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Ory Bartal

. They symbolise people in the world of Hironen: an armchair, sofa or lamp possess a body, desires, sensing organs – nose, eyes, mouth, skin. A body that reverberates with its own desires, erotic fantasies and affections. Affections so perfect that you are tempted to believe that they are the true representatives of your secret desires. They will dwell with you and you will dwell in them, yet they will never have a full authentic existence – merely a representation of a literary existence, symbolic and fantastic, a fairy tale existence.1 To be sure, Hironen’s objects

in Critical design in Japan
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Writing popular culture in colonial Punjab, 1885– 1905
Churnjeet Mahn

India?’ dilemma is to make an argument for more devolution in literary and cultural politics in order to examine literary formations in more focused contexts. R. C. Temple, Flora Annie Steel and C. F. Usborne all relayed accounts of forms of popular ‘legends’, ‘ballads’, ‘fairy tales’ and ‘folktales’ that decontextualised Punjabi literary culture, especially in terms of genre and performance, through labelling a diverse set of practices as ‘folk’ and ‘folklore’. Important studies by Jennifer Schacker ( 2003

in Interventions
Angela Carter’s poetics of space
Marie Mulvey-Roberts

passive reader entrapped by a myth into an author of her own destiny aided by a pragmatic maternal revolver on her way to freedom. Martine Hennard Dutheil de La Rochère locates the key to the text in the shifting meaning of the word ‘cabinet’. Cabinet denotes just as much the storeroom of treasures where the dandy connoisseur kills his wives into art objects, the ogre’s larder replete with fairy-tale lore, the theatre stage of perverted delights fuelled by fin-de-siècle misogyny, and a closet filled with skeletons, which encourage readers to develop an inquisitive mind

in The arts of Angela Carter
Open Access (free)
Mia-Marie Hammarlin

narrative emerges in these flows of communication? The comparatively firm structure, dramaturgical simplicity, dramatic 14 The Swedish Broadcasting Commission, decision of 11 June 2012, reg. no. 12/00116. 124Exposed content, and drastically presented main characters of the story link it to an older narrative tradition. Is it a modern fairy tale or a tall tale? There are features indicating a connection to both of these genres within folklore, but most of all the story gradually seems to have taken on the form of an urban legend. Unlike the fairy tale, this type of

in Exposed
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Maria Holmgren Troy, Elizabeth Kella, and Helena Wahlström

rendition of a Russian fairy tale about an older childless couple who make a child out of snow. In the fairy tale, the snow child comes to life and enriches the lives of the couple until their ungrateful and unloving behavior causes the snow child to leave them. Ivey’s novel, by contrast, concerns a middle-aged couple, Mabel and Jack, who attempt to escape their grief over their infant child’s death by homesteading in Alaska. In an unexpected, playful respite from their hard Coda 223 and lonely labor, they, too, fashion a snow girl, and the next morning they have their

in Making home
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Sam Rohdie

true, theatre and cinema, real and artifice, natural and unnatural persist within their contraries and duplicates. Such movement between and amidst opposites with a consequent blurring and instability is a constant in Bertolucci’s work. The most realistic of his films (Via del petrolio (1965), Sheltering Sky (1990), Ultimo tango a Parigi (1972), Stealing Beauty (1996), Besieged (1999), La tragedia di uomo ridicolo (1981)) are also the least realistic, like dreams, fairy tales, legends, masquerade, fantasies. Partner is perhaps the most anti-realistic of Bertolucci

in Film modernism
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Activism and design in Italy
Author: Ilaria Vanni

Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.

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Author: John Potvin

Richly illustrated with over 110 colour and black and white images, the book productively contests the supposedly exclusive feminine aspect of the style moderne (art deco). It explores how alternative, parallel and overlapping experiences and expressions of decorative modernism, nationalism, gender and sexuality in the heady years surrounding World War I converge in the protean figure of the deco dandy. As such, the book significantly departs from and corrects the assumptions and biases that have dominated scholarship on and popular perceptions of art deco. The book outlines how designed products and representations of and for the dandy both existed within and outwith normative expectations of gender and sexuality complicating men’s relationship to consumer culture more broadly and the moderne more specifically. Through a sustained focus on the figure of the dandy, the book offers a broader view of art deco by claiming a greater place for the male body and masculinity in this history than has been given to date. The mass appeal of the dandy in the 1920s was a way to redeploy an iconic, popular and well-known typology as a means to stimulate national industries, to engender a desire for all things made in France. Important, essential and productive moments in the history of the cultural life of Paris presented in the book are instructive of the changing role performed by consumerism, masculinity, design history and national identity.

Geraldine Cousin

landscape. In addition to the whodunnit, there is another narrative form that I refer to quite often, and that is the fairy story. The dramatists I focus on use fairy stories, as they do the whodunnit, to provide a structure and a set of expectations that can then be either realised or subverted. Dark fairy stories inform Marina Carr’s plays. Churchill’s The Skriker retells traditional fairy tales, in order to construct from them an urgent warning of the proximity of danger. In addition to the whodunnit, act one of Far Away is reliant on fairy tales, while Bryony Lavery

in Playing for time
From Baudelaire to Black Venus
Marie Mulvey-Roberts

intimate knowledge of other texts, works and world-views that she responded to in dialogic or, as I have argued elsewhere, contrapuntal fashion.2 Translation stimulated Angela Carter’s objets trouvés in translation 99 Carter’s imagination, reflection and creativity. From her early efforts to translate French and obscure middle-English poets in the mid1960s, to her fully developed, systematic and comprehensive method of revisiting the fairy tale tradition in translating and rewriting Charles Perrault’s contes du temps passé in The Fairy Tales of Charles Perrault

in The arts of Angela Carter