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The affective politics of the early Frankfurt School
Author: Simon Mussell

This book offers a unique and timely reading of the early Frankfurt School in response to the recent 'affective turn' within the arts and humanities. It revisits some of the founding tenets of critical theory in the context of the establishment of the Institute for Social Research in the early twentieth century. The book focuses on the work of Walter Benjamin, whose varied engagements with the subject of melancholia prove to be far more mobile and complex than traditional accounts. It also looks at how an affective politics underpins critical theory's engagement with the world of objects, exploring the affective politics of hope. Situating the affective turn and the new materialisms within a wider context of the 'post-critical', it explains how critical theory, in its originary form, is primarily associated with the work of the Frankfurt School. The book presents an analysis of Theodor Adorno's form of social critique and 'conscious unhappiness', that is, a wilful rejection of any privatized or individualized notion of happiness in favour of a militant and political discontent. A note on the timely reconstruction of early critical theory's own engagements with the object world via aesthetics and mimesis follows. The post-Cold War triumphalism of many on the right, accompanied by claims of the 'end of history', created a sense of fearlessness, righteousness, and unfettered optimism. The book notes how political realism has become the dominant paradigm, banishing utopian impulses and diminishing political hopes to the most myopic of visions.

Open Access (free)
Brad Evans

progress, the more we increase our chances for collective annihilation. Indeed, despite the potential human benefits of technological advancement, the triumph of the technical over the poetic in political affairs undermines the role of human creativity. How many critical theorists still have to affirm the importance of arts and humanities to the promotion of peace? Theory and science are not objective: we produce the technologies we desire, which are over-coded with all manner of assumptions and prejudices. So, as the technological mind continues to produce war machines

Journal of Humanitarian Affairs
Michael O’Sullivan

existential discoveries about himself and his homeland through his understanding of art and literature. 02_Michael_Ch-2.indd 44 9/13/2013 11:49:52 AM MUP FINAL PROOF – <STAGE>, 09/13/2013, SPi THE HUMANITIES IN THE IRISH CONTEXT 45 Notes 1 Even though it must be acknowledged that Ireland is becoming ‘an increasingly secular society’, Dympna Glendenning argues, writing in 1998, that ‘religion and education are still closely intertwined and this is mirrored in the constitutional provisions underpinning education’ (1998:80). 2 Between 1% and 2% of all full-time Arts and

in The humanities and the Irish university
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Stephen Gundle, Christopher Duggan, and Giuliana Pieri

by the Arts and Humanities Research Council of the UK which ran from 2006 to 2011. The principal investigator was Stephen Gundle and the co-investigators Christopher Duggan and Giuliana Pieri. Six other researchers at different points formed part of the core team, including Simona Storchi, Sofia Serenelli, Vanessa Roghi and Paola Bernasconi. Richard Bosworth and David Forgacs acted as consultants on the project. In addition to the present volume, three documentary films collectively entitled ‘Mussolini: The Story of a Personality Cult’ were made under the auspices

in The cult of the Duce
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Amanda Wrigley and John Wyver

towards theatre productions and adaptations for the small screen, and it was this absence that we set out to address in our University of Westminster research project ‘Screen Plays: Theatre Plays on British Television’ (2011–15), funded by the Arts and Humanities Research Council (AHRC). 1 For this initiative, we aimed to document all the plays written for the theatre that had been presented on British

in Screen plays
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Power, form and subjectivity
Author: John Corner

This book explores how issues of power, form and subjectivity feature at the core of all serious thinking about the media, including appreciations of their creativity as well as anxiety about the risks they pose. Drawing widely on an interdisciplinary literature, the author connects his exposition to examples from film, television, radio, photography, painting, web practice, music and writing in order to bring in topics as diverse as reporting the war in Afghanistan, the televising of football, documentary portrayals of 9/11, reality television, the diversity of taste in the arts and the construction of civic identity. The book is divided into two parts. In the first part, three big chapters on each of the key notions provide an interconnected discussion of the media activities opened up for exploration and the debates they have provoked. The second part presents examples, arguments and analysis drawing on the author's previous work around the core themes, with notes placing them in the context of the whole book. The book brings together concepts both from Social Studies and the Arts and Humanities, addressing a readership wider than the sub-specialisms of media research. It refreshes ideas about why the media matter, and how understanding them better remains a key aim of cultural inquiry and a continuing requirement for public policy.

Anomalies and opportunities

This is the first book-length study of the humanities from Newman to Bologna in the Irish context. It focuses on unique characteristics of university policy in the National University that constrained humanities education. Ireland was a deeply religious country throughout the twentieth century but the colleges of its National University never established a theology or religion department. The official first language of Ireland is Irish but virtually all teaching in the Arts and Humanities is in English. The book examines the influence of such anomalies on humanities education and on Irish society in general. Has the humanities ethos of the Irish University departed radically from the educational ideals of John Henry Newman, its most illustrious ‘founder’? The book re-examines Newman’s vision for the university as well as responses to the 1908 Universities Act. It investigates how leading Irish educationalists and cultural theorists such as Padraig, Pearse, Denis Donoghue, J. J. Lee, Declan Kiberd and Richard Kearney nurtured an Irish humanities perspective in response to more established humanities traditions associated with F. R. Leavis, Edward Said, and Martha Nussbaum. The book employs a comparative approach in examining recent humanities movements such as Irish Studies and postcolonial studies. Humanities debates from other national contexts such as France, the US, and Asia are examined in light of influential work on the university by Samuel Weber, Immanuel Kant, Pierre Bourdieu and Jacques Derrida. This book will appeal to the general public and to students and scholars of Irish education, history and cultural theory.

Michael O’Sullivan

claiming that these measures, measures all humanities commentators believe, if implemented, will remove all government funding for arts and humanities research, are about ‘safeguarding students’ investment in higher education’ (2010:45). Students are, therefore, regarded as investors before they have become earners, and the irony is that they must be seen as more committed investors because the other chief recommendations of the Browne Report involve the removal of the cap on university fees. The economic model applied to the universities is therefore a self

in The humanities and the Irish university
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David J. Appleby and Andrew Hopper

to the Arts and Humanities Research Council, who in January 2017 announced funding for a four-year 231 The hidden human costs project entitled ‘Welfare, Conflict and Memory during and after the English Civil Wars’ to examine these petitions. The editors will be joined by Lloyd Bowen and Mark Stoyle, with the aim of constructing a national, freely accessible website of photographs and transcriptions of these petitions for relief, along with the medical certificates that often accompanied them. It is currently estimated that 4,000 such petitions survive, presented

in Battle-scarred
Directions and redirections
Jonathan Bignell and Stephen Lacey

theoretical arguments about form and meaning, had no real effect on writers and production staff in the business of making television drama. But as graduates from university degree programmes in Television and Media Studies now make up a significant proportion of the body of younger television industry professionals, this situation may change. There is also interest from academics and the funding bodies (such as the Arts and Humanities Research Board who fund some television scholarship) in how academic work can connect with and contribute to the television industry

in Popular television drama