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Writing queer feminist transnational South Asian art histories

has become just as well known for giving rise to punk and ‘new wave’ music in the 1980s and for being the post-millennial, commercial epicentre of gay life in the northwest of England. For instance, the city has many gay clubs, bars and restaurants, which make up the area known as the Gay Village, and became the first British city to host Europride in 2003. Manchester has a diverse ethnic population, too, evidenced most conspicuously in the commercialized spaces of Chinatown and Curry Mile, so named for its many South Asian restaurants and shops. Urban geographer

in Productive failure
From Burke’s Philosophical Enquiry to British Romantic art

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

The moral life and the state

2 Jowett’s scriptures: the moral life and the state Theological questions on the Isle of Wight On 31 December 1864, Julia Margaret Cameron sent her friend Sir John Herschel a gift of photographs and a letter informing him about a turning point in her creative life. After a year spent experimenting with different subjects, she seized upon the goal of pursuing a religious iconography in photography. The following declaration accompanied her post: ‘Yesterday I dispatched for you & dear Lady Herschel one series of my Photographs which form I think now a theological

in Julia Margaret Cameron’s ‘fancy subjects’
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Dostoevskii (1821–1881) and Anton Chekhov (1860–1904) during his lifetime. Yet, because he had both supported revolution in his early years and reviled the Bolsheviks at the end of his life, Andreev found no defenders among Russian émigrés living abroad or literary scholars in the Soviet Union. Within a decade after his death, and for roughly thirty years thereafter, his literary works were largely ignored. This book invites reconsideration of one of the leading authors of the Russian fin de siècle, concentrating on a neglected area of his life and work. Andreev was

in Degeneration, decadence and disease in the Russian fin de siècle
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A case for embodied visuality

historical circumstances (life at a camp in California) and democracy’s utopian promise (of a ‘new’, economically just, life). Such enduring mythologies (to recall Barthes5 (1972)) naturalise even the most historically intended document, often through cultural reference to religious icons: the Madonna at the centre of Lange’s photograph signals eternal selflessness, eternal fecundity. If we pursue what makes the photograph tick beyond aesthetic reference, however, one may argue that it harnesses devotional literacies to a secular cause in disenchanted times. While a focus

in Image operations
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drama that Ward described threatened to define Cameron’s photography by limiting discussion of her imagery to her personal activities – her maternal and domestic life, philanthropic undertakings, private devotions, and her relationship to her models – and these have been well researched and documented.2 But this has also meant that her photographs have become largely separated from the ideas, religious controversies, literary criticism, philosophical positions, and political debates that drew together the village’s artistic and intellectual society as well as the

in Julia Margaret Cameron’s ‘fancy subjects’

duality of the glutton and the angel, as a celestial version of the self, can be interpreted as a religious one – the duality of body and soul. But it is perhaps more appropriate to situate it in the context of a specifically Russian dialectic, originating, like cosmism, in the nineteenth century: the dialectic of byt and bytie.15 These two notions are not directly translatable into English. Byt denotes ordinary, banal, everyday life, and bytie the enlightened, spiritual existence. In the midnineteenth century, Russian intellectuals developed an understanding according

in Modernism and the making of the Soviet New Man
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St Michael and All Angels, Sowton and St Mary the Virgin, Ottery St Mary

, near Exeter in Devon, is a rare survival: a remarkably complete ecclesiological interior. The funds to rebuild the church came from a family that had recently moved to Devon: John Garratt, a successful London merchant, had purchased the local estate in 1830 and retired to Devon to lead the life of a country landowner. 1 The manor house, ‘Bishops Court’, is located on the site of the medieval episcopal palace and so infused with medieval

in Stained Glass and the Victorian Gothic Revival
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unanswered by scholars. Although there will always be differing opinions, Andreev’s experience with neurasthenia (specifically depression and anxiety) offers keys to understanding his personal life (drinking binges, mood swings, romantic endeavors) and literary themes (performance, institutional spaces, illness narrative). In so doing, I have attempted to show how this might then alter our understanding of Andreev’s literary allegiances (realist or symbolist), how his literary works interacted with the popular science of the day (degeneration theory) and why this

in Degeneration, decadence and disease in the Russian fin de siècle
Stanley Spencer’s ‘ordinary’ ekphrases

demonstrate the plasticity of ekphrasis and the extent to which closely following an artist’s writings on – or indeed Stanley Spencer’s ‘ordinary’ ekphrases201 for – art may help in turn to move theory on. After all, ekphrasis is ‘a representation of thinking about a picture more than a representation of a picture’.26 To follow all the twists and turns of the artist’s thought is an experience at first hand, although those thoughts sometimes follow a whim of their own. Notes   1 ‘I felt without any alteration to either, that the religious experience & the ordinary life

in Ekphrastic encounters