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’ house with a unique fusion of east meets west,” Shanghai Tang combines details of traditional Chinese clothing with “imperial tailoring skills,” old Shanghai style, and contemporary cosmopolitan fashions.3 In Shanghai Tang, like at Xintiandi, pastiche tends to cover over present-day socioeconomic tensions, such as those arising from the reestablishment of class divisions, vying conceptions of local and global identities, and anxieties about Shanghai overtaking Hong Kong as the region’s primary economic powerhouse. This chapter analyzes Shanghai Tang’s hybrid imagery

in Above sea
Proscenium theatre and technologies of illusionism

painting in theatre, which occupied a privileged place in metropolitan English cultural life.19 While public playhouses sought out the services of professional scenographers and set designers from the bustling London theatre scene, there is also evidence of smaller portable theatres with changeable scenery, proscenium and wings in collections in India. Claude Martin, the Frenchman in service with the English East India Company at Lucknow imported a specially designed mechanical theatre, approximately 7 feet wide and 8 feet high, with ‘Purdah hai purdah!’ eight

in Empires of light

relationship. However, once Brad has seen Jan he decides to pursue her, disguising his real identity under the name ‘Rex Stetson’. The risqué nature of Pillow Talk may be virtually invisible behind its surface gloss for audiences today, but, properly considered, the title track and the song Day sings on the soundtrack over the journey to a secluded Connecticut cottage (‘l’m yours tonight ... possess me, make

in Laughing matters

speculates there may have been still more to it than that: But fire was mainly a factor in inspiring conviviality. Group spirit was surely kindled around the hearth. This was the birth of the first myths. It is at this point that regional traditions emerged: the first cultural identities, showing styles and designs in the manufacture of some tools.9 No less significant, echoing the important discovery of canonical neurons noted in Chapter 3, Jonas Langer10 contends that the propensity to group things together and give them names has deep roots in human cognition and the

in The extended self

examined through the foregrounding of lesbian subjectivity in the work of Teatro Siluetas. One might regard the launching of a theatre group that specifically addresses the needs and lives of subjects regarded as marginalized and under-represented in the mainstream as an identitarian or minoritarian formation, with the purpose of gaining more visibility and acknowledgement in the public sphere. For Siluetas members, however, the motivation in founding a lesbian collective extends beyond an identity-based politics. Rather, the category of ‘lesbian’ presents for the

in The gestures of participatory art

–70 were thus written across the space of a defeatured landscape not so featureless after all, one instead marked and defined by its modern other: women, indigenous people, and belief systems, nature out of control, the unconscious, sexuality, The theory and practice of a defeatured landscape 149 N.E. Thing Co., Territorial Claim – Urination, 1969, collage, 44 × 44 cm. Collection of the Morris and Helen Belkin Art Gallery, The University of British Columbia, gift of the artists, 1995. Photo: Howard Ursuliak. 20  and loss of male identity. In this developing

in Engendering an avant-garde
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she 149 150 Art and human rights has aimed to recover the vision of Pakistan’s identity that her father, and many of its founders, dreamed of: a Pakistan that encompasses a strong commitment to human rights and humanist values. She was also one of the Pakistani women who early took on a public and professional role. She studied design at the National College of Arts in Lahore, then continued her studies at the Bath Academy of Art in the United Kingdom and subsequently at the Rhode Island School of Design in the United States. On her return to Pakistan she and

in Art and human rights
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The grotesque

across the earth’. In such a state, conventional notions such as individual identity give way to dispersal in a boisterous concatenation of multiple identities: ‘the young moon … the calf … the meteorite … the ­cylindrical gable’. If we turn now to George Grosz’s series of satirical drawings for the second edition of Huelsenbeck’s poems, it is immediately apparent that while the drawings do not literally illustrate the poems, they share the same themes and satirical spirit. Grosz depicted human types rather than individuals, and his viciously satirical anti

in Dada bodies
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Justinian Isham had repeatedly rejected proposals by David Papillon, a French Huguenot engineer, for a new house before he approved Webb’s design of a new wing.42 Only Chaloner Chute and Sir John Maynard, who were barristers, engaged in extensive housebuilding. Chute purchased The Vyne estate and then commissioned demolition of its service court as well as construction of a new wing, and Maynard employed Webb to design a house at Gunnersbury that was larger than Amesbury.43 Contrary to traditional expectations, wealthy professionals rather than well-established landowners

in The paradox of body, building and motion in seventeenth-century England

interviews she gave at the time that she was not a ‘professional feminist’. In an article devoted to women filmmakers as a recognition of the growing number of female directors and published in 1977, before Pourquoi pas!, she expressed her refusal of categorisation by denying the importance of her gender in her films: ‘Je ne suis pas une femme qui fait du cinéma: je suis quelqu’un qui fait du cinéma’ 6 (Gauteur 1977 : 24). On the other hand, she recurrently stressed the importance of feminism alongside other key movements: ‘Le

in Coline Serreau