This is the first interdisciplinary exploration of machine culture in Italian
futurism after the First World War. The machine was a primary concern for the
futuristi. As well as being a material tool in the factory it was a social and
political agent, an aesthetic emblem, a metonymy of modernity and international
circulation and a living symbol of past crafts and technologies. Exploring
literature, the visual and performing arts, photography, music and film, the
book uses the lens of European machine culture to elucidate the work of a broad
set of artists and practitioners, including Censi, Depero, Marinetti, Munari and
Prampolini. The machine emerges here as an archaeology of technology in
modernity: the time machine of futurism.
of architecture between
1880 and 1914. The School also transformed the shape of the house and
can rightly be thought of as an important ingredient in the rise of
international modernism in Europe. 40 Thus in 1893, the organisers of the Columbian
had a great deal of acclaimed expertise to tap for the construction of
their site. Daniel Burnham, a leading light in the Chicago school, was
Database, the Foxe Project or the ODNB. There is a
concern that the normal critical faculties of academics have been
suspended when faced with glossy and well-organized databases of
this kind: it is as well to remember that a database of any kind is
only as good as the source materials upon which it draws, and the
organization and accessibility of the data.
New -isms became prominent from the 1950s onwards: modernism,
postmodernism, deconstructionism, feminism and receptionism
being five of the most important for our subject. The modernist trend
emerged in the
point of the plot,
as if staying in one place will simply not encompass what Priestley wants
‘England’ is also tied up with Priestley’s identity as a writer, and his
estrangement from modernism in the 1920s and 1930s. Modernism saw
itself as an international movement, taking up the engagement with
European literature pioneered by the previous generation of realists such
as Arnold Bennett. From his early days, Priestley pitched his literary tent
on English soil, writing about the Englishness of English literature, and its
relation to national character.7 Like
and artistic circles. Science and Charity is an example
of how popular allegories were transformed by late nineteenth-century artists
to help visualize larger social, metaphysical and, ultimately, aesthetic issues.
Picasso’s work, in short, was more than simply the product of a ‘precocious’
15-year-old boy. It offers an introduction into some general problems of
interpretation of nineteenth-century European painting as a whole, and Spain
specifically, at a key turning point in Picasso, and Modernism’s, trajectory.
Ultimately, if the arts themselves were sick – as
called into question as large research projects generated
conflictual rather than cumulative results. More positively, the publication
in 1973 of both Hayden White’s Metahistory: The Historical Imagination in
Nineteenth-Century Europe and Clifford Geertz’s The Interpretation of
Cultures, alongside the publication in the 1960s and 1970s of the work of
‘Roland Barthes, Pierre Bourdieu, Jacques Derrida, Marshall Sahlins,
Raymond Williams, and especially Michel Foucault’, as Bonnell and Hunt
maintain, ‘changed the intellectual landscape’. Moreover, this new intellectual
What were the distinctive cultures of decolonisation that emerged in the years between 1945 and 1970, and what can they uncover about the complexities of the ‘end of empire’ as a process? Cultures of Decolonisation brings together visual, literary and material cultures within one volume in order to explore this question. The volume reveals the diverse ways in which cultures were active in wider political, economic and social change, working as crucial gauges, microcosms, and agents of decolonisation. Individual chapters focus on architecture, theatre, museums, heritage sites, fine art, and interior design alongside institutions such as artists’ groups, language agencies and the Royal Mint in Africa, Asia, the Caribbean, and Europe. Drawing on a range of disciplinary perspectives, these contributions offer revealing case studies for those researching decolonisation at all levels across the humanities and social sciences. The collection demonstrates the transnational character of cultures of decolonisation (and of decolonisation itself), and illustrates the value of comparison – between different sorts of cultural forms and different places – in understanding the nature of this dramatic and wide-reaching geopolitical change. Cultures of Decolonisation illustrates the value of engaging with the complexities of decolonisation as enacted and experienced by a broad range of actors beyond ‘flag independence’ and the realm of high politics. In the process it makes an important contribution to the theoretical, methodological and empirical diversification of the historiography of the end of empire.
Reconstructing modernity assesses the character of approaches to rebuilding British cities during the decades after the Second World War. It explores the strategies of spatial governance that sought to restructure society and looks at the cast of characters who shaped these processes. It challenges traditional views of urban modernism as moderate and humanist, shedding new light on the importance of the immediate post-war for the trajectory of urban renewal in the twentieth century. The book shows how local corporations and town planners in Manchester and Hull attempted to create order and functionality through the remaking of their decrepit Victorian cities. It looks at the motivations of national and local governments in the post-war rebuilding process and explores why and how they attempted the schemes they did. What emerges is a picture of local corporations, planners and city engineers as radical reshapers of the urban environment, not through the production of grand examples of architectural modernism, but in mundane attempts to zone cities, produce greener housing estates, control advertising or regulate air quality. Their ambition to control and shape the space of their cities was an attempt to produce urban environments that might be both more orderly and functional, but also held the potential to shape society.
Richly illustrated with over 110 colour and black and white images, the book
productively contests the supposedly exclusive feminine aspect of the style
moderne (art deco). It explores how alternative, parallel and overlapping
experiences and expressions of decorative modernism, nationalism, gender and
sexuality in the heady years surrounding World War I converge in the protean
figure of the deco dandy. As such, the book significantly departs from and
corrects the assumptions and biases that have dominated scholarship on and
popular perceptions of art deco. The book outlines how designed products and
representations of and for the dandy both existed within and outwith normative
expectations of gender and sexuality complicating men’s relationship to consumer
culture more broadly and the moderne more specifically. Through a sustained
focus on the figure of the dandy, the book offers a broader view of art deco by
claiming a greater place for the male body and masculinity in this history than
has been given to date. The mass appeal of the dandy in the 1920s was a way to
redeploy an iconic, popular and well-known typology as a means to stimulate
national industries, to engender a desire for all things made in France.
Important, essential and productive moments in the history of the cultural life
of Paris presented in the book are instructive of the changing role performed by
consumerism, masculinity, design history and national identity.
Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.