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The multiple careers of a colonial museum curator
Savithri Preetha Nair

certain historical moments owing to a combination of factors: the curator’s research interests, his links to metropolitan science, his ability to effect ‘translations’ across diverse social worlds and the demands of the state. In the late nineteenth century, the Madras Museum under Thurston evolved into a centre of research and education in marine biology, ocean ecology and anthropology, new disciplines of the late nineteenth century. Intellectual trajectory and professional networks An Etonian, Thurston studied at King

in Curating empire
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Alan Moore’s Swamp Thing and radical ecology
Maggie Gray

positions, such as deep and social ecology, and also offered heuristic formal strategies for overcoming the problem of agency and compelling an activist response from the reader, combining self-consciously ecological composition with Brechtian alienation effects. This was achieved through the transformation of the conditions of US mainstream comics production, and particularly

in Alan Moore and the Gothic Tradition
Andrew Patrizio

Three Ecologies might help in setting out ‘an expanded definition of subjectivity: the emergence of subjective factors at the heart of the major political and social transformations of the 1980s, the increasing development of machinic forms of subjectivation, and finally the growing amplification of relevant ethico-aesthetic perspectives throughout the 1980s’. These three fields, as we have seen, are ‘mental (“nascent subjectivity”), social (“a constantly mutating socius”) and environmental ecology (“an environment in the process of being reinvented”)’. 21

in The ecological eye
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Travelling images
Anna Dahlgren

materialization or their medium, to use Belting’s terminology. The following chapters seek to investigate the social biography of a selected number of images and pictures, but also on a more profound level the social biography of the notion of art. In a somewhat similar way Sunil Manghani has used the notion ‘image ecology’, originally coined by Susan Sontag. The concept of ecology refers to the interrelationship of livings organisms and their environment. Thus the term ecology serves as ‘a metaphor for a desire to understand the interrelationships of things (the nature of

in Travelling images
Philip D. Morgan

: Curaç ao in the Early Modern Atlantic World (Athens: University of Georgia Press, 2012). 7 E.g. J. R. McNeill, Mosquito Empires: Ecology and War in the Greater Caribbean, 1620–1914 (New York: Cambridge University Press, 2010); D. Wheat, Atlantic Africa and the Spanish Caribbean, 1570–1640 (Chapel Hill: University of North Carolina Press, 2016); E. Bassi, An Aqueous Territory: Sailor Geographies and New Granada’s Transimperial Greater Caribbean World (Durham, NC: Duke University Press, 2016). 8 B. Ward, M. Bone

in The TransAtlantic reconsidered
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Posthuman sound ecologies in the neo-avant-garde
Jesper Olsson

and sound poetry as ‘posthuman sound ecologies’, it is possible to pose important questions about the human and non-human that have a specific resonance in the early twenty-first century, when the interweaving of humans and technical media has become ubiquitous. This requires taking into account an expanded and denaturalised conception of ecology (Morton, 2007 ; Hörl, 2017 ): ecologies involve nature as well as artifice and technologies. The composition of such sound ecologies was far from rare during the postwar decades. Here I will focus on works by three

in Tuning in to the neo-avant-garde
Open Access (free)
Jen Archer-Martin and Julieanna Preston

inject another voice – of non-human or more-than-human material ecologies – further expanding Fisher and Tronto’s world care through contemporary post-human and new materialist thinking to explore the potential for affective care in material labours of repair. Emboldened by a post-human new materialist understanding of agency, we suggest that this is not just a species activity, but a labour co-performed by a caring ecology of ontologically diverse agents ( Figure 6.1 ). Figure 6.1 A woman-machine named Desiré, alert, poised, ready to start In this chapter

in Performing care
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Sofia Wijkmark

-human and monstrous characters as embodying questions of identity, species and ecology. Of course, for humans, adapting the point of view of the Other, the non-human, is an impossible pursuit. Ecogothic rather has to do with ‘exposing the monstrous human gaze’, as David Del Principe puts it. 1 Yet fiction can give us a chance to envision what it could be like to see the world from the beetle's perspective, think like a cyborg or feel the thirst for blood like a vampire. The question of species is often on the agenda in

in Nordic Gothic
Hawai‘i One Summer (1987/1998)
Helena Grice

a resident, and articulate the importance of a matrix of place, community, ‘belonging’ and the ‘local’, both in Hawai‘i and as represented, here and elsewhere, in Kingston’s writing. Hawai‘i One Summer also bears testimony to another dimension of Kingston’s work which has hitherto gone unrecognised. As an extensive meditation upon place and environment in Hawai‘i, the pieces here together represent Kingston’s imbrication in a politics of ecology, and specifically a form of ecological feminism as well. Thus, I argue in this chapter that Hawai‘i One Summer

in Maxine Hong Kingston
An ecocritical reading
William Welstead

13 On-site natural heritage interpretation: an ecocritical reading William Welstead Visitors to the countryside are increasingly faced with a variety of panels, interpretation centres and other interventions that convey selected narratives and ways of seeing our natural heritage. This chapter explores the scope for these cultural objects to be included in ecocritical enquiry. The ubiquity and undemanding nature of many displays makes for an accessible source of information about basic ecology as filtered through the viewpoint of site managers for national and

in Extending ecocriticism