The Boots

INTERSTUDIA, 2017

The main objective of Ezequiel Ferriol’s article is to answer a question posed by the editor and commentator Martin Gardner: “Why in the world were they sharpening a spade?” (Gardner 2006: 44), in relation to what the crew of Lewis Carroll’s «The Hunting of the Snark» was doing for seeking that impossible creature: “the Boots and the Broker were sharpening a spade”. By performing a philological analysis of any possible locus similis throughout Carroll’s works, the author studies all matches found in the light of semantics, semiotics, and transtextuality.

K Baker, R Carden & R Madgwick (eds) Deer and People, Oxford: Windgather Press, 2015, pp 208-15, 2015

Excavations in the 1960s on the site of the short-lived motte-and-bailey castle at South Mimms (then in Middlesex, now in Hertfordshire) recovered, among mid-12th-century demolition debris, part of a red-deer skull and antler, a hole drilled through the antler containing the remains of an iron nail or peg. At the time the excavators suggested it had been intended to be fixed to a wall as a ‘hunting trophy’. This paper discusses this hypothesis, in the light of more recent finds for which a similar identification has been proposed. However, it also considers possible alternative functions in medieval ceremony or ritual, in particular popular customs of the type evidenced by early medieval churchmen’s condemnation of those who went out ‘cervulum facientes’ (playing the stag) at the New Year.

Charles L. Dodgson's and Henry Holiday's hidden curriculum in "The Hunting of the Snark": When looking for allusions in Lewis Carroll's and Henry Holiday's "The Hunting of the Snark" to works of other illustrators, painters, authors, events etc., a matrix could be used to indicate possible relations. --- This file also contains photos and images depicting Benjamin Jowett, Henry George Liddell and Henry Holiday and relates them to the "Butcher", the "Billiard Marker" and the "maker of Bonnets and Hoods".

Renaissance Drama

A commentary on Stephen J. Gould, Hen's teeth and horse's toes. Essays on natural History

W. Claes, M. De Meyer, M. Eyckerman, D. Huyge (eds), Remove that Pyramid! Studies on the Archaeology and History of Predynastic and Pharaonic Egypt in Honour of Stan Hendrickx, 2021

White Cross-lined beaker in the collection of the Garstang Museum of Archaeology, University of Liverpool. The partly-preserved painted decoration consists of a hunting scene in which an ibex is prey to hunting dogs, a theme otherwise known from several contemporaneous painted vessels of the same class. The style and details of this fragment allow to attribute it to a specific painter who produced several pottery vessels excavated at Naqada.

Many art critics and theorists in late-eighteenth and early-nineteenth-century France believed that the representation of accurate clothing in works of art promoted the status of French art. As early as the 1760s this desire for a new morality was signalled in the work of Joseph-Marie Vien and his famous pupil Jacques-Louis David by the adoption of classical dress and subject matter in the genre of history and allegorical painting. To support artistic engagement costume dictionaries were produced in Europe, and particularly in France, to illustrate and describe in more practical detail the different items of clothing, varieties of hairstyles, ornaments and accessories that made up the ancient way of life. This article focuses on the Sackler Library's copy of Michel François Dandré-Bardon’s Costume des Anciens Peuples.

Bibliographical Society of Australia and New Zealand Bulletin, 2003

In this essay, I identify five ornaments omitted by Richard Goulden, in his Ornament Stock of Henry Woodfall (1988), listing 155 works which contain these ornaments.

Many say that all fairy tales are alike. They seem to follow a certain pattern, exhibit the same traits, and that, when deconstructed, they are made up of fundamentally the same thing. While this may be correct for most fairy tales, The Elves and the Shoemaker is the exception to the rule. Unlike most fairy tales, it does not have a main tangible villain, and does not follow a set pattern of events. There is no blatant interdiction, nor are there many members of the dramatis personae. What it does have, however, is a set of reassuring motifs and symbols which help the story express quite a few themes. This use of both symbol and motif makes The Elves and the Shoemaker an effective fairy tale that will be remembered for centuries to come.