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Melancholy cosmopolitanism
Susan Watkins

traumatic loss, writing and subjective change is one that David L. Eng and David Kazanjian explore further in Loss: The Politics of Mourning (2003). They suggest that ‘avowals of and attachments to loss can produce a world of remains as a world of new representations and alternative meanings’. 3 In other words, the sense of subjective violation and transformation that occurs during the process of writing about loss can be creative, both for the writer and the writing itself. In this chapter I want to explore how, in her work in the 1960s and the early 1970s, Lessing

in Doris Lessing
Yulia Karpova

Lenin’s 100th birthday, the editorial team of Dekorativnoe Iskusstvo SSSR noted the exhibition artists’ skill in solving ‘complex, and sometimes deliberately complicated tasks’.4 If at this point 1960s neodecorativism was often still seen by critics as a creative laboratory for mass-produced objects, 1970s decorative art affirmed the social value of complex designs, hardly adoptable for mass production. Simplicity lost its status as a universal value in socialist material culture and ceased to be a necessary characteristic of a comradely object. The increasing

in Comradely objects
William Welstead

relevance of this creative work in ecocritical discourse, both in collaboration with literary and other creative genres and considered in its own right. In The Wildlife Artist’s Handbook, Jackie Garner (2013) urges those aspiring to be wildlife artists to be ‘an artist first and a scientist second’. She stresses the twin pressure that these artists will face from ‘wildlife enthusiasts [who] can sometimes be very critical’ of images that do not convey a great deal of scientific information, and the dismissal of their work ‘by the art establishment as illustration at best

in Extending ecocriticism
Olson on history, in dialogue
Sarah Posman

historical inquiry lies in a renewal of the bond between poetry and history, in a stress on ‘a poetic form of presentation’.11 In this regard Curtius refers to the MUP_Herd_Printer.indd 222 21/11/2014 12:39 Olson on history, in dialogue 223 French vitalist philosopher Henri Bergson as the only contemporary philosopher to have tackled the problem of the creative imagination. It is Bergson, Curtius asserts, who has shown that the fiction-making function, the human drive to ‘make myths, stories, poems’, is necessary to life.12 In ‘The Gate and the Center’, Olson likewise

in Contemporary Olson
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Blended understandings of symbolic forces in London-French education on-land and on-line
Saskia Huc-Hepher

-land interviews and attended by ‘French’ children in London. In the on-line case-study, I foreground the aspects of the UK education model that my on-land participants value most, including the practice-based approach, the emphasis on positive encouragement and participation, teacher–student equality, the valuing of the individual, and the development of oral, sporting and creative skills, alongside employability. By conducting this blended, ethnosemiotic analysis, I seek to understand why the majority of my research participants favour the English educational model (a

in French London
Peter Barry and William Welstead

1 Ecocriticism extends its boundaries Peter Barry and William Welstead Environmental literary criticism, usually contracted to ecocriticism, has advanced considerably since the term was widely adopted in the 1980s and 1990s. The aim of this book is threefold: firstly to consider examples of this advance across genres within literary studies and beyond into other creative forms; secondly to explore the ecocritical implications of collaboration across genres in the humanities; and thirdly to explore literary, artistic and performance production through direct

in Extending ecocriticism
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Artist and critic meet in the mirror
Mary Karen Dahl

R&G 12 rev_Tonra 01 11/10/2013 17:22 Page 129 12 I Saw Myself: artist and critic meet in the mirror Mary Karen Dahl My tapestry is true if you want history weave another one (OP4, 56) There is a scandal at the heart of making theatre and it is this: artists don’t stand aside but always are implicated in the messy, typically bloody, weaving of the day-to-day events that become history.1 Art and artist do not hold up a mirror to nature: they make the world. Barker’s play I Saw Myself (staged 2008) is his most elegantly developed probe into ways that creative

in Howard Barker’s Art of Theatre
Sara Haslam

that both signified the continuing power of nature in a world dominated by conceptions of ‘civilised society’, and celebrated the ‘dark forest’ as an image of female physicality. Overall, as Ford investigated the legacies of the Pre-Raphaelites and his father in Ancient Lights, and revealed aspects of his creative unconscious in these positive fictions, Sorrell’s and Aldington’s selfexpression was seen to have its mirror in Ford’s own psychological reclamation. I interpreted his visions and memories as betraying not the typically modernist experience of ‘fractured

in Fragmenting modernism
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Peter Marks

Co-Productions. Foreign (non US films) in which there is a small UK involvement in finance or personnel. Category D: American films with a UK creative and/or minor financial involvement. Category D1: American financed or part financed films made in the UK. Most films have a British cultural content

in Terry Gilliam
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Lepage in his own line of vision
Karen Fricker

’ materials like earth and fire, while Vinci was ‘technological; we worked with computers almost constantly’ (qtd in Chamberland 63).i While the Trilogy is better known and was revived in 2003, it is my contention that Vinci deserves an equally central place in considerations of Lepage’s creative project. It comes across as something of a mission statement, announcing his engagement in interrelated areas of inquiry that extend across his career: autobiography, visuality, and representation. Vinci is about Lepage himself, about his personal and artistic concerns; it served

in Robert Lepage’s original stage productions