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Jasmine Kilburn-Toppin

member of the craft bequeathed a building, usually a substantial timber-framed courtyard house, to a cluster of trustees, some of whom were guild members. Subsequently the guild made adaptations to the built fabric. 3 In January 1429/30, two carpenters gained the lease of five cottages and a waste piece of land from the Priory and Convent of St. Mary's Hospital in Brodestreet ward, located between Bishopsgate and Moorgate, which they regranted to twenty-nine fellow carpenters; the guild then demolished the cottages and

in Crafting identities
Jessica Coatesworth

The first 100 years of printing in Europe was a vibrant period full of innovation and adaptation. Continental printers controlled the production of Latin books, many of which were imported into England. English printers worked hard to create an audience for their editions and achieved,this by adopting specific design features from the Latin editions. Yet despite this connection, English printing is often studied in separation from European printing. This article studies the Golden Legend, a hagiographic text popular throughout England and Europe, and shows that the two traditions were interrelated, especially in book design. On the continent, printers found themselves in a crowded marketplace and some adopted established designs to target a particular audience. In contrast, English printers were inspired by the design of continental books. Design was governed by the intended audience but not restricted to national demarcations. Not only was English printing integrated with European printing, it sustained a distinctive character while remaining part of the European tradition.

Bulletin of the John Rylands Library
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Lez Cooke

attracted much useful attention’ (Purser, 2003: 119). The majority of Granada’s early plays were adaptations of novels and stage plays. One important exception was Clive Exton’s No Fixed Abode (30 January 1959), an original contemporary drama for the Television Playhouse series, directed by James Ormerod, one of the Granada-trained directors referred to by Forman. Exton, however, was a Londoner, not a Northern writer, and No Fixed Abode, together with Look Back in Anger, was one of the few Granada dramas in the mid to late 1950s to contribute to the new wave of social

in A sense of place
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Mia L. Bagneris

West Indian islands and their produce, Brunias paints the mulatress as the quintessential colonial Caribbean figure. This chapter also analyses Brunias’s adaptation of models from canonical Western art and eighteenth-century popular visual culture to consider the artist’s compositional and conceptual inventiveness. Taking a more theoretical tack than the previous chapters, the fourth chapter, ‘Can you find the white woman in this picture? Agostino Brunias’s “ladies” of ambiguous race’, culminates the study of Brunias’s work according to racial categorisation

in Colouring the Caribbean
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Style, taste and the business of decoration
Conor Lucey

, ‘antique’ decorative effects.29 Mindless replication or creative adaptation? While the study of drawings represents an important avenue of academic enquiry in architectural histories, illuminating both an architect’s design methodology and creative accomplishment, the portfolios of eighteenth-​ century building tradesmen have received little comparable attention; a situation that reflects both the privileged role accorded the architect and the perceived acquiescence of the building tradesman within this hierarchical paradigm.30 As a result, the biographies of artisans

in Building reputations
From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

This book analyses the use of the past and the production of heritage through architectural design in the developmental context of Iran. It is the first of its kind to utilize a multidisciplinary approach in probing the complex relationship between architecture, development, and heritage. It uses established theoretical concepts including notions of globalism, nostalgia, tradition, and authenticity to show that development is a major cause of historical transformations in places such as Iran and its effects must be seen in relation to global political and historical exchanges as well as local specificities. Iran is a pertinent example as it has endured radical cultural and political shifts in the past five decades. Scholars of heritage and architecture will find the cross-disciplinary aspects of the book useful. The premise of the book is that transposed into other contexts, development, as a globalizing project originating in the West, instigates renewed forms of historical consciousness and imaginations of the past. This is particularly evident in architecture where, through design processes, the past produces forms of architectural heritage. But such historic consciousness cannot be reduced to political ideology, while politics is always in the background. The book shows this through chapters focusing on theoretical context, international exchanges made in architectural congresses in the 1970s, housing as the vehicle for everyday heritage, and symbolic public architecture intended to reflect monumental time. The book is written in accessible language to benefit academic researchers and graduate students in the fields of heritage, architecture, and Iranian and Middle Eastern studies.

Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

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 regimes.

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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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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.