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Dmytryk, Rossellini and Christ in Concrete
Erica Sheen

Focusing our understanding of Hollywood and HUAC on questions of presence and content is to apply paradigms of authorship and genre which were critical by-products of the cultural transformation to which HUAC contributed, and will as a result have limited critical purchase on its causes. What might break this critical impasse would be the discovery of something outside the circle; something not easily, or at least not yet, assimilated into its cycle of repetitions. Such a remainder can be found in a film which is arguably one of the most important productions of the period: Edward Dmytryk‘s ‘lost’ film of Italian/American author Pietro di Donatos novel Christ in Concrete (1949).

Film Studies
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Art and destruction

Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, such as Gustav Metzger), but also as a process within art that the object courts through form. In this manner, Solvent form looks to events such as the Momart warehouse fire in 2004 as well as the actions of art thief Stéphane Breitwieser in which the stolen work was destroyed. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup in their absence. From this vantage, Solvent form—hinging on the dual meaning in the words solvent and solvency—proposes an idea of art as an attempt to secure and fix, which correspondingly undoes and destroys through its inception. It also weaves a narrative of art that intermingles with Jean Baudrillard’s ideas on disappearance, Georges Bataille and Paul Virilio’s negative or reverse miracle, Jean-Luc Nancy’s concept of the image (or imago as votive that keeps present the past, yet also burns), and Giorgio Agamben’s notion of art as an attempt to make the moment appear permeable. Likewise, it is through these destructions that one might distinguish a solvency within art and catch an operation in which something is made visible through these moments of destruction when art’s metaphorical undoing emerges as oddly literal.

Jared Pappas-Kelley

grouping art together merely because it has been destroyed—but it reveals a resonance. In this sense, the book is neither an art historical document nor even a proposal for bringing together remnants of memory and remainders into some sort of exhibition. Instead, its aim is to investigate what it means when art is destroyed. Others have similarly considered destruction or undoing as a kind of trick within the inception of a work of art. In an essay on The Brothers Karamazov, Jean Genet proposed that every act “means one thing and its opposite.” The act for Genet implies

in Solvent form
Legislation, agencies and the implementation gap
David Brown

Commission’s hastily laid down timetable. It was not the only feature of the post-11 September field of legislation and agency activity, nor was it the only aspect to be legislated in haste and repented at greater leisure. As will be seen in the remainder of the chapter, after years of relative inactivity, a sense of pervading panic pushed counter terrorism to the top of the legislative agenda. However, the question remains whether increased activity constitutes genuine added value, in terms of enhancing the EU’s overall credibility within internal security more widely

in The European Union, counter terrorism and police co-operation, 1992–2007
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‘Remember the Good Old Cause’
Edward Legon

seditious remembering becomes visible) and the retrospective censure of their actions during the 1640s and 1650s.46 Censorship and censure are regarded as having been driven by a specifically Royalist impulse to eradicate a ‘fanatic’ ideology, and with it certain political and religious identities, through the public and social delegitimisation of Parliamentarianism and republicanism. The remainder of chapter 3 shows that censorship and censure comprised a major component of what Christopher Hill and others have referred to as the ‘experience of defeat’ for those who

in Revolution remembered
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Jared Pappas-Kelley

open and leave it shipwrecked amid all this form. Yet of these actions of ­accumulation and their capacity to undo, Baudrillard retorts: It’s accumulation, the series, that helps develop the fantasy of infinity, but what you do not see is the threshold of critical mass. At some point, too much is too Things lie  119 much. The process is the equivalent of the abolition of all these qualities. It’s a black hole.11 Three. When the nameless character in Remainder first begins looking for the precise building from which to reconstruct what he perceived in the crack on

in Solvent form
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Jan Broadway

Conclusion Genealogy, heraldry and the descent of manors remained staples of local history long after they had lost their centrality to the self-identity of local historians and their readers. The Elizabethan and early Stuart gentry saw themselves as socially differentiated, but not divorced, from the remainder of the population. They produced works that reflected their own perspective on the world. It was a wider perspective than their medieval ancestors had enjoyed, incorporating a new world across the Atlantic, but still recognisable. An invisible thread joined the

in ‘No historie so meete’
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John Carter Wood

1950s. (Courtesy of Tony Martin) Wood, The most remarkable woman in England.indd 206 25/04/2012 15:46:02 Postscript 207 lived in an adjoining street, ‘and is assisting the tragic widow to live quietly with her five children in the house she has bought’.34 By the end of the 1930s, Beatrice was living in Stroud, Gloucestershire, where she bought a semi-detached house in which she would spend the remainder of her life. 35 As part of her quest to live down her past, she reverted to her maiden name. In Stroud, she suffered a further tragedy: her daughter Jean – whose

in ‘The most remarkable woman in England’
Stephen Orgel

, especially, posthumous dramatic collections. There were four such folios in the remainder of the century, devoted to the works of Beaumont and Fletcher (two volumes, published more than thirty years apart), Thomas Killigrew and Sir William Davenant. Killigrew, in figure 10.20 , is shown with his favorite dog and a great many books – the named ones are his own plays – pensively reading under the cool gaze of his

in Spectacular Performances
Stephanie Barczewski

importation of Indian styles. The nineteenth century If the Regency marked the apex of the influence of exotic styles such as Egyptian and Indian, then it is tempting to see the remainder of the nineteenth century as marking a retreat. The emergence of the gothic, Tudorbethan and Jacobethan as the dominant styles of public and residential architecture is often interpreted as a quest

in Country houses and the British Empire, 1700–1930