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The Visual Politics and Narratives of Red Cross Museums in Europe and the United States, 1920s to 2010s
Sönke Kunkel

. The background, a painted canvas, showed a panorama of the destroyed city while in the foreground the drama of relief was illustrated through a three-dimensional model of the hospitals put up to help the wounded. Reflecting the state of the art in the museum world, the exhibit worked with electrical lights to stage and dramatize objects and used stained glass windows designed by Louis Tiffany of New York. In addition, the museum also impressed through large, portentous

Journal of Humanitarian Affairs
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.

Yulia Karpova

stained glass was just a tool for creating figurative imagery in architecture. At that time, the Moscow Research Institute of Decorative and Applied Art was developing new techniques for decorating stained glass, such as etching, engraving and counter-reliefs. According to Kalinin, these innovations enabled the artist to ‘render more adequately and realistically life-affirming images of our reality, first of all, images of Soviet people in the fullest of their spiritual wealth’. He used two examples to illustrate his point: The stained glass by the student V. Statun

in Comradely objects
The auteur as an ekphrastic ghost
Maaret Koskinen

’s Children , which Bergman wrote a few years later. Take the following example in which the boy Pu accompanies his father, the parish parson, to a church sermon: He couldn’t care less—the service is so boring it’s almost incomprehensible. Pu looks around, and what he sees keeps him alive: the altarpiece, the stained-glass window, the murals, Jesus and the robbers in blood and torment. Mary leaning toward Saint John: ‘Look upon your son, look upon your mother.’ Mary Magdalene

in Ingmar Bergman
T.S. Eliot and Gothic hauntings in Waugh’s A Handful of Dust and Barnes’s Nightwood
Avril Horner and Sue Zlosnik

county, was entirely rebuilt in the Gothic style and is now devoid of interest’ (HD, p. 14). The outward and visible sign of the heritage that Tony is so committed to maintaining Unreal cities and undead legacies 229 is, to use one of the key words of Vile Bodies,‘bogus’. Hetton, with its elaborate Gothic features, its ‘lancet windows of armorial stained glass’, its ‘dining hall with its hammer-beam roof and pitch-pine minstrel gallery’, its bedrooms named after Arthurian characters is, like Walpole’s ‘Gothic Villa’, an artefact dedicated to the assertion of a

in Special relationships
Open Access (free)
Royal weddings and the media promotion of British fashion
Jo Stephenson

: It was filmic. The richly coloured uniforms of the male Windsors and the glamorous, British-made dresses of the bride and her new family added to the Harry Potter effect of swooping television shots in the gothic, leafy and stained-glass illuminated Abbey. 52 These opening images of London work further to cement the

in The British monarchy on screen
Open Access (free)
Sara Haslam

’s only successful treatment in the novel; she cures Dudley Leicester too when her male peers fail (there is something godlike about her then).31 Women are also sexually confident, and predatory. They are spiritually developed: ‘the window, being of stained glass, showed the story of St George. Little, and as it were golden, Pauline stood motionless in the middle of the room; she looked upon the floor and appeared lost in reflection’ (p. 112). Finally, and perhaps most surprisingly, they also maintain their ability to mother: ‘she appeared to look downwards upon Dudley

in Fragmenting modernism
Open Access (free)
What lovers want
Arlyn Diamond

possible inspiration was the king’s ‘Painted Chamber’, which was both bedroom and state apartment. The Chapel of St Stephen, like Melidor’s chamber, had elaborate paintings and stained glass windows. The most striking analogue to the details listed in the romance, however, can be found in the chapter house at Westminster, which contained a series of depictions of the Apocalypse. My study of Kathleen Scott’s index of British manuscript images reveals no comparable combination of subjects elsewhere, nor does A. Caiger-Smith’s catalogue of surviving English wall paintings

in Pulp fictions of medieval England
Open Access (free)
The wall texts of a Percy family manuscript and the Poulys Daunce of St Paul’s Cathedral
Heather Blatt

through its textual representation of architectural space. Architectural framing alone suffices to create virtual space through which readers can travel. Significantly, this suggests that focus on the role of ‘multi-’ in multimedia may not be a necessary condition for virtuality, particularly for medieval audiences conditioned to make connections across media instantiations of narratives – for example, hagiographic narratives in manuscripts and stained glass windows – on their own. Rather, the crucial determinant of virtual space is the role of embodied reading. When

in Participatory reading in late-medieval England
Brian Pullan and Michele Abendstern

midst of dark satanic mills. In 1974 the Library as a whole housed more than 2m. volumes, subscribed to more than 8,000 periodicals, and had on its books more than 26,000 registered users (a figure which had reached 32,000 by 1977, and was then equivalent to about double the number of students and academic staff in the University, UMIST and the Business School). The sparsely populated, lavishly appointed building in Deansgate offered ample room and a quasi-ecclesiastical atmosphere, beneath its stained-glass windows and statues of literary saints, to the few habitués

in A history of the University of Manchester 1973–90