Search results

You are looking at 1 - 10 of 376 items for :

  • Art, Architecture and Visual Culture x
  • All content x
Clear All
Ben O’Loughlin

25 Images of the world, images of conflict 1 Ben O’Loughlin1 In the short story ‘The Fearful Sphere of Pascal’, Borges wrote, ‘It may be that universal history is the history of a few metaphors’ (Borges 2007, 189). The history of world politics certainly seems marked by a few recurring concepts and metaphors:  the universal and the particular, the inside and the outside, the balance of power and the ideal of symmetry and actuality of chaos. If these metaphors are the basis for how we understand world politics today, then they also shape how we remember past

in Image operations
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Abstract only
Visual media and political conflict
Editors: Jens Eder and Charlotte Klonk

Still and moving images are crucial factors in contemporary political conflicts. They not only have representational, expressive or illustrative functions, but also augment and create significant events. Beyond altering states of mind, they affect bodies, and often life or death is at stake. Various forms of image operations are currently performed in the contexts of war, insurgency and activism. Photographs, videos, interactive simulations and other kinds of images steer drones to their targets, train soldiers, terrorise the public, celebrate protest icons, uncover injustices, or call for help. They are often parts of complex agential networks and move across different media and cultural environments. This book is a pioneering interdisciplinary study of the role and function of images in political life. Balancing theoretical reflections with in-depth case studies, it brings together renowned scholars and activists from different fields to offer a multifaceted critical perspective on a crucial aspect of contemporary visual culture.

David Dutton

Edward Hemmerde and Francis Neilson were both Liberal MPs at the outbreak of the First World War, bound together by a common commitment to the principle of land taxation. A shortage of money, at a time when MPs had only just started to receive salaries, led them into extra-parliamentary co-operation in the joint authorship of plays. But the two men fell out over the profits from their literary endeavours. One or other was clearly not telling the truth. Although he gave up his parliamentary career in opposition to British involvement in the war, Neilson later prospered greatly as a writer in the United States. Meanwhile, Hemmerde turned to his career as Recorder of Liverpool, but the wealth that he craved eluded him. This article reminds us that financial impropriety among MPs is no new phenomenon, while highlighting the difficulty of establishing certain historical truth in the face of conflicting documentary evidence.

Bulletin of the John Rylands Library
Mark Hovell’s The Chartist Movement
Michael Sanders

Chartist historiography is inevitably inflected by the political desires of its authors. This desire, combined with the contingent nature of history, imparts a fictive dimension to Chartist historiography. In support of these claims, this article applies the literary concepts of plot and character to Mark Hovell’s The Chartist Movement (1918). It argues that Hovell’s political desire leads him to construct a tragic and entropic plot for Chartism, which is often contradicted by his own assessment of the movement’s vitality. Similarly, Hovell’s plotting is also driven by his reading of Chartism as a conflict between two characters, a flawed hero (Lovett) and a villain (O’Connor). The article closes with a close reading of Hovell’s characterisation of O’Connor, which demonstrates the skill with which he interweaves fact and interpretation.

Bulletin of the John Rylands Library
An Illustration of Otherness in John Nalson’s An Impartial Collection
Helen Pierce

An Impartial Collection of the Great Affairs of State was published in London, in two volumes, between 1682 and 1683. Its author John Nalson was a fervent believer in the twin pillars of the monarchy and the Anglican Church. In An Impartial Collection he holds up the internecine conflict of the 1640s as an example not to be followed during the 1680s, a period of further religious and political upheaval. Nalson’s text is anything but neutral, and its perspective is neatly summarised in the engraved frontispiece which prefaces the first volume. This article examines how this illustration, depicting a weeping Britannia accosted by a two-faced clergyman and a devil, adapts and revises an established visual vocabulary of ‘otherness’, implying disruption to English lives and liberties with origins both foreign and domestic. Such polemical imagery relies on shock value and provocation, but also contributes to a sophisticated conversation between a range of pictorial sources, reshaping old material to new concerns, and raising important questions regarding the visual literacy and acuity of its viewers.

Bulletin of the John Rylands Library
Zeynep Devrim Gürsel

to underscore that representations contribute not only to the understanding but also to the building of the realities in which we live (Goodman 1978). Images play a constitutive role in both the understanding and the building of realities, particularly in the arena of political conflict addressed by many of the chapters in this volume; they intervene in the world while representing it. It is precisely this function of photography that John Berger famously highlighted in the quotation with which I begin this chapter: photography is a crucial weapon in ideological

in Image operations
Caroline Turner and Jen Webb

War, violence and divided societies Introduction War, violence and conflict necessarily provide the most extreme occasions for violations of human rights. The world wars of the twentieth century were the most destructive of human life and, in the case of the second world war, of human property, in recorded history. In Asia, the end of that war is also associated with struggles to achieve independence after what had been, in some cases, several centuries of colonial control. Though in most cases this was achieved fairly rapidly, that was not the end of the

in Art and human rights