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Something rich and strange

Manchester: Something rich and strange challenges us to see the quintessential post-industrial city in new ways. Bringing together twenty-three diverse writers and a wide range of photographs of Greater Manchester, it argues that how we see the city can have a powerful effect on its future – an urgent question given how quickly the urban core is being transformed. The book uses sixty different words to speak about the diversity of what we think of as Manchester – whether the chimneys of its old mills, the cobbles mostly hidden under the tarmac, the passages between terraces, or the everyday act of washing clothes in a laundrette. Unashamedly down to earth in its focus, this book makes the case for a renewed imaginative relationship that recognises and champions the fact that we’re all active in the making and unmaking of urban spaces.

Border figures of the fantastic
Patricia García

-Georges Castex ( 1951 ), Roger Caillois ( 1965 ), Tzvetan Todorov ( 1975 [1970] ), Irène Bessière ( 1974 ), Rosalba Campra ( 2008 ), Roger Bozzetto ( 2005 ) and David Roas (2018) , among others, have set out to define the specific boundaries of the fantastic on the basis that not all narrative forms featuring a supernatural element are constructed in the same way. Todorov, one of the founders of this restricted approach to the fantastic, argued already in 1970 that ‘[w]e cannot conceive a genre which would regroup all works in which the supernatural

in Border images, border narratives
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Clare Hartwell

stones of the Heavenly City, with the blue panel near the centre of the composition evoking the artist Wassily Kandinsky’s ‘pure and supernatural’ colour of eternity. Each window consists of hundreds of pieces of glass, shaped and set within the irregular lead framework. They come in many different sizes, grouped and accumulated so that colour families are created from pieces of varying hues and shades. The leadwork is an integral part of the composition, used to create shape and movement. For these characteristics, Hollaway is surely heir to the Arts and Crafts

in Manchester
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Matthew Steele

at www. mayorsforpeace.org/english/whatsnew/activity/180619_Manchester_ peace_garden.html (accessed 17 June 2020).   4 Nick Robins, The Ships That Came to Manchester: From the Mersey and Weaver Sailing Flat to the Mighty Container Ship (Amberley: Shire, 2015). Thomas Walker was the civil engineer contracted to build the Manchester Ship Canal.   5 Morag Rose, ‘“There’s something in the water!” A psychogeographical exploration of what lurks beneath the surface of Manchester’, in Karl Bell, ed., Supernatural Cities: Enchantment, Anxiety and Spectrality (Martlesham

in Manchester
Luiz Eduardo Soares

considered as another subject, whose point of view serves as a latent echo of the I . I believe that this concept can help one to determine the supernatural context. It is an abnormal context in which the subject is seen from another dominant cosmological point of view, where it is seen as the you from a non-human perspective; the supernatural is the form of the Other as the Subject , implying the objectification of the human ‘I’ as a you for this Other. The typical supernatural situation of the Amerindian world is the encounter in the forest between a human

in Urban transformations and public health in the emergent city
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Postcolonialism and ecology in the work of Tim Robinson
Eóin Flannery

ecological consciousness: Placenames, whether they exist in the mind of the Irish seanchai, the custodian of traditional lore, or in the memory banks of a database, are only the anchor points of a discourse of place. To create a language for the secular celebration of the Earth, with the height and power of the religious tradition but purged of supernaturalism, can be seen as the task of ecoliterature, tracked and made conscious of itself by ecocriticism.29 The colonial context is one that informs our readings of Robinson’s visual and verbal texts, and is a context that

in Unfolding Irish landscapes