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In this article I demonstrate the significance of a flexible approach to examining the autobiographical in early eighteenth-century womens writing. Using ‘old stories’, existing and developing narrative and literary forms, womens autobiographical writing can be discovered in places other than the more recognizable forms such as diaries and memoirs. Jane Barker and Delarivier Manley‘s works are important examples of the dynamic and creative use of cross-genre autobiographical writing. The integration of themselves in their fictional and poetic works demonstrates the potential of generic fluidity for innovative ways to express and explore the self in textual forms.
The poor survival rate of primary sources for the history of Irish women in the early modern period is mitigated by the sophistication with which extant sources are now being analysed. When re-examined without reference to the demands of the traditional historical grand narrative, when each text itself is permitted to guide its own interrogation, previously undervalued texts are revealed to be insightful of individual existential experience. The memoir of eighteenth-century Dorothea Herbert, hitherto much ignored due to the authors mental illness, is becoming increasingly respected not just for its historic evidential value but for the revelations it contains of a distressed individuals use of literature to manage her circumstances. The interpretive tools deployed on such a text by different research specialisms necessarily lead to divergent conclusions; this in turn may lead to creative re-imagining of history although they cannot all equally reflect what was likely to have been the lived reality of the original author.
This article explores the contributions of women scholars, writers and artists to our understanding of the medieval past. Beginning with a contemporary artists book by Liz Mathews that draws on one of Boethius‘s Latin lyrics from the Consolation of Philosophy as translated by Helen Waddell, it traces a network of medieval women scholars of the nineteenth and twentieth centuries associated with Manchester and the John Rylands Library, such as Alice Margaret Cooke and Mary Bateson. It concludes by examining the translation of the Old English poem, The Wife‘s Lament, by contemporary poet, Eavan Boland. The art of Liz Mathews and poetry of Eavan Boland and the scholarship of women like Alice Cooke, Mary Bateson, Helen Waddell and Eileen Power show that women‘s writing of the past – creative, public, scholarly – forms a strand of an archive of women‘s history that is still being put together.
The theological energies released by Martin Luther in 1517 created a set of theological insights and problems that eventually led to the development of kenotic Christology (i. e., the view that in order for the Son of God to become incarnate and live a genuinely human life, he emptied himself of his divine prerogatives or attributes). This article traces how kenotic Christology originated in the Eucharistic Controversy between Luther and Zwingli, before receiving its first extensive treatment in the debate between the Lutheran theologians of Tübingen and Giessen in,the early seventeenth century. Attention then turns to the nine-teenth century, when doctrinal tensions resulting from the enforced union of the Prussian Lutheran and Reformed churches created the conditions for a new flowering of kenotic Christology in the theologies of Ernst Sartorius and, subsequently, Gottfried Thomasius. Kenotic Christology ultimately originates with Luther, however, for it owes its existence to the creative theological energies he unleashed and which remain his lasting legacy.
Celebrated as a leader of London’s ‘Underground’ in the 1960–70s, and a leading British poet and performance artist of his time, Jeff Nuttall found fame through his critique of post-nuclear culture, Bomb Culture, which provided an influential rationale for artistic practice through absurdism but lost that recognition a decade or so later. Less well recognised, and with greater influence, is the distinctively visceral sensibility underlying much of his creative work, notably his poetry that draws on Dylan Thomas and the Beat Movement, his graphic drawing and luscious painting styles, and his pioneering performance art. This article argues that it is through these artistic expressions of visceral intelligence that Jeff Nuttall’s art and its long-term influence can now best be understood. It is intended to complement the Jeff Nuttall Papers in the Special Collections of The John Rylands Research Institute and Library, University of Manchester, deposited by the gallerist and poetry publisher Robert Bank (1941–2015), to whose memory this article is dedicated. Further papers have been added by Nuttall’s friends and relatives.
What did it mean to be a woman and a painter at the heart of abstract gestural painting in New York during the 1950s, if the iconic artist of that decade was Jackson Pollock, and the icon of Woman was Marilyn Monroe? Elaborating and explaining the relevance of theories of psycho-symbolic formations of sexual difference and their inscription in artistic practice, this book explores the 1950s triangulation Pollock–Monroe–Krasner, analysing how two painters of the two generations New York abstract artists, Lee Krasner and Helen Frankenthaler, negotiated this paradox artistically. Differencing a masculinized canon of Abstract Expressionism defiantly disseminated in recent blockbuster exhibitions, Pollock argues for a theoretically rich feminist reading of gestural abstract painting that centred the psycho-sexual body through gesture. She argues for a resonance with the cultural antithesis of New York gestural painting – its popular other – in the performance work of Marilyn Monroe, which exceeded the star’s iconic image of white sexuality. Igniting a still-urgent debate about difference, artmaking and artwriting, Pollock presents a transdisciplinary feminist intervention in the context of blockbuster exhibitions such as Abstract Expressionism (London and Bilbao, 2016–17) – which omitted almost entirely that school’s women members – and the women-only Women in Abstract Expressionism (USA 2018), Making Space: Women in Postwar Abstraction (New York, MoMA, 2018) and Women in Abstraction (Paris and Bilbao, 2021–22). as well as solo ‘rediscovery’ shows – Lee Krasner: Living Colour (London and Bilboa, 2019–20) and Helen Frankenthaler (Venice, 2019).
creative process within luxury conglomerates remained autonomous and decentralized, according to the existing literature. 1 The French holding company Moët Hennessy Louis Vuitton (LVMH), the world’s largest fashion and luxury group, is an excellent embodiment of this organizational change. 2 Today, LVMH presides over a €35 billion (approximately $39 billion) luxury and fashion empire from headquarters in the upmarket eighth arrondissement in Paris. This chapter is a case study of LVMH that explores the evolution of the fashion and luxury industries, entrepreneurship
also recently acknowledged the importance of the Hermit card in tarot for Carrington. 4 I would therefore like to consider the question of solitude as a necessary moment within the creative process as well as a sense of critical awakening, and how this has become manifest in the practices of two distinctive writers critically invested in her legacy, Chloe Aridjis and Heidi Sopinka (both born in 1971). For both, the roman-à-clef and techniques of the surrealist marvellous are harnessed and revised
Greiner (elected in 1988) planned to raise revenue from the sale of government MUP_Stein_Printer2.indd 161 10/08/2016 15:39 162 Challenges and creative resilience assets: power stations, coal mines, railway infrastructure and printing offices.7 Workers were not oblivious to these transitions, and, rather than radicalising them, the disappearance of manufacturing often produced in them polarised and individualised responses; they sought merely to survive, not necessarily to overthrow the system.8 The making of foreign orders enabled subtle subversions, rather than
culture jamming or Situationist détournements, and more recently as a form of urban learning aimed at the elaboration of collective forms of self-organisation.5 The significance of Serpica Naro, however, goes beyond the value of the hoax and creative conflict produced by the intervention in Milan Fashion Week. Instead, leaning on Markussen’s notion of disruptive aesthetics, Julier’s design activism tactics and Fry’s redirective practice, I argue that Serpica Naro was a designerly act that reoriented the politics of precarity embedded in the fashion system.6 In