Marika Takanishi Knowles
Biographic Data
| ID | 1595077 |
|---|---|
| NAME | Marika Takanishi Knowles |
| GIVEN NAMES | Marika Takanishi |
| FAMILY NAME | Knowles |
| SIGNATURE | KNOWLES M T |
| AFFILIATIONS | University of St Andrews |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Sexual Violence in The Miseries and the Misfortunes of War by Jacques Callot (1633)
The Miseries and the Misfortunes of War (1633) by Jacques Callot is one of the most significant artistic reflections on multiple, fracturing military conflicts in seventeenth-century Europe. In this series of eighteen etchings, the question of wartime sexual violence arises as a part of Callot’s engagement with the subject of pillaging soldiers. This is the only time in Callot’s œuvre that he represents rape; it is also the only time that he repr…
The Reluctant Pressman
In the celebrated series of prints The Miseries and Misfortunes of War (1633), Jacques Callot depicts an executioner striking the same pose that was widely used during the period to represent the operator of a copperplate roller press. Taking this parallel as a starting point, this essay explores the representation of the pressman and the printers’ workshop in relationship to Callot’s depiction of the soldier’s life. In both the workshop and the …
Marika Takanishi Knowles. Review of "LA RÉGence À Paris (1715–1723). L'Aube DES LumiÈRES" by José de Los Llanos and Ulysse Jardat
A Delicate Matter
Making Whiteness
Marika Takanishi Knowles Josiah Wedgwood’s anti-slavery medallion, “Am I Not a Man and a Brother?” (1787), is widely known as an example of the fraught representation of enslaved persons during the eighteenth century
Paperwork and fragmentation in Edgar Degas’s “Bureau Pictures”
This article identifies a group of paintings by Edgar Degas as “bureau pictures,” representations of workplaces, creative or commercial, in which piles of paper are spread on desks. Through his depiction of paper, as well as his affective casting of the way in which human figures relate to their piles of paper, Degas explores the intertwined gestures of creative and bureaucratic labor. Paper’s tendency to offer a medium for fragmentation was repr…
The French fragment
Peer reviewed
Time-chaste damsels
Ornament in the Kitchen Garden
Lost Ground
Journal Article Lost Ground: The Performance of Pierrot in Nadar and Adrien Tournachon's Photographs of Charles Deburau Get access Marika Takanishi Knowles Marika Takanishi Knowles [email protected] Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 38, Issue 3, December 2015, Pages 365–386, https://doi.org/10.1093/oxartj/kcv022 Published: 26 October 2015
Ornament in the Kitchen Garden
Lost Ground
Journal Article Lost Ground: The Performance of Pierrot in Nadar and Adrien Tournachon's Photographs of Charles Deburau Get access Marika Takanishi Knowles Marika Takanishi Knowles [email protected] Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 38, Issue 3, December 2015, Pages 365–386, https://doi.org/10.1093/oxartj/kcv022 Published: 26 October 2015
Lost Ground
Journal Article Lost Ground: The Performance of Pierrot in Nadar and Adrien Tournachon's Photographs of Charles Deburau Get access Marika Takanishi Knowles Marika Takanishi Knowles [email protected] Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 38, Issue 3, December 2015, Pages 365–386, https://doi.org/10.1093/oxartj/kcv022 Published: 26 October 2015
Ornament in the Kitchen Garden
Time-chaste damsels
Paperwork and fragmentation in Edgar Degas’s “Bureau Pictures”
This article identifies a group of paintings by Edgar Degas as “bureau pictures,” representations of workplaces, creative or commercial, in which piles of paper are spread on desks. Through his depiction of paper, as well as his affective casting of the way in which human figures relate to their piles of paper, Degas explores the intertwined gestures of creative and bureaucratic labor. Paper’s tendency to offer a medium for fragmentation was repr…
The French fragment
Peer reviewed
Making Whiteness
Marika Takanishi Knowles Josiah Wedgwood’s anti-slavery medallion, “Am I Not a Man and a Brother?” (1787), is widely known as an example of the fraught representation of enslaved persons during the eighteenth century
The Reluctant Pressman
In the celebrated series of prints The Miseries and Misfortunes of War (1633), Jacques Callot depicts an executioner striking the same pose that was widely used during the period to represent the operator of a copperplate roller press. Taking this parallel as a starting point, this essay explores the representation of the pressman and the printers’ workshop in relationship to Callot’s depiction of the soldier’s life. In both the workshop and the …
Marika Takanishi Knowles. Review of "LA RÉGence À Paris (1715–1723). L'Aube DES LumiÈRES" by José de Los Llanos and Ulysse Jardat
A Delicate Matter
Sexual Violence in The Miseries and the Misfortunes of War by Jacques Callot (1633)
The Miseries and the Misfortunes of War (1633) by Jacques Callot is one of the most significant artistic reflections on multiple, fracturing military conflicts in seventeenth-century Europe. In this series of eighteen etchings, the question of wartime sexual violence arises as a part of Callot’s engagement with the subject of pillaging soldiers. This is the only time in Callot’s œuvre that he represents rape; it is also the only time that he repr…
Art (8 works) · Historical Studies and Socio-cultural Analysis (6 works) · Aesthetics (4 works) · Computer Science (4 works) · Historical Art and Culture Studies (4 works) · History (4 works) · Art history (3 works) · European Political History Analysis (3 works) · Sociology (3 works) · American Constitutional Law and Politics (2 works)