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Thomas Osborne

of the critical Enlightenment ideal of autonomy, or at least is a descendant of that ideal. But in modernist art the very idea of what is autonomous, what is new, is uncertain. Modern art and modernism specialise, so to speak, in the interrogation of newness. It is a matter of a questioning of the idea of the new, of creative ideals, and a questioning of enlightenment as much as a straightforward embrace of it. Modernist art typically distances itself, and self-consciously so, from mere ‘entertainment’, not for elitist reasons necessarily but in so far as

in The structure of modern cultural theory
Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter
Debra Kelly

6 ‘An infinity of living forms, representative of the absolute’? Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter Debra Kelly Debra Kelly ‘An infinity of living forms’ Artist, poet, witness Wanting to introduce new ideas is good, being unable not to introduce new ideas is much better. The ism is a bit like a magnifying glass. It magnifies the precise point under examination, but you can no longer see anything around it, and this point is so magnified that it attracts: you throw yourself into it, it swallows you up, and

in Back to the Futurists
Open Access (free)
Memory and identity in Marie Redonnet’s fiction of the 1990s
Aine Smith

their success is, as we are about to see, due to their capacity to make memory for and of themselves, to create a past. The artistic endeavour is a recurrent feature of Redonnet’s texts. From Doublures, with its cast of costume-makers, toy-makers, acrobats and performers, right through to Villa Rosa, whose eponymous villa is a haven for painters, dancers and musicians, the desire to invent and create is one which impels a vast array of characters. In many cases a veritable compulsion, the creative act is seen by Redonnet’s characters as a means of generating identity

in Women’s writing in contemporary France
Digressive copy clerks
Sharon Lubkemann Allen

, citing Strakhov, Биография, писма и заметки из записной книжки Ф. М. Достоевского (St. Petersburg, 1983), 359. 13 Note the introduction to the hero in ‘The Overcoat’ as a typical (‘one’ among many) and markedly unremarkable petty official serving in a typical (‘one’ but random) Lubkemann Allen, EccentriCities.indd 199 28/10/2013 12:20:27 200 Eccentric narrative consciousness caricatures. When finally stripped of overcoat or sanity, they seem even more insignificant and adrift in the cityscape than Evgeny – though they are marked by more creative consciousness

in EccentriCities
Abstract only
Angela Lait

Autobiography and biographical certainty The closing years of the twentieth century and early ones of the twenty-first were marked by two phenomena – the increasing production of, and interest in biography and autobiography, alongside an intense (re)engagement with traditional, creative, craft-based labours, particularly cookery and horticulture. This is not merely

in Telling tales
Abstract only
A world of difference
Morny Joy

early work inspired a number of women scholars to drastically reappraise the western philosophical heritage from its beginnings. In Religious Studies, it also prompted women to develop their own critical analyses and creative experimentations, especially in reaction to the traditional formulas of philosophy of religion. The different works of Pamela Anderson (1998), Amy Hollywood (1998), Pamela Huntington (1998) and Grace Jantzen (1999) all exhibit the influence of Irigaray’s initiative, but certain of their responses have varied, as they have become aware of the

in Divine love
Derek Paget

the presence of the lawyer hovering in the background acts as an inhibiter of creative teams, leading to a kind of ‘writing by committee’ at odds with the ideal of free expression. The kind of creative constraints projected by those who dislike the form is symbolised by the nickname I mentioned in Chapter 1 given by actors and crew to Hostages producers Sita Williams and Alasdair Palmer – the ‘Fact Fascists’. In a strikingly similar way, the crew working on Apollo 13 (Ron Howard’s 1995 film about the 1970 Moon mission that went wrong) saw their director as the Chief

in No other way to tell it
Open Access (free)
Frank O’Hara
David Herd

5 Circulating: Frank O'Hara The day Frank O’Hara died, following an accident on Fire Island – he was struck by a beach buggy early in the morning of 24 July, 1966 – ‘the New York art world was,’ as Peter Schjeldahl has said, ‘collectively thunderstruck. In 1 years as a poet, playwright, critic, curator, and universal energy source in the lives of the few hundred most creative people in America, Frank O’Hara had rendered that whole world unprepared to tolerate his passing.’1 ‘A center,’ as the painter John Button put it, registering the magnitude of the shock

in Enthusiast!
Walking from the mundane to the marvellous
Morag Rose

the shape of the city and to experiment with creative, and playful, walking methods. More recently, for my PhD research, I walked with women to discuss their thoughts, feelings and experiences of Manchester. This chapter shares fieldwork notes and practical tips to develop walking methods at a variety of scales: lone wandering as way to understand everyday spaces; one-to-one walking interviews, because walking and talking together facilitates rich conversations about the environment; walking with groups of people who want

in Mundane Methods
Mia Husted and Ditte Tofteng

be heard through both the collective investigation aspects of the project as well as the final analyses and decision-making processes. Continuing to develop new and more creative methods is a part of our challenge as researchers, and of course this is where the arts have come in. But our challenge is also to bring these 109 Clover_Sandford.indd 109 05/04/2013 09:03 arts-based research and enquiry new practices back to our students at university. By this we mean we must work to legitimise these new, creative or arts-based practices within the discourse of

in Lifelong learning, the arts and community cultural engagement in the contemporary university