

The article discusses how do feministand queer activist imaginaries respond to, initiate, mitigate, enable and complicate the ongoing process of radical transformation in the world .Topics include analyses of how the famous feminist expression in the era of climatic, pandemic, economic and political crises, particularly in the European context; and reflects on women's courageous resistance identifies as ‘gender apartheid' in Afghanistan with transformative politics in writing, and art.

The article explores the commitment of historian Bernard Bailey in teaching after his retirement through the course, History 2910. Topics discussed include the reason of Bailey for accepting the challenge of teaching after his retirement as requested by Harvard University's History department chair William Kirby, the syllabus used by Bailyn in the class in the fall of 1996, and Bailyn's introduction of history as a form of literary art.

The article discusses the importance of poetry and its meaning, purpose, and significance. It highlights that poetry offers freedom-not the promise, or the rhetoric, or the image of freedom, but the real-time experience, the sensation, of transcending constrictions of place, person, and circumstance. It also notes that once to feel truly free is to acquire an impatience, an intolerance even, of oppressions great and small.

This introduction provides an overview of this Roundtable on Dante Gabriel Rossetti and music. In addition to situating the issue in relation to previous studies of Rossetti and music, poetry and art, and suggesting some topics for future research, a summary of each article is provided, outlining its content and significance. [ABSTRACT FROM AUTHOR]

This paper analyzes the issue of visuality in Lorenzo Garcia Vega's poetry, focusing on its relationships to visual arts. As I show, the visuality of Garcia Vega's poetry often presents itself under the form of painting hypothesis, i.e., the narration of conjectural paintings. Such narrated paintings--frequently unfinished--aim to bring to the mind of the reader the immediacy and concreteness of what the poet-painter observes, but also that of what he imagines. In this sense, I argue that Garcia Vega's poetry shares with certain avant-garde tendencies their non-representational character, interpreting his focus on the most concrete aspects of our visual field--such as geometrical forms and colors--as a strategy to evade fiction. [ABSTRACT FROM AUTHOR]

The article analyzes the supposed influence of the Bosco's painting in the book by Lope de Vega, Rimas humanas y divinas del licenciado Tomé de Burguillos, refuting the scholar Sánchez Jiménez and denying a relationship between the pictorial work of the one and the poetics of the other. [ABSTRACT FROM AUTHOR]

In his comic Rückwärtsland (2021), Henning Wagenbreth uses the possibilities of literature and art to stop and reverse time. On the one hand, this calls into question existing (pictorial) conventions. On the other hand, the retrograde operations achieve an absurdly humorous effect on a linguistic and pictorial level. This article illustrates on which narrative techniques the illustrator calls in order to discuss philosophical questions about existing causal relation. Furthermore, impulses for didactic follow-up actions are offered. [ABSTRACT FROM AUTHOR]

Comics are closely related to literature and the visual arts. However they are an independent art form. The aim of this article is to use selected examples to show how visual storytelling functions and especially what reception requirements they afford. At the same time the content of the selected comics opens up a perspective on the visual arts, its significance, its development, its possibilities of effect and meaning. Teaching methods accompany the reviewed comics and offer suggestions for practical follow-up activities – from elementary to secondary school. [ABSTRACT FROM AUTHOR]

This essay examines the work of twenty-first century Somali Anglophone writers and artists, analyzing how they confront the connected experiences of displacement, migration, and surveillance. The work of Warsan Shire, Diriye Osman, Ladan Osman, and Ifrah Mansour embodies place-based transnationalisms that resist stereotypical media and political representations of Somali refugees as invasive and dangerous, especially gendered clichés of Somali, Muslim men as inherently violent and Somali, Muslim women as universally oppressed. Through writing, art, and performance, these works reveal how the state prevents communities from caring for one another through state apparatuses and articulate instead a right to mutuality and caretaking. [ABSTRACT FROM AUTHOR]

Since Gert Schiff's magisterial publication of 1973 on Henry Fuseli (1741–1825), a print identified as representing the enslaved prince Oroonoko has raised unsettling questions about the complex implication of even liberal, abolitionist eighteenth-century artists and intellectuals in the world system of enslaved labor. But problems of fit with Thomas Southerne's 1695 play Oroonoko, popular throughout the eighteenth century, and with Aphra Behn's 1688 eponymous novel demand a reattribution, placing the print in a debate about not only slavery in the Americas but also race, classicism, and the merits of Indigenous and European civilization in South Africa. [ABSTRACT FROM AUTHOR]

Many people assume that fictional entities are encapsulated in the world of fiction. I show that this cannot be right. Some works of fiction tell us about pieces of poetry, music, or theatre written by fictional characters. Such creations are fictional creations, as I call them. Their authors do not exist. But that does not take away that we can perform, recite, or otherwise generate actual instances of such works. This means we can bring such individuals actually into existence, as the works they are. I conclude that the assumption about encapsulation is untenable, unless an exception is made for types. [ABSTRACT FROM AUTHOR]

This essay analyses a unique instance in western India around 1800 in which artists attempted to visualize rhythm (tālamālā) by co‐ordinating artistic with natural measures. While they looked to earlier templates of picturing music, such as of melody in rāgamālā, the artists sought forms of inspiration specific to rhythm. In particular, they turned to the workings of time, from a composition's tempo to a person's mental activity, to an animal's gait and to the moon's wax and wane. These intersecting temporal and rhythmic concepts, however, were abstract. To draw them into a visible realm, the painters relied on analogy as a method of comparison. They affiliated human‐made rhythms in texts, pictures, and dance with those produced in the natural world, by the sun and moon, termites and snakes, the earth and rivers. By mobilizing their understanding of the environment, and people's place within it, the artists of these paintings managed to picture rhythm through a rare turn to ecology in the history of South Asian painting. [ABSTRACT FROM AUTHOR]

The rise of the diaristic mode in contemporary art might seem like the return of the dead author in a particularly self‐absorbed frame of mind. Yet the diary is a form of writing that relinquishes authorial control to the passing moods and contingencies of the day. The diarist writes hastily, automatically, involuntarily, thereby giving access to insights unavailable to deliberation. An account of Roland Barthes's Mourning Diary, 2009, and his reflections on the diary as a form of writing serve to introduce the diaristic work of two contemporary artists, Moyra Davey and Susan Morris. Their work is directly informed by Barthes's and others' experiments with a mode of address that is intimate, but also de‐centred and fragmentary. [ABSTRACT FROM AUTHOR]

The article presents an interview of author Gloria Posada about role of her poems to present, like a soft but always constant song. Topics discussed include relationship of literature and art with the sacred, a cosmogony; support of critic Luis Fernando Valencia to Posada work; and inspiration from Bible for writing poems.

This article contrasts hostility toward visual and literary art in English radical Puritanism before the late seventeenth century with the central role of art for Dutch Mennonites, many involved in the commercial prosperity of Amsterdam. Both 1620s Mennonites and 1650s–1660s Quakers debated the relationship between literal truth of the Bible and claims for the power of a personally felt Holy Spirit. This was the intra-Mennonite "Two-Word Dispute," and for Quakers an opportunity to attack Puritans who argued that the Bible was literally the Word of God, not the "light within." Mennonites like Jan Theunisz and Quakers like Samuel Fisher made extensive use of learning, festive subversion and poetry. Texts from the earlier dispute were republished in order to traduce the Quakers when they came to Amsterdam in the 1650s and discovered openness to conversation but not conversion. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses articles in the issue on topics including Black print culture; relationship between the arts, citizenship. and freedom; and study of the arts in the Black press.

This article explains the founding of the ELT Period, also called the Transition Era, 1880-1920. The many "minor" authors discussed here, whom Samuel Butler referred to as the "hewers of wood and tillers of the soil," played an important role in preparing the ground for Yeats, Eliot, James Joyce and other moderns. The period from 1880 until about 1920 seems like Walter Pater's late twelfth and early thirteenth centuries, "a brilliant but in part abortive effort" to revitalize Art and Life, a "little renaissance" but a renaissance nevertheless. The article directs its attention to the energy in quest for newness, a new life in the arts and a new artistic temperament in life, concentrating on two kinds of evidence: that which bears on the language and form of art; that which bears on the content of art. [137 words] [ABSTRACT FROM AUTHOR]

This article offers an overview, moving from bad to better to the best examples of the T. E. Lawrence (Lawrence of Arabia) comics. It may seem that the Lawrence comics are at best just for older children and at worst superficial, sensationalist, and false—which confirms most people's idea of the comics in general. But there is one example in particular (Tomako Kosaka's T. E. Lawrence) that contradicts that impression. In this overview and analysis bad is defined as being historically inaccurate in word and image; better as being only partially inaccurate; best as being not only acceptably accurate but also possessing literary and artistic merit. Although it may have taken longer than in other media, the Lawrence story has indeed come of age in the comics. Tomako Kosaka's striking example, however controversial or even flawed, holds the possibility of more serious and excellent work to come. [ABSTRACT FROM AUTHOR]

In Los Trabajos de Persiles y Sigismunda, his last novel, Cervantes makes its protagonists order a painting that retells their story in pictures and is meant to be carried with them, and brought up to date, during the rest of their journey. He thus establishes a rich and curious reflection on the powers of image-making in, and with, narrative. Is there any particular meaning to the fact that he conceived of this painter as a Portuguese in Lisbon? This question is approached in this article from the point of view of what Portuguese writers were doing with the relationship between words and pictures in narrative around the time Cervantes himself lived in Lisbon. The conclusions point to a conjoined series of occurrences, both in artistic theory and in narrative practice, that seems to validate the idea that Cervantes derived from Portuguese narrative works certain notions about the desired collaboration between the arts of poetry and painting. [ABSTRACT FROM AUTHOR]

Currently, more than 70 flaviviruses were identified and reported in the literature, whose Dengue (DENV), Zika (ZIKV), and West Nile (WNV) viruses have been responsible for millions of cases of infections worldwide, mainly in developing countries. These viruses are transmitted by the bite of mosquitoes from genus Aedes , or Culex and, in some cases, Stegomyia. Despite numerous efforts to identify a selective, safe, and effective antiviral agent, there is no currently approved drug for the treatment of flaviviral infections. Then, current pharmacological therapy has the objective to treat the clinical symptoms. Various peptidomimetics and peptide-derivatives have been synthesized and evaluated against several biological targets from flaviviruses with different applications, such as diagnosis, E protein inhibitors, entry inhibitors, virucidal inhibitors, and also viral replication inhibitors. Flaviviral replication depends on the NS3pro that is completely activated when it is complexed to its cofactor, NS2B; forming a viral enzymatic complex. The development of NS2B-NS3pro inhibitors is considered a challenging work due to its active site is shallow and open-pocket. In this work, we report all advances involving peptidomimetics, peptide-derived, and peptide-hybrids found in the literature. In sense, we discuss the influence of different functional groups in the activity and selectivity. Moreover, the first inhibitors reported in the literature as covalent ligands, comprising two basic residues followed by an electrophilic moiety that binds to the catalytic serine (Ser135–O−) are also discussed in details, such as trifluoromethyl ketones, aldehydes, and boronic acids. Furthermore, it is presented the influence of introducing transition metals, providing metallopeptide inhibitors; and cyclization of linear peptides, generating cyclic and macrocyclic peptide inhibitors. Finally, we provide the most accurate state of the art found in the literature, which can be utilized to design new and effective antiviral agents. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "Christina Rossetti: Poetry in Art" edited by edited by Susan Owens and Nicholas Tromans is presented. It outlines Rossetti's art and poetry together, including her own artworks, illustrations to her writing and art. It further discusses pictures in Rossetti's possession and her ambivalent relationship with visual art; and also mentions about the significant place of Christianity in nineteenth-century environmentalism.

While the idea of exemplification or role-modelling as a means to the education of moral character and virtue is of ancient pedigree—traceable at least to Aristotle's ethics—the influence of personal example is clearly not unproblematic since individuals may be admired or imitated for less than morally admirable qualities. However, personal exemplification is evidently not the only route to moral exemplification, insofar as readers may find much to admire or emulate in the characters of literary or other artworks which may allow for some critical distance between admired and admirers. This article is concerned with exploring the potential for moral exemplification of literature and arts. [ABSTRACT FROM AUTHOR]