Isaac Azzopardi | University of Malta (original) (raw)
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Papers by Isaac Azzopardi
The Bell Jar, and in essence Sylvia Plath, nestle in the arms of the feminist—a tender and catato... more The Bell Jar, and in essence Sylvia Plath, nestle in the arms of the feminist—a tender and catatonic parable of the American mid-century woman, caught between two worlds: the institution of the American family and the liberation of the independent woman, against a background of haunting, cold war politics.
The focus of this essay is an exploration of Romanticism as an early sentiment of Anthropocene, a... more The focus of this essay is an exploration of Romanticism as an early sentiment of Anthropocene, an immediate reactionary movement against the Industrial Revolution and the Enlightenment, and uses as an early trigger notions put forward by early proponents of Anthropocene and environmental preoccupation, like Alexander von Humboldt .
The beginnings of Gothic sculpture may be placed in the second half of the twelfth century. By th... more The beginnings of Gothic sculpture may be placed in the second half of the twelfth century. By the early thirteenth century, bodies acquired more three-dimensional mass, more flexibility, more natural poses and drapery, and more individual faces. Later thirteenth-century sculpture gave up this monumental power for more specific anatomy, actions, and emotions. Late fourteenth-century work continued in the direction of greater mass and more portrait detail in faces.
Show how this stylistic development, while presenting a considerable variety, was at the same time quite uneven.”
The beginnings of Gothic sculpture may be placed in the second half of the twelfth century. By th... more The beginnings of Gothic sculpture may be placed in the second half of the twelfth century. By the early thirteenth century, bodies acquired more three-dimensional mass, more flexibility, more natural poses and drapery, and more individual faces. Later thirteenth-century sculpture gave up this monumental power for more specific anatomy, actions, and emotions. Late fourteenth-century work continued in the direction of greater mass and more portrait detail in faces. Show how this stylistic development, while presenting a considerable variety, was at the same time quite uneven. "
The Bell Jar, and in essence Sylvia Plath, nestle in the arms of the feminist—a tender and catato... more The Bell Jar, and in essence Sylvia Plath, nestle in the arms of the feminist—a tender and catatonic parable of the American mid-century woman, caught between two worlds: the institution of the American family and the liberation of the independent woman, against a background of haunting, cold war politics.
The focus of this essay is an exploration of Romanticism as an early sentiment of Anthropocene, a... more The focus of this essay is an exploration of Romanticism as an early sentiment of Anthropocene, an immediate reactionary movement against the Industrial Revolution and the Enlightenment, and uses as an early trigger notions put forward by early proponents of Anthropocene and environmental preoccupation, like Alexander von Humboldt .
The beginnings of Gothic sculpture may be placed in the second half of the twelfth century. By th... more The beginnings of Gothic sculpture may be placed in the second half of the twelfth century. By the early thirteenth century, bodies acquired more three-dimensional mass, more flexibility, more natural poses and drapery, and more individual faces. Later thirteenth-century sculpture gave up this monumental power for more specific anatomy, actions, and emotions. Late fourteenth-century work continued in the direction of greater mass and more portrait detail in faces.
Show how this stylistic development, while presenting a considerable variety, was at the same time quite uneven.”
The beginnings of Gothic sculpture may be placed in the second half of the twelfth century. By th... more The beginnings of Gothic sculpture may be placed in the second half of the twelfth century. By the early thirteenth century, bodies acquired more three-dimensional mass, more flexibility, more natural poses and drapery, and more individual faces. Later thirteenth-century sculpture gave up this monumental power for more specific anatomy, actions, and emotions. Late fourteenth-century work continued in the direction of greater mass and more portrait detail in faces. Show how this stylistic development, while presenting a considerable variety, was at the same time quite uneven. "