In the second and final part of Jared Baxter’s essay, he concludes analyses that Vincent van Gogh had the Last Supper in mind when he painted his Café Terrace on the Place du Forum, Arles, at Night.
Jared Baxter gets to the bottom of why one of Vincent van Gogh’s most famous paintings, the Café Terrace on the Place du Forum, Arles, at Night, can be identified as a Symbolist Last Supper
Jared Baxter looks at Vincent van Gogh’s Starry Night, advancing that the painting was inspired by Dante’s vision of the Empyrean Heaven.
Jared Baxter looks at the ways Vincent van Gogh held Dürer’s “Christ as the Man of Sorrows” in mind when he crafted his “Portrait of Dr. Gachet”.
Jared Baxter examines how Vincent van Gogh interpreted Rembrandt’s Slaughtered Ox as an allegorical self-portrait and mirroring of the artist’s plight and destiny.
Arthur Shattuck O’Keefe examines how the theme of the individual versus authority in the works of Mark Twain has relevance not only to the world Twain lived in, but to our own, and to human society generally.
Qiang Fu looks at the depiction of consumerism in Jean Rhys’s novels. Does it indicate an evolving capitalist culture or does it challenge us to determine the status of resistance and complicity within capitalist and imperialist regimes?
America has long been taken up with the issue of cultural identity, and its literary authorship has been no less engaged. Who gets to say what writing best speaks for the culture? A. Robert Lee examines the formation of the American literary canon.
Professor Myles Chilton reflects in what is at stake in transgressing disciplinary limits in English language teaching. What are the limits? Who sets these limits? What is the value of incorporating English literature study into the study of English language?
Professor Bill Ashcroft uses two very different examples of Indigenous art to look at how art and literature can have the capacity to speak to power by speaking beyond it in the context of twentieth-century conflict.
You must be logged in to post a comment.
