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contact and exchange. If, for many years, this socially diverse colony was at the cutting edge of a certain kind of black liberation and advancement, then that was not the work entirely of its founders and governors, in the form of companies and foreign governments, but also of the people who lived in and passed through it. Second, as the image of Freetown market makes clear ( figure 7.1 ), colonial contact zones also had the potential to be more anarchic, sites of multiple experiments and everyday creative acts, in which
2 Fin-de-siècle investigations of the ‘creative genius’ in psychiatry and psychoanalysis Birgit Lang In Victorian society, admiration for the ‘creative genius’ abounded. It was based on stereotypical notions of the Romantic artist, who, ‘by the neat and necessarily contradictory logic of aesthetic elevation and social exclusion, [was] both a great genius and greatly misunderstood’.1 In Germany the propensity to idealise the artist as a creative genius was further propelled by intellectuals’ and writers’ contribution to imagining the German nation throughout the
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.
culture of the Stone Age’, uninfluenced by anything except ‘the Greek and Roman mysteries which [he says] originally may have come from Egypt’. 4 Britain’s repositioning of itself after two World Wars and the beginning of the loss of Empire elicited an urge for national identity among some sections of the population, which may have lent greater attractiveness to Murray’s idea of ancient religious practices indigenous to Britain. Both this, and the freedom provided by the practice of naturism, further influenced Gardner’s ideas for the revival of Wicca as he creatively
adopt a wide array of approaches to investment arbitration. The chapter charts the range of Latin American attitudes to investment arbitration, from the “modernizing remainers” to the “exiters,” with “creative entrants” in between. Moraes and Pérez Aznar note a remarkable feature of the Latin American pluralism, the same country adopting different approaches to investment arbitration. In order to
How do you create a fictional story out of an historical period? What do you need to know about the people, the places, the events? What’s the better inspiration: historical scholarship or popular knowledge? A writer’s guide to Ancient Rome serves as inspiration and a guide to the Roman population, economy, laws, leisure, and religion for the author, student, general reader seeking an introduction to what made the Romans tick. The Guide considers trends and themes from roughly 200 BCE to 200 CE with the occasional foray into the antecedents and legacy on either side of the period. Each chapter explicates its main themes with examples from the original sources. Throughout are suggestions for resources to mine for the subject at hand and particular bits affected by scholarly debate and changing interpretation based on new discoveries or reinterpretation of written and material remains. It’s up to you whether or not you will produce a work of careful verisimilitude or anachronistic silliness (or one of the flavours in between). That’s your call as creator. This little guide is but a brief survey of a vast quantity of resources, sources, and scholarship on the Classical world that is available for reflection, evaluation, interpretation, and creativity. It is intended to open doors for further reading and consideration as you construct your own Roman world – it’s a welcome mat inviting you in to listen to the stories of the Romans and to contribute tales of your own.