The essay is a drawing out of implications in the sketches, a suspension of related but different thematic molecules, from which on a 'like to like' principle, sketches are periodically hatched. Colloidal structures are formed at the interface between media: dispersing text and image through each other, the book's design discovers a new interface. Each page exhibits an 'enormous development of surface relative to the amount of matter present'. The magnification of subdivisions (the page) produces new textua distributions intermediate between the solid and the gaseous. The book inhabits its own neglected dimensions. It is a worked example of the view that writing and drawing enact and mobilise what they describe: in a CAD-dominated design culture, this redefinition of representation is timely and liberatory.
]]>The enduring influence of Saint Laurent's designs in modern fashion is undeniable. Concepts introduced by Saint Laurent, like the tuxedo jacket for women and the sheer blouse and dress, have become staples in contemporary fashion, transcending their origins to become symbols of power, elegance and sexuality. His ability to anticipate and articulate the needs and desires of the modern woman has left a lasting blueprint for how fashion interacts with social change and individual identity. Moreover, even after his death at 71 in 2008, Saint Laurent's integration of art and fashion continues to inspire current designers, seen in the ongoing collaborations between high fashion and contemporary artists.
Saint Laurent was above all an artist of synthesis, of agglomeration and reshaping, of conglomeration and adaptation. His work is a fusion of the tactile and aesthetic with fancy and supposition for his interiors are not what were but could have been, a projection of imagination and personality. It is a straddling of two separate worlds, which is crucial to fashion. His significance is in making this explicit.
]]>Vicki Karaminas is Professor of Fashion and Director of Doctoral Studies for the School of Design, Massey University, Aotearoa New Zealand.
]]>It applies the conceptual framework of imperial citizenship to nine case studies of settlers and Indigenous peoples who lived through these decades to make two main arguments. It argues that colonial subjects adapted imperial citizenship to both support and challenge settler sovereignty, revealing the continuing importance of imperial authority in self-governing settler spaces. It also posits that imperial citizenship was rendered inoperable by a combination of factors in both Britian and the colonies, highlighting the contingency of settler colonialism on imperial governmental structures and challenging teleological assumptions that the rise of settler nation states was an inevitable result of settler self-government.
]]>It examines colour in relation to six key themes hygiene, emotion, humanisation, homeliness, play, consumerism which are tied together by the idea of the 'modern' hospital. The book does not simply describe changes to the appearance of hospitals over time, but instead thinks expansively about the role of colour in shaping how hospitals felt. It uses colour to understand the layered meanings of modernity in twentieth-century Britain, and its relationship to the 'mundane' or everyday life of hospitals.
]]>Approaching translation as an interpretive process, but also a mode of literary emulation and cultural engagement with Petrarch's prestigious precedent, the collection explores the complex and interconnected trajectories of both poetic works in English and Scottish literary milieux. While situating each translation in its distinct historical, material, and literary context, the essays trace the reception of Petrarch's works in early modern Britain through the combined processes of linguistic and metric innovation, literary imitation, musical adaptation and cultural and material 'domestication'.
The collection sheds light on the origins and development of early modern English Petrarchism as part of wider transnational and indeed, translational - European literary culture.
]]>Featuring examples from China, former Czechoslovakia, Greece, Hungary, India, Japan, Romania, the United Kingdom and the United States, the contributors discuss women's engagement with science across different institutional and non-institutional sites, ranging from the laboratory and the school to the clinic, the home and the media.
The volume moves beyond the professional scientist model to enlarge our understanding of women's participation in twentieth-century science and document the complex combination of factors that rendered such contributions (in)visible to contemporaries and future generations.
]]>His architectural practice, Sir Percy Thomas & Son, designed much of the post-1945 welfare state and industry in Wales and beyond. In the late twentieth century, the Percy Thomas Partnership specialised in complex healthcare, industrial and public buildings, becoming an international practice.
This comprehensive, meticulously-researched history examines the architecture of Percy Thomas in depth for the first time, and explores its wider social and political significance. Arguing that the practice sustained an ethical approach to architecture as a 'national service' for the benefit of society, this book gives new insights into the role of the architect and the changing relationships between the built environment and the state throughout the century. Its unique perspective from Wales promises to reshape our understanding of modern architecture.
]]>It considers his interaction with Rush Rhees, his stimulus for the Swansea School, and his broader influence on students, academics and a plethora of writers from a range of disciplines and interests. The contributors view Wittgenstein's philosophy and legacy from different perspectives, which include explanations and assessments of Wittgenstein's time and work at Swansea; historical and cultural scene setting; analyses of the Swansea School; literary comparisons; ideological evaluations; and a range of intimate reflections and commentaries.
The volume editor additionally offers some psychogeographical observations in consideration of Wittgenstein's present-day significance to Swansea.
]]>The Stalker Film responds to an ongoing cultural conflict narrativised as the fight to protect self and community, and does so within a specific 197881 historical period. As a postmodern work, the surface material of the Stalker Film alludes to past and ongoing cultural forms, to Alfred Hitchcock's Psycho, for example, to the theories of Sigmund Freud, or even to Laura Mulvey on the male gaze. These forms are not used to enlighten but are exploited to maximum visceral effect. Positioned at the rise of the Reagan era, the Stalker Film questions the Horror Film genre and engages a mass audience response.
]]>'Magisterial.' MAIL & GUARDIAN
'Indispensable.' AFRICA REVIEW OF BOOKS
]]>John Kinahan is an archaeologist based in Namibia.
]]>About Critical Muslim: A quarterly publication of ideas and issues showcasing groundbreaking thinking on Islam and what it means to be a Muslim in a rapidly changing, interconnected world. Each edition centres on a discrete theme, and contributions include reportage, academic analysis, cultural commentary, photography, poetry, and book reviews.
]]>Undermining their assaults on truth, In Defense of Reason After Hegel shows how the fundamental character of nature and of mind allow reason to be autonomous and allow us to enact a reality of freedom in accord with right and freely create works of fine art. The book examines how life and language provide the means for reason to be autonomous and how the autonomy of thought precludes natural evolution or bioengineering from enhancing our capacity for philosophical thinking. It unravels the perplexities of the logic of self-determination and to show how the will can achieve self-determination in the conventions by which agents engender the institutions of freedom.
The book then unveils the limitations of the principle of contradiction, which bars the way to an understanding of how anything can be determinate and how thought and action can be free. Thereupon the paradoxes that arise in thinking time are resolved by liberating thought of the formality of the principle of contradiction. The revolutionary character of Hegel's conception of consciousness is next explored to make intelligible how animals and young children can be conscious and self-conscious, as well as how philosophical thought can overcome the epistemological limitations of the opposition of consciousness.
On this basis, the book draws upon Hegel's Philosophy of Mind to show how language can originate and be an appropriate vehicle of autonomous reason. The book examines the structure of the institutions of freedom that talking animals can enact. It highlights the philosophical underpinnings of the fundamental shortcomings in the American constitution and American society and draws lessons from the author's recent campaign to shed light on how the philosophy of right can be a guide to social reform. It also examines how the autonomy of fine art can be realised in sculpture, contrary to claims made by Hegel that would tie this individual art to the classical style.
]]>Within the context of what some writers see as the fabrication and fakery of the traditional novel and given their desire to move closer in their writing to the 'truth' of 'reality', the monograph focuses on the work of four authors (Karl Ove Knausgaard, Rachel Cusk, Jeanette Winterson, and Xiaolu Guo), all of whom have produced novels, as well as autobiographically informed works and accounts of their lives, along a fact-fiction continuum. Against the backdrop of a seeming hunger for reality, and a distrust of fabrication, the monograph is interested in revisiting assumptions about genre, with a view to problematising conventional understandings of what separates fiction and non-fiction. In focussing on specific works by the named authors, it seeks to show the extent to which their work enacts aspects of a contemporary concern with the nature and constitution of reality, and the status of an auto/biographical subject produced through writing.
]]>In an effort to address not only why Franco-American marriages occurred but also how and why the dynamics that produced them changed over time, this work examines and compares two transnational marriage patterns in different historical contexts: the first, when wealthy American heiresses married French aristocrats during the second half of the 19th century - a period marked by relatively free transatlantic circulation and mobility - and the second, when borders were far more solidified - during the world wars when French women entered into matrimonial contracts with American soldiers.
The purpose of this work is twofold. In an effort to provide new categories of analysis that place the human experience into broader, more global perspectives, the first is to show how concepts of transnational marriage and courtship allow the historian to move further beyond the analytical frameworks of national histories by forcing the researcher to reconsider the ways in which one thinks about family formation and the permeability of national borders during these different stages of the national project. The second is to challenge underlying assumptions in existing historiographical explanations that those who crossed national borders to couple or to marry did so for purely socio-economic reasons. Nicole Leopoldie contends that such rationalisations are simply too narrow and that at the intersection of cross-cultural encounter and transnational coupling stood a profoundly emotional experience. Therefore, greater analytical considerations need to include both cultural and emotional motivations that were always in the background.
Situated in the methodologies of transnational history, cultural history and the history of emotions, Transnational Coupling in the Age of Nation Making during the 19th and 20th Centuries examines and compares courtship and marriage patterns that occurred between France and the United States during the 19th and 20th centuries. Because the social practices of courtship and marriage became mechanisms through which borders were crossed and new cultural spaces were created, these relationships represent important elements of transnational entanglements. This work, therefore, seeks to examine not only the ways in which observable patterns of transnational marriage emerged out of social spaces of cross-cultural encounter between the two societies but also how the dynamics of those encounters changed over time. While existing scholarship on the subject has pointed to obvious socio-economic motivations for these marriages, Nicole Leopoldie contends that such rationalisations are simply too narrow and that greater analytical considerations need to include both cultural and emotional motivations that were always in the background. By locating and identifying transnational spaces that produced marriages and analysing the cultural and emotional dimensions of those spaces, she argues that marriage participants were largely driven by a strong emotional attachment to perceived cultural differences that stretched beyond the national polity. Within the shifting global contexts of the 19th and 20h centuries, these marriages, therefore, provoke important questions regarding family formation, the role of marriage in the making of national cohesion and belonging, and the permeability of national borders during different stages of the national project.
]]>In this study of influences on Byron's verse and Byron's European impact, I explore these borrowings and transformations as they manifested themselves in his reading. At issue is the very concept of romantic poetic voice. Framing himself in the tradition of the Irish yet cosmopolitan Thomas Moore, Byron adopted continental guises, imitating both Italian writers and political heroes, such as Dante, Machiavelli, and Tasso. In establishing an Italian identity, Byron relied upon the Italian writers he translated (Pulci, Dante), Thomas Moore's 'Fudge Family in Paris', and Shelley's 'Julian and Maddalo', as well as Goethe's Faust.
This Europeanisation of Byron should not conceal the fact that Byron adopted poses from his predecessors, such as Walter Scott, in order to fashion himself as a Scottish poet who also happened to be English. Byron became the writers he read: Moore, Shelley, Wordsworth, Scott, Foscolo, Lady Morgan, and Madame de Stael. Those who imitated Byron, particularly Alexander Pushkin and Adam Mickiewicz, became the best interpreters of his literary example, and explained what it meant to be a Harold in Muscovite Cloak, or a Polish Byron, to be both delimited and emancipated by Byron's example.
]]>This book is a new assessment of the ideology and political program of Britain's fascist and extreme right-wing community during the interwar period (1919-1940). It examines this group's belief system as it clustered around three major preoccupations Modernisation, Empire, and War. In doing so, the book identifies many inconsistencies, contradictions, and moral failings, which contributed to the failure of the far-right tendency in the interwar years. The numerous beliefs and policies examined all point to a movement that was determined to return Britain to the levels of global power and international leadership it had once enjoyed but by means of policies of disengagement and isolation. As such, it provides insight into the resurgence of the extreme right today.
]]>The adaptations, with varying degrees of success, carefully manipulate the gaze of the viewer to illustrate both how crucial the act of looking proves to be for lesbian attachment in these films and how the viewer's own gaze changes the way the lesbian is represented. Maier and Friars consider the adaptations' awareness of the audience, and the ways in which the films implicitly acknowledge the stakes behind bringing the lesbian to life, as it were, in visual media. Because screen adaptations disrupt historical distance by literally picturing Victorian subjects via a medium they did not have, film adaptations of novels and biofictions, and original screenplays are challenged by the lesbian subject's vivid presence on screen. The lesbian is no longer a contained (neo)Victorian presence in the 'othered' nineteenth century, but her very existence on screen signals her effervescent modernity, which filmmakers alternately embrace or reject.
]]>Rachel M. Friars PhD, is an independent scholar.
]]>The gig public departs from traditional notions of publicness and the public, characterised by individuals' spontaneous and less-structured engagement in public discourse. This engagement is often hampered by challenges in fostering sustained interaction and depth of discussion, due to the ephemeral nature of online interactions.
In particular, this monograph highlights the importance of customs, negotiations, and contracts that complement the normatively privileged public reasoning in public domains. It examines the transformations in the multifaceted nature of the public and its interrelationship with other social structures amid the shifting boundaries between public and private domains. In addition, it explores the evolution of conceptualisations of publicness and related concepts within critical theory, illustrating how contemporary shifts are redefining civic engagement and the essence of public life in a rapidly changing world. From these perspectives, the study is structured around three primary focal points: First, it analyses how new information technologies and AI have altered human interactions within the public sphere. Second, it examines the impact of capitalist economic dynamics and governmentality strategies on reshaping the public realm, fundamentally altering the essence of the public and its democratic potential. Third, it explores how habitual and routine practices traditionally associated with the private sphere are now influencing the ongoing evolution of publicness.
The monograph aims to provide a comprehensive analysis of the challenges posed by the fragmentation of contemporary public discourse and the emergence of gig publics. It also considers strategies to invigorate publicness through AI technology that enables users to transform plain language into automated actions on their computers, potentially reshaping civic engagement in the digital age.
]]>Through his clothes that are rooted in America's distinctive preppie style, he has challenged age-old conventions of tailoring by altering proportions and blurring gender boundaries. The cropped trouser, which has become a staple of people's wardrobes around the world, owes much to Browne's pioneering reinterpretation of the suit. Through highly choreographed catwalk shows, he has enlivened the presentation of fashion, creating soulful spectacles that variously critique and cherish common themes in human lives.
Browne's influence within the fashion industry has been recognised through various awards. The Council of Fashion Designers of America (CFDA) has named him 'Menswear Designer of the Year' on three occasions, in 2006, 2013, and 2016. Since 2023, Browne has served as the CFDA's Chair. In May 2023, Browne dressed nine celebrities to honour Karl Lagerfeld at the annual gala hosted by the Metropolitan Museum of Art, New York.
This book considers Browne's position as a fashion auteur by focusing on four collections that enable detailed consideration of his innovative clothing designs and catwalk presentations, situating them within their historical and social context and drawing out what makes them distinctive and influential.
]]>In recent polemics, postmortems, or even celebrations, a number of prominent critics have suggested that 'theory' is dead, that the heyday of literary or critical theory is past and its insights passe, and that other less speculative or abstract approaches to literature and literary criticism be embraced. At the same time, however, resistance to these trends in criticism has emphasised the degree to which modern critical theory remains essential for any proper analysis of the present condition. Today's dynamic world-system, with its ever-shifting components in the age of globalisation, presents new challenges to literary and cultural studies for which criticism and theory are ideally suited. That is because a fundamental virtue of critical and theoretical practice lies in its speculative vocation, as theory may offer novel vantages from which to view the past, present, and future configurations, while disclosing fresh vistas of the world in which we are situated.
The Critical Situation emphasises the need for, and the vibrancy of, theory today. The essays in this volume each address situations of critical theory and practice in various ways. Some are more methodological or analytical, others more historical, and still others more speculative, but all contribute to the argument in favour of theory as an essential part of literary studies in the present time. In the United States, the renewed resistance to theory has become somewhat tied to this or that conception of what have been labelled 'method wars', the battlelines of which indicate distinctive factions: those emphasising historical investigations are then opposed by those insisting on the precedence of form or formalism, while others contest variations of both types of criticism in favour of some sense of unmediated or 'surface' reading. These mostly parochial or academic debates have their counterparts in the broader culture, in which powerful forces determine the sense of what is worthy or not, what is real or what is fake, or what is suitable for critical study or even attention. The reversal of the situation is, in a sense, built into the nature of the situation itself. At this point, theory enables the recognition that comes with the experience of peripety, an uncertain reversal of fortune which makes possible the suddenly novel perspective.
The Critical Situation offers examples of situated criticism, which in turn are concerned with the ways in which literary and cultural criticism are and have been situated in relation to a variety of ideological and institutional structures, including those of world literature, American studies, spatial literary studies, cultural critique, globalisation, and postmodernity. These structures continue to influence the ways that criticism is practised, and due recognition of their continuing effects seems to me to be crucial to the success of any meaningful critical practice in the twenty-first century.
]]>Renowned designers and up-and-coming artists submitted their works to the competition. The 67 exhibits by 59 silversmiths from 15 countries include the prize-winners Yeunhee Ryu, Yong-il Jeon, Jieun Park, Yegyu Shin, Siqiu Zhang, Jae Hui Jeong, Carl Kankowsky, and Rebecca Bierbrodt, who receive special mention.
Text in English and German.
List of artists: Farah Abdelhamid, Eckhard Adler, Min Sick Ahn, Ana Albuquerque, Barbara Amstutz, Ralf Auer-bach, Hyun Baek, Eva Bauer, Rebecca Bierbrodt, Gitte Bjrn, Emil Borregaard, Tabea Helena Maki Brindpke, Ya-Ping Cheng, Sungho Cho, Sarah Cossham, Andreas Decker, Hanyi Feng, Gretal Ferguson, Benedikt Frster-Heyne, Andreas Frank, Luise Fritzsche, Kristf Andrs Gelley, Kirsten Hay-don, Jiahn Hong, Marian Hosking, Iris Hummer, David Huycke, Inhwan Jeon, Yong-il Jeon, Jae Hu Jeong, Carl Kanowsky, Sang Hoon Kim, Catherine Large, Annette Lechler, Zhizhong Li, Bo-Ting Lin, Qiwei Liu, Christine Matthias, Militsa Milenkova, Alex O'Connor, Byungik Park, Jieun Park, Callum Partridge, Wu Peng, Christoph Pilsel, Christine Ramel, Yeunhee Ryu, Helena Schepens, Juliane Schl, Gerrit Schulze Raestrup, Regina Eva Se-bold, Yegyu Shin, Oliver Smith, Mariko Sumioka, Lee Sungyeoul, Mohammad Taghavi, Christoph Weihaar, Tong Wu, Siqiu Zhang
]]>The Victorian Ghost Story: An Edinburgh Companion invites readers to interrogate the multi-layered, multi-vocal conversations that occur within the Victorian ghost story. Its twenty-four chapters provide a historical overview of the development of the ghost story and explore it in light of the 'new' contexts of the 1800s, including mechanisation, imperialism, Romanticism and religion. As a much-needed survey of critical work on the ghost story, it features detailed analysis of major Victorian writers such as Charles Dickens, Margaret Oliphant, Charlotte Riddell and Henry James and it examines the places haunted by Victorian ghosts: haunted houses but also haunted museums, Fells, pyramids and seascapes. By engaging with ecocriticism, race, colonialism, class and gender, this interdisciplinary Companion constitutes a significant scholarly contribution on the Victorian ghost story and how it relates to a broader Gothic tradition.
]]>Utopian Pasts and Futures in the Contemporary American Novel highlights the emergence of a literary mode, speculative historism, over the past two decades in U.S. literature. Discussing in depth novels by writers such as Ken Kalfus, Joyce Carol Oates, and Colson Whitehead, among others, it integrates questions of critical method, genre, form, and literary theory, all of which have some urgency today. Addressing itself to the question of how to read this mode through a form of utopian hermeneutics, this study explores the formal constitution, narrative choices, and place in the wider literary market of a mode that it believes to be constitutively important for understanding American literature's struggle with the possibility of imagining hopeful futures.
]]>The ideal of 'conversation' recurs in modern thought as a symbol and practice central to ethics, democratic politics, and thinking itself. Interweaving readings of fiction and philosophy in a 'conversational' style inspired by Stanley Cavell, Fiction, Philosophy, and the Ideal of Conversation clarifies this lofty yet vague ideal, while developing a revitalising model for interdisciplinary literary studies. It argues that conversation is key to exemplary responses to sceptical doubt in ordinary language and political philosophy where scepticism threatens ethics and democratic politics and in works of British fiction spanning from Jane Austen through Ali Smith. It shows that for these writers, conversation can shift attention from metaphysical doubts regarding our capacity to know 'reality' and other people, to ethical, democratic, and aesthetic action. The book moreover proposes and models 'conversational criticism' as a framework linking literary studies to broader political and ethical commitments, while remaining responsive to aesthetic form.
]]>The book considers coexistence as an organising or structuring principle of the modern Lebanese state, and of its legal order. It analyses the kind of legal arrangement that coexistence dictates, and the legal processes that sustain coexistence. It reaches beyond the law to describe or provide an account of coexistence as constitutive of a secular sensibility or form of life, a sensibility or form of life that finds its articulations in specific ways of thinking, doing, and feeling. It describes some of the concepts, practices, and attitudes of coexistence, through which Muslims and Christians in Lebanon are secured a place and secured in place, enabled and constrained to make legible their 'religious' difference and distinctiveness through marriage and its consequences (the family), and to keep in check, restrain, or contain their 'religious' passions. It proposes that the coexistence of Muslims and Christians in Lebanon is Lebanese secularism.
]]>Action Heroines in the Twenty-First Century highlights the changing representation of female protagonists in recent action-led genres. It responds to an upturn in women-centred narratives over the past two decades, specifically, those that involve groups of women in action. The work demonstrates how this collective agency reflects an increasingly global rejection of violence towards women (illustrated through initiatives such as the #MeToo movement, and the united reactions to the deaths of Sarah Everard, Sabina Nessa and the deaths of young Iranian women detained by security forces in Iran in 2022). It is against this backdrop that an escalating number of action films released over recent years counter contemporaneous perceptions of women as victims in the face of threat and enable progressive media representations of women.
This book charts such representations from a diverse range of national cinemas and genres, moving from remakes of Charlie's Angels through to the Western, eco-activism, action-comedy and Marvel's superheroines, thus providing a broad platform for its argument and highlighting the growing significance of action heroines operating collectively.
]]>This collection of essays explores the stakes of that seemingly anachronistic comeback. It reframes portraiture as a set of cultural techniques for the dynamic performance of subjects entangled in specific medial configurations. Tracking the portrait across a wide range of media literature, drawings, paintings, grave stelae, films, gallery installations, contemporary music videos, deep fakes, social media, video games and immersive VR interfaces the contributors interrogate and transform persistent metaphysical and anthropocentric assumptions inherited from traditional notions of portraiture.
As technological practices of the portrait have proliferated across the media ecosystem in recent years, this canonical genre of identity and representation has provoked a new wave of scholarly attention and artistic experimentation.
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