Peter John, Sarah Cotterill, Alice Moseley, Liz Richardson, Graham Smith, Gerry Stoker, and Corinne Wales
varied by these local agencies, as they learn from experience. And it was this creative process of using nudges that our design experiments attempted to reproduce. In this way, the time-limited nature of nudges is not a disadvantage because public agencies and other partners are continually using a wide range of time-limited strategies to improve public policy.
The fifth limitation stems from the collaboration needed to implement nudges involving public agencies. The messiness of everyday policy-implementation means that it takes a lot of effort to get a nudge
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
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.
relevance of this creative work in ecocritical discourse, both in collaboration with literary and other creative genres and considered in its
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
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
Olson on history, in dialogue
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
Blended understandings of symbolic forces in London-French education on-land and on-line
-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
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
R&G 12 rev_Tonra 01 11/10/2013 17:22 Page 129
I Saw Myself:
artist and critic meet in the mirror
Mary Karen Dahl
My tapestry is true if you want history weave another one
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
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
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