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Author: Zoë Thomas

Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.

A distinctive politics?
Author: Richard Taylor

English radicalism has been a deep-rooted but minority tradition in the political culture since at least the seventeenth century. The central aim of this book is to examine, in historical and political context, a range of key events and individuals that exemplify English radicalism in the twentieth century. This analysis is preceded by defining precisely what has constituted this tradition; and by the main outline of the development of the tradition from the Civil War to the end of the nineteenth century. Three of the main currents of English radicalism in the twentieth century have been the labour movement, the women’s movement and the peace movement. These are discussed in some detail, as a framework for the detailed consideration of ten key representative figures of the tradition in the twentieth century: Bertrand Russell, Sylvia Pankhurst, Ellen Wilkinson, George Orwell, E.P. Thompson, Michael Foot, Joan Maynard, Stuart Hall, Tony Benn and Nicolas Walter. The question of ‘agency’ – of how to bring about radical change in a predominantly conservative society and culture – has been a fundamental issue for English radicals. It is argued that, in the twentieth century, many of the important achievements in progressive politics have taken place in and through extra-parliamentary movements, as well as through formal political parties and organisations – the Labour Party and other socialist organisations – and on occasion, through libertarian and anarchist politics. The final chapter considers the continuing relevance of this political tradition in the early twenty-first century, and reviews its challenges and prospects.

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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

Johanna Söderström

the war itself and also coming home influence this process. The veteran identity is salient for almost everyone, and, as they tell us, the importance of this identity has increased over time. For most, the war experience is inescapable, not least because war is something which society positions itself in relation to, as well as against. Aspects of this veteran identity imply political engagement: for instance, “duty”, “responsibility”, and “service to others” are named as common traits by participants from all three cases, as obligation during war translates to an

in Living politics after war
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Andrew McMillan

screaming at them to stop. My friend and I said nothing as we walked by, and then, almost when we felt we might have been out of earshot of the drama, we talked briefly about other stabbings that had been in the news. Then the news more generally. Then other things. Then nothing for a while, until we arrived at the bar. A couple of days before all this I’d been coming home from the gym – having taken to waking without an alarm, and being at the gym before 5.30 am. It meant the streets were still quiet when I left the flat, before the city-centre businesspeople were even

in Manchester
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Sam Rohdie

‘Domingo’). They are phantoms: ‘Je m’appelle Nana.’ ‘Moi, Dimanche.’ As Nana and Domingo, they make love. They are not ever not themselves nor ever quite themselves either. After the phone call, a series of images is projected of what Nadine might look like and the situations in which Carlos might find her: at a café, walking, carrying books, coming home. Each of the images are of

in Montage
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Ian Connor

focused on the expulsion of the expellees from their homelands, including a controversial work by Alfred de Zayas30 and a collection of essays edited by Philipp Ther and Ana Siljak.31 In addition, Coming Home to Germany?, a volume edited by David Rock and Stefan Wolff, contains several contributions on Connor_02_MainText.indd 3 10/8/07 12:36:09 4 Refugees and expellees in post-war Germany the integration of expellees in post-war Germany.32 Pertti Ahonen’s excellent monograph, After the Expulsion, published in 2004, analyses the interaction between the expellee

in Refugees and expellees in post-war Germany
Foe, facilitator, friend or forsaken?
Bryony Onciul

).  8 For example, see G. Conaty (ed.), We Are Coming Home: Repatriation and the Restoration of Blackfoot Cultural Confidence (Edmonton: Athabasca University Press, 2015).  9 B. Onciul, Museums, Heritage and Indigenous Voice: Decolonising Engagement (New York: Routledge, 2015). 10 D.F. Cameron, ‘The Museum, a Temple or the Forum’, Curator: The Museum Journal, 14:1 (1971), 11–24. 11 R. Janes, Museums in a Troubled World: Renewal, Irrelevance or Collapse? (New York: Routledge, 2009), p. 31. 12 P. Schorch, ‘Assembling Communities’. See also Introduction, above

in Curatopia
Johanna Söderström

was exciting, which meant coming home in contrast was very boring. He expressed the feeling that war is about being lucky. In the end, he felt that signing up with the navy had been the right thing for him: I'm glad I did it, it was the right thing for me to do at the time. Was exactly what I needed to do. I knew … if I'd gone to college … I wasn't mature enough … I would have dropped out the first, it would have been party time … I'd have been gone, you know. And then there would have been the

in Living politics after war
Open Access (free)
White male vulnerability as heterosexual fantasy
Susanna Paasonen

 stand on the stool. On. Off. On. Off. On. Off. Light. Dark. Light. Dark. Light. I’m hungry. I eat the cheese. There is cheese in the fridge. Cheese with blue fur. When is Mommy coming home? Sometimes she comes home with him. I hate him. I hide when he comes. My favorite place is in my mommy’s closet. It smells of Mommy. It smells of Mommy when she’s happy. When is Mommy coming home? My bed is cold. And I am hungry. I have my blankie and my cars but not my mommy. When is Mommy coming home? (James, 2015: 216) Unlike the sad blue-​collar men of contemporary American film

in The power of vulnerability