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Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
David Dutton

Edward Hemmerde and Francis Neilson were both Liberal MPs at the outbreak of the First World War, bound together by a common commitment to the principle of land taxation. A shortage of money, at a time when MPs had only just started to receive salaries, led them into extra-parliamentary co-operation in the joint authorship of plays. But the two men fell out over the profits from their literary endeavours. One or other was clearly not telling the truth. Although he gave up his parliamentary career in opposition to British involvement in the war, Neilson later prospered greatly as a writer in the United States. Meanwhile, Hemmerde turned to his career as Recorder of Liverpool, but the wealth that he craved eluded him. This article reminds us that financial impropriety among MPs is no new phenomenon, while highlighting the difficulty of establishing certain historical truth in the face of conflicting documentary evidence.

Bulletin of the John Rylands Library
From Hans Haacke’s Systems Theory to Andrea Fraser’s feminist economies
Nizan Shaked

imply a theory that describes the contemporary art world as one organized around an endemic conflict between the interests of those who produce the art and the broader public which supports them ideologically, on the one hand, and the interests of the much smaller group of wealthy people and politicians who provide the big money supporting the system.40 For Becker and Walton, the difference between the 1950s and 1960s social science, which brought the term “power structure” into common use but was simply ignored by those in power, Haacke’s work was located where

in The synthetic proposition
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Jonathon Shears

ongoing process of making and experience: an area that involves not just a few ‘capable men’ but ‘an engagement with the anonymous and, to some extent unknowable woman: the factory worker, the shop clerk, the housewife’ (Darling and Whitworth, 2007: p. 2). Paxton may have designed the Palace, and Samuel Peto’s money enabled its construction, but the semantics of the Exhibition are as much female as they are male. As we will see in this section, the presence of women at the Exhibition raised several issues. For the organisers, safety and security were paramount, not

in The Great Exhibition, 1851
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Jane Roscoe and Craig Hight

Rutles presents characters who are little more than signifiers for the public figures they parody. Zelig (1983) This mock-documentary text offers a more seamless simulation of documentary form than either The Rutles , or Woody Allen’s early effort at mock-documentary, Take the Money and Run (1969). Zelig is the mock-biography of a man who lived in America during the 1920s, named Leonard Zelig (Woody

in Faking it
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Catherine Viviano, Irene Brin, and Italian art’s conquest of Hollywood
Raffaele Bedarida

collectors into contemporary Italian art. 34 The goal was to reach a glamourous, wealthy public beyond the art centres on the east coast. They were especially interested in the Hollywood crowd, who had money and could influence the entire nation. Eterna Primavera opened in Cincinnati, toured the United States, and reached the Frank Perls Gallery in Beverly Hills in

in Republics and empires
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Artisanal virtuosity and material memorialisation
Jasmine Kilburn-Toppin

abolished in the 1540s, but the significance of material, social, and (reformed) spiritual reciprocity remained paramount to the sustained vitality of London's craft and mercantile guilds. 14 The existing research on London's post-Reformation livery companies has conceptualised the act of gifting in terms of large-scale charitable donations of money, land or property, by exceptionally affluent merchants to their companies. Gifting was a strategy through which ‘godly’ civic reputations

in Crafting identities
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The material and visual culture of the Stuart Courts, 1589–1619
Author: Jemma Field

This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

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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.