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Marion Barter and Clare Hartwell

The Lancashire Independent College in Whalley Range, Manchester (1839-43), was built to train Congregational ministers. As the first of a number of Nonconformist educational institutions in the area, it illustrates Manchester‘s importance as a centre of higher education generally and Nonconformist education in particular. The building was designed by John Gould Irwin in Gothic style, mediated through references to All Souls College in Oxford by Nicholas Hawksmoor, whose architecture also inspired Irwins Theatre Royal in Manchester (1845). The College was later extended by Alfred Waterhouse, reflecting the growing success of the institution, which forged links with Owens College and went on to contribute, with other ministerial training colleges, to the Universitys Faculty of Theology established in 1904. The building illustrates an interesting strand in early nineteenth-century architectural style by a little-known architect, and has an important place in the history of higher education in north-west England.

Bulletin of the John Rylands Library
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Italian visual culture and the construction of national identity, 1898–1945

Imagined Baroques offers a new account of Italian post-unification visual culture through its entanglement in the Baroque. The book argues that, by reinventing Baroque forms in their artistic and architectural practices, modern Italians confronted their fears about their nation’s past and imagined future. Although ignored by most scholarship, the Baroque was repeatedly evoked in modern Italian visual culture and intellectual history. This is so because, between the fin de siècle and the end of the Second World War, the reception, influence, and disavowal of the Baroque enabled Italians to probe the fraught experience of national unification, addressing their ambivalent relationship with modernity and tradition. The Baroque afterlives in modern Italy, and its temporal and conceptual destabilisation, allowed Italians to work through a crisis of modernity and develop a visual culture that was both distinctly Italian and modern. Imagined Baroques interrogates a diverse range of media: not only paintings, sculptures, and buildings, but also magazine illustrations, postcards, commercial posters, pageants, photographs, films, and exhibitions. The Baroque functioned in post-unification Italy as a legacy of potential annihilation but also of potential consolidation, and as a critique of modernity and a celebration of an intrinsically Italian road to modernity. Unearthing the protean and contradictory legacy of the Baroque in modern Italy shows that its revivals and appropriations were not repositories of exact facts about the seventeenth century but rather clues to how visions of modernity and tradition merged to form a distinct Italian identity.

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Laura Moure Cecchini

the Risorgimento? Why does this period seem to be often omitted from the national narrative? Did post-unification Italians neglect it because of its troubled nature or – and this is my contention – was it deployed too to shape a national visual culture and we just need to reveal its singular manifestations? Ignoring the role of this era in Italian modern art and architecture has distorted our view of the relationship between cultural memory and nation-building in modern Italy. It has also obscured the Italian contribution to the transatlantic Baroque revival that

in Baroquemania
A sociology of the amateur
Geneviève Teil and Antoine Hennion

worth: the antonym of love is not hatred, but indifference. Until now, we have been in the territory of the usual debates about the objects of art, or taste, and sociology. But, the other elements open up this space, in which love may display itself, even more. The material devices of the activity are crucial because they are the concrete mediations supporting most of the real debates about taste (Hennion 1993; Teil 2001). One glass for clarets, another for Burgundy wines. As regards the baroque revival in France in the late 1970s and early 1980s (Hennion 1997), what

in Qualities of food