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Victoria Joule

In this article I demonstrate the significance of a flexible approach to examining the autobiographical in early eighteenth-century womens writing. Using ‘old stories’, existing and developing narrative and literary forms, womens autobiographical writing can be discovered in places other than the more recognizable forms such as diaries and memoirs. Jane Barker and Delarivier Manley‘s works are important examples of the dynamic and creative use of cross-genre autobiographical writing. The integration of themselves in their fictional and poetic works demonstrates the potential of generic fluidity for innovative ways to express and explore the self in textual forms.

Bulletin of the John Rylands Library
Jane Maxwell

The poor survival rate of primary sources for the history of Irish women in the early modern period is mitigated by the sophistication with which extant sources are now being analysed. When re-examined without reference to the demands of the traditional historical grand narrative, when each text itself is permitted to guide its own interrogation, previously undervalued texts are revealed to be insightful of individual existential experience. The memoir of eighteenth-century Dorothea Herbert, hitherto much ignored due to the authors mental illness, is becoming increasingly respected not just for its historic evidential value but for the revelations it contains of a distressed individuals use of literature to manage her circumstances. The interpretive tools deployed on such a text by different research specialisms necessarily lead to divergent conclusions; this in turn may lead to creative re-imagining of history although they cannot all equally reflect what was likely to have been the lived reality of the original author.

Bulletin of the John Rylands Library
David R. Law

The theological energies released by Martin Luther in 1517 created a set of theological insights and problems that eventually led to the development of kenotic Christology (i. e., the view that in order for the Son of God to become incarnate and live a genuinely human life, he emptied himself of his divine prerogatives or attributes). This article traces how kenotic Christology originated in the Eucharistic Controversy between Luther and Zwingli, before receiving its first extensive treatment in the debate between the Lutheran theologians of Tübingen and Giessen in,the early seventeenth century. Attention then turns to the nine-teenth century, when doctrinal tensions resulting from the enforced union of the Prussian Lutheran and Reformed churches created the conditions for a new flowering of kenotic Christology in the theologies of Ernst Sartorius and, subsequently, Gottfried Thomasius. Kenotic Christology ultimately originates with Luther, however, for it owes its existence to the creative theological energies he unleashed and which remain his lasting legacy.

Bulletin of the John Rylands Library
Clare A. Lees

This article explores the contributions of women scholars, writers and artists to our understanding of the medieval past. Beginning with a contemporary artists book by Liz Mathews that draws on one of Boethius‘s Latin lyrics from the Consolation of Philosophy as translated by Helen Waddell, it traces a network of medieval women scholars of the nineteenth and twentieth centuries associated with Manchester and the John Rylands Library, such as Alice Margaret Cooke and Mary Bateson. It concludes by examining the translation of the Old English poem, The Wife‘s Lament, by contemporary poet, Eavan Boland. The art of Liz Mathews and poetry of Eavan Boland and the scholarship of women like Alice Cooke, Mary Bateson, Helen Waddell and Eileen Power show that women‘s writing of the past – creative, public, scholarly – forms a strand of an archive of women‘s history that is still being put together.

Bulletin of the John Rylands Library
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Material culture and tangible labour

With the increasing digitisation of almost every facet of human endeavour, concerns persist about ‘deskilling’ and precarious employment. The publishing industry has turned its energy to online and electronic media, and jobs continue to disappear from printing, publishing and journalism. The replacement of human labour with computerised technologies is not merely a contemporary issue; it has an established history dating from the mid-twentieth century. What is often missing from this record is an understanding of how the world of work is tightly interwoven with the tangible and affective worlds of material culture and design, even in ‘clean’ computerised environments. Workplace culture is not only made up of socio-political relationships and dynamics. It is also bound up with a world of things, with and through which the social and gendered processes of workplace life are enacted and experienced. Understanding how we interact with and interpret design is crucial for appreciating the complexities of the labour experience, particularly at times of technological disruption. Hot Metal reveals integral labour-design relationships through an examination of three decades in the printing industry, between the 1960s and 1980s. This was the period when hot-metal typesetting and letterpress was in decline; the early years of the ‘digital switch’. Using oral histories from an intriguing case-study – a doggedly traditional Government Printing Office in Australia – this book provides an evocative rendering of design culture and embodied practice in a context that was, like many workplaces, not quite ‘up-to-date’ with technology. Hot Metal is also history of how digital technologies ruptured and transformed working life in manufacturing. Rather than focusing solely on ‘official’ labour, this book will introduce the reader to workers’ clandestine creative practices; the making of things ‘on the side’.

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Storytelling and organizing creativity in luxury and fashion
Pierre-Yves Donzé and Ben Wubs

creative process within luxury conglomerates remained autonomous and decentralized, according to the existing literature. 1 The French holding company Moët Hennessy Louis Vuitton (LVMH), the world’s largest fashion and luxury group, is an excellent embodiment of this organizational change. 2 Today, LVMH presides over a €35 billion (approximately $39 billion) luxury and fashion empire from headquarters in the upmarket eighth arrondissement in Paris. This chapter is a case study of LVMH that explores the evolution of the fashion and luxury industries, entrepreneurship

in European fashion
Creativity at a time of institutional decline
Jesse Adams Stein

Greiner (elected in 1988) planned to raise revenue from the sale of government MUP_Stein_Printer2.indd 161 10/08/2016 15:39 162 Challenges and creative resilience assets: power stations, coal mines, railway infrastructure and printing offices.7 Workers were not oblivious to these transitions, and, rather than radicalising them, the disappearance of manufacturing often produced in them polarised and individualised responses; they sought merely to survive, not necessarily to overthrow the system.8 The making of foreign orders enabled subtle subversions, rather than

in Hot metal
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Precarity in the fashion system
Ilaria Vanni

culture jamming or Situationist détournements, and more recently as a form of urban learning aimed at the elaboration of collective forms of self-organisation.5 The significance of Serpica Naro, however, goes beyond the value of the hoax and creative conflict produced by the intervention in Milan Fashion Week. Instead, leaning on Markussen’s notion of disruptive aesthetics, Julier’s design activism tactics and Fry’s redirective practice, I argue that Serpica Naro was a designerly act that reoriented the politics of precarity embedded in the fashion system.6 In

in Precarious objects
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
Boccioni – Delaunay, interpretational error or Bergsonian practice?
Delphine Bière

critics tended to confuse and assimilate the Delaunay’s creative process with that of the Italian Futurists. The point of the dispute was first of all to prove the precedence of the Futurists’ pictorial innovations over Delaunay’s. Secondly, the debates it provoked revealed some interpretational errors in the way some driving principles were received at the time, including Chevreul’s law of simultaneous contrasts and complementary colours, but above all Bergson’s theories about duration and intuition. In the 1910s, the philosopher influenced a whole new generation of

in Back to the Futurists