Search results

Allan Antliff

large-scale work entitled War (AD MCMXIV).36 The painting foregrounds a small innocent who lies lifeless on a battlefield dominated by faceless armies locked in mutual destruction, a narrative that is easily read as a political statement. But there is more at play here. The hard-edged aesthetic of this painting was influenced in part by the anarchist art critic John Weichsel, who contrasted art in the service of state power, religious prejudice and other social forces with individualist experimentation grounded in the creative interplay of colour and form, an impulse

in Anarchism, 1914–18
An ecocritical reading
William Welstead

seems to be a priority that overrides all other considerations. The creative arts are also frequently involved in making a direct contribution to interpretation projects, through literary and visual art commissions, story telling, exhibitions and public art. One example where the literary input was given a prominent role is the Tweed Rivers Interpretation Project, in which twenty-six writers and visual artists were asked to produce work based on a creative engagement with the river and its tributaries. An illustrated volume brought together the poetry, prose and

in Extending ecocriticism
Abstract only
Lesbian Gothic horror
Gina Wisker

conventions, and the necessity of those challenges, the celebratory excess, carnival and creative potential, the fundamental testing of established norms, possible through queer theory in action in gay- and lesbian-oriented vampire and werewolf tales. Identity, classification and control are key elements here. The chapter will focus in the main on Melanie Tem’s lesbian werewolf tale ‘Wilding’ (1996), and

in Queering the Gothic
Abstract only
Jpod and Coupland in the future
Andrew Tate

optimism ‘about the future’ and the everyday, apocalyptic paranoia expressed in JPod, the writer’s most playfully surreal, exuberantly decadent and morally unsettling piece of fiction to date. This conclusion will use Coupland’s highly self-conscious tenth ‘novel’ – though absurdist science-project or anti-art manifesto might be more appropriate terms – as a lens (admittedly distorting), through which to review his creative work and its aesthetic and ideological implications. Does the future have any future in the world according to Coupland? In a strict, chronological

in Douglas Coupland
An agenda for change?
Hugh Atkinson

democracy under threat and fighting it seemed for its very existence. Now whilst it has been argued elsewhere that local government fought a smart rearguard action against this full-frontal assault and indeed in a number of areas did succeed in carving out a creative autonomy in a number of respects (Atkinson and Wilks-Heeg, 2000), the threat to British local democracy, whose roots can be traced back some 700 years, was real enough. It should not be forgotten that in the 1980s Nicholas Ridley, the then Secretary of State for the Environment with responsibility for local

in Local democracy, civic engagement and community
Will Hutton

representing the Crown in the counties (all of which are Conservative) – are their hidden supporters. Marquand has been saying this with mounting force and conviction since the 1980s. His great book – The Unprincipled Society – laid the intellectual foundations, along with Axel Leijunhufvud’s Keynesian Economics and the Economics of Keynes, of my own, The State We’re In. Marquand’s account of Britain’s tragic failure in the 1960s and 1970s to use the state creatively to reform industrial relations, or make partnerships between state, business and the union movement work in

in Making social democrats
Abstract only
Angela Lait

their actions to a personal code of ethics becomes strong, while the prospect of positive action restores a sense of efficacy to those no longer able to claim pre-eminence as a right merely by accident of being born into a privileged class. The novel and ‘I’ Ian McEwan’s novel Saturday ( 2005 ) is a mainstream creative text that includes a reflection of contemporary

in Telling tales
Abstract only
Creating places of vernacular democracy
Beata J. Gawryszewska, Maciej Łepkowski, and Anna Wilczyńska

‘official’ functioning in urban space seems to constitute the principal value of such areas. Due to the free nature of these lands, they act proactively on the user, thereby allowing subjective perception of space and its grassroots creation (permitted to every user, irrespective of his social status) (Gawryszewska et al., 2016). During her speech at a conference ‘Growing in Cities in Switzerland’, Stefanie Hennecke (2016) emphasised the creative potential provided by ‘dysfunctional’ space, which does not in any way imply that it is ‘non-​functional’. In fact, by the lack

in Urban gardening and the struggle for social and spatial justice
Abstract only
A Doll’s House (1973), The Romantic Englishwoman (1975) and Steaming (1985)
Colin Gardner

the men in hermetic homosexual games from which they rarely escape, women largely avoid the pitfalls of Losey’s ensnaring naturalism: ‘Often women in Losey seem in advance of the milieu, in revolt against it and outside the originary world of the men – of which they will only be the victim, or the user. It is they who trace a line of exit, and who win a freedom which is creative, artistic, or simply practical: they have

in Joseph Losey
Abstract only
On the rocks road
Andrew McNeillie

The collection ends appropriately with a poem by Andrew McNeillie that he wrote about Robinson. Furthering the creative process, McNeillie, who is both a literary critic and creative writer, diverges from the critical essay form and offers a creative reflection of Robinson’s relationship with the landscape and mapping upon his arrival to Ireland through poetic form.

in Unfolding Irish landscapes