: Rutherford Press Limited, 2007).
2 Christina Riggs, Unwrapping Ancient Egypt: The Shroud, the Secret and the Sacred
(London: Bloomsbury, 2014).
3 Sven Beckert, Empire of Cotton: A Global History (New York: Vintage, 2015).
4 H. A. Hudson, ‘The ancient glass of the Cathedral Church of Manchester’,
Transactions of the Lancashire and Cheshire Antiquarian Society 25 (1907), pp.
5 Peter Cormack, Arts & Crafts StainedGlass (New Haven, CT: Yale University
Press, 2015), pp. 248–53.
are still contained within the boundary walls that they did not go
beyond after first entering.
If you were to walk down Oldham Road now, past the Chinese
supermarket, the Post Office depot and the funny little is-it-a-minigarden-centre-yard before turning left into Livesey Street, you
might wonder what microcosm lies beyond the walls. You might
imagine the lives wrought in iron, brick and stainedglass. You
might even wonder if it is indeed a convent.
The walls there are many. High ones surround the gardens;
internal ones connect the seen and
The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913. This book is about two distinct but related professional cultures in late Soviet
Russia that were concerned with material objects: industrial design and
decorative art. The Russian avant-garde of the 1920s is broadly recognised to
have been Russia’s first truly original contribution to world culture. In
contrast, Soviet design of the post-war period is often dismissed as hackwork
and plagiarism that resulted in a shabby world of commodities. This book
identifies the second historical attempt at creating a powerful alternative to
capitalist commodities in the Cold War era. It offers a new perspective on the
history of Soviet material culture by focusing on the notion of the ‘comradely
object’ as an agent of progressive social relations that state-sponsored Soviet
design inherited from the avant-garde. It introduces a shared history of
domestic objects, handmade as well as machine-made, mass-produced as well as
unique, utilitarian as well as challenging the conventional notion of utility.
Situated at the intersection of intellectual history, social history and
material culture studies, this book elucidates the complexities and
contradictions of Soviet design that echoed international tendencies of the late
twentieth century. The book is addressed to design historians, art historians,
scholars of material culture, historians of Russia and the USSR, as well as
museum and gallery curators, artists and designers, and the broader public
interested in modern aesthetics, art and design, and/or the legacy of socialist
church in the fifteenth century.
It was the building that, as Henri Lefebvre argues, offered ‘each
member of society an image of that membership, an image of his
or her social visage’, and parishioners could increasingly contribute
The church as sacred space in Middle English literature and culture
to that image, donating decorations such as stainedglass windows,
and funding much-needed restoration and rebuilding work.3
The materiality of the church could not be ignored. Indeed, it
was subject to serious scrutiny from a wide range of writers who
her life. You feel it in the battles: she
manages to rally a whole army around her, and once it’s all over, she
loses everything. And then there are those visions. . .
Joan’s visions are natural to
start off with: wind, bells, doors, a stained-glass window which
shatters. . . Except that it’s there to show that the ordinary can be
extraordinary, and that you can believe one thing rather than another. I
‘saints’: sculptures of Wycliffe, Calvin, Cartwright, Baxter,
Howe and Whitefield in one aisle and Wesley, Watts, Owen, Hooker, Knox and
Luther in the other.6 Still more expansive was the stained-glass scheme masterminded
by the first Principal, A. M. Fairbairn (1838–1912), and installed in the first decade of
the twentieth century.7 The seventy men and women that comprised it broadcast an
exuberantly ecumenical vision, pairing the prophet Amos with Plato and ranging from
the New Testament, Latin and Greek Churches through the medieval and Reformation
This book aims to revisit the county study as a way into understanding the
dynamics of the English civil war during the 1640s. It explores gentry culture
and the extent to which early Stuart Cheshire could be said to be a ‘county
community’. It investigates the responses of the county’s governing elite and
puritan religious establishment to highly polarising interventions by the
central government and Laudian ecclesiastical authorities during Charles I’s
Personal Rule. The second half of the book provides a rich and detailed analysis
of the petitioning movements and side-taking in Cheshire during 1641-42. This
important contribution to understanding the local origins and outbreak of civil
war in England will be of interest to all students and scholars studying the
feend hath nede to drawe lengere & braddere his rolle here;
for it is ellys to lytel to wryten on alle þe talys tolde in þis cherch.20
The addition of ‘here’ makes the mapping of the exemplum on to
‘þis cherche’ even more emphatic; here in this church, Tutivillus
would need a large scroll indeed to record all the idle speech of the
parishioners. The formula was also used in a now-lost fourteenthcentury stainedglass window given by Sir Hugh Hastings and
his wife Margery to Elsing church, Norfolk. Hugh and Margery
were represented in the window kneeling and holding a
The archive has assumed a new significance in the history of sex, and this book visits a series of such archives, including the Kinsey Institute’s erotic art; gay masturbatory journals in the New York Public Library; the private archive of an amateur pornographer; and one man’s lifetime photographic dossier on Baltimore hustlers. The subject topics covered are wide-ranging: the art history of homoeroticism; casual sex before hooking-up; transgender; New York queer sex; masturbation; pornography; sex in the city. The duality indicated by the book’s title reflects its themes. It is an experiment in writing an American sexual history that refuses the confines of identity sexuality studies, spanning the spectrum of queer, trans, and the allegedly ‘normal’. What unites this project is a fascination with sex at the margins, refusing the classificatory frameworks of heterosexuality and homosexuality, and demonstrating gender and sexual indecision and flexibility. And the book is also an exploration of the role of the archive in such histories. The sex discussed is located both in the margins of the archives, what has been termed the counterarchive, but also, importantly, in the pockets of recorded desire located in the most traditional and respectable repositories. The sexual histories in this book are those where pornography and sexual research are indistinguishable; where personal obsession becomes tomorrow’s archive. The market is potentially extensive: those interested in American studies, sexuality studies, contemporary history, the history of sex, psychology, anthropology, sociology, gender studies, queer studies, trans studies, pornography studies, visual studies, museum studies, and media studies.
This book presents new research on the histories and legacies of the German
Expressionist group, Der Blaue Reiter, the founding force behind modernist
abstraction. For the first time Der Blaue Reiter is subjected to a variety of
novel inter-disciplinary perspectives, ranging from a philosophical enquiry into
its language and visual perception, to analyses of its gender dynamics, its
reception at different historical junctures throughout the twentieth century,
and its legacies for post-colonial aesthetic practices. The volume offers a new
perspective on familiar aspects of Expressionism and abstraction, taking
seriously the inheritance of modernism for the twenty-first century in ways that
will help to recalibrate the field of Expressionist studies for future
scholarship. Der Blaue Reiter still matters, the contributors argue, because the
legacies of abstraction are still being debated by artists, writers,
philosophers and cultural theorists today.