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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.

Paul Greenhalgh

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 made chairman

in Ephemeral vistas

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. -Isms 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

in The Debate on the English Reformation

point of the plot, as if staying in one place will simply not encompass what Priestley wants to say. ‘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

in Priestley’s England

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

in Spain in the nineteenth century
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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

in Reflections on the Marxist theory of history
Transnational productions and practices, 1945–70
Editors: Ruth Craggs and Claire Wintle

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.

Space, power and governance in mid-twentieth century British cities

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.

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Ralph Hotere and ‘New Commonwealth Internationalism’

, an institutional discourse as well as an aesthetic imperative (the politicisation of late modernism). This institutionalisation was first manifested in the independent gallery sector, through establishments like the New Vision Group, formed by South African artist Denis Bowen and dedicated to promoting abstract artists from Commonwealth countries alongside European tachism

in Cultures of decolonisation
Marxism and post-modernity

of theorists who have engaged in the debate over the 202 Marxist theory of history nature of post-modernism. According to Jameson, the power of the argument that we inhabit a new post-modern era ‘depends on the hypothesis of some radical break or coupure, generally traced back to the end of the 1950s or the early 1960s’.9 While he predicates his own analysis of the transition from modernism to post-modernism, and previously the transition from realism to modernism, on Ernest Mandel’s periodisation of capitalism, through its market, monopoly and multinational

in Reflections on the Marxist theory of history