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An ecocritical consideration of collaborative, cross-disciplinary practices of walking, writing, drawing and exhibiting
Harriet Tarlo and Judith Tucker

4 ‘Drawing closer’: an ecocritical consideration of collaborative, cross-disciplinary practices of walking, writing, drawing and exhibiting Harriet Tarlo and Judith Tucker The short poem in Figure 4.1 was written by the poet Harriet Tarlo, watching artist Judith Tucker draw, very early on in our collaborative place-based practice. In the subsequent years since we began to work together, this poem has become talismanic. It has been read aloud in numerous galleries, university lecture theatres and art galleries at openings, papers, talks and readings. Like all the

in Extending ecocriticism
Abstract only
World politics and popular culture
Jack Holland

literatures. This sets the ground for the development of the book’s theoretical framework and methodology, laid out in Chapter 4 , which imagines world politics as a discursive battlefield, wherein competing actors – whether politicians or scriptwriters – compete to influence the production of meaning. Drawing lines Politics and IR have tended to exclude popular culture from the domain of legitimate enquiry in two principal ways. First, the social sciences, like the arts and humanities, have in the past been guilty of relying upon a distinction between high and low

in Fictional television and American Politics
Richard Burton’s interventions on sex between men
Richard Philips

, drawing in readers and attracting them to a demonstration for the protection of girls and women, in the form of a higher age of consent (the Criminal Law Amendment Bill). 14 Though he was primarily interested in the age of consent, Stead also intervened, albeit implicitly and somewhat mysteriously, in another sexual boundary dispute of his time. Male vulnerability was a subtext of the ‘Maiden Tribute’, based as it was on the corruption of not just seven maidens, but seven youths. Stead had chosen to introduce the youths, then

in Sex, politics and empire
suggestive synaesthesia in Marie Duval’s work
Julian Waite

stage proxemics and the physicalising of character; and twenty-first-century theories of physical movement in relation to the production of images. These elements are distinct, but it is hoped that through examining them, the reader will be allowed to construct insight into the qualities of Duval's work, particularly her images of drawings ‘made by’ (rather than of) Ally Sloper. This latter group of drawings best represents the post-modern sensibility of artists such as Cy Twombly and David Shrigley and theorists such as Roland Barthes or Ernst van Alphen, who in

in Marie Duval
Simon Grennan

Duval's drawings were made to provoke laughter, by articulating and rearticulating social stereotypes and contradictions. Duval achieved this in her choice of topics and, more unusually, in her ideas about her own position as a humorous visual journalist: her visible lack of training, stage career, gender and social class, relative to the experiences of readers. This chapter examines this articulation, considering late nineteenth-century gender and class relationships between humour, displays of technical skill and concepts of vulgar behaviour

in Marie Duval
Andrew J. May

-running opera first staged at Covent Garden in 1791, and was most likely inspired by Scottish poet James Macpherson’s The Works of Ossian (1765), which purported to represent translations of ancient Celtic epic verse. By drawing on such specific cultural allusions, Lindsay referenced key concepts of the burgeoning Romantic nationalism of the late eighteenth century. In lowland eyes

in Welsh missionaries and British imperialism
Evacuation from Palestine
Aaron Edwards

1 Drawing lines in the sand: evacuation from Palestine The British Government has declared open war on the Jewish people and its struggle for liberation. The Jewish Resistance Movement – the fighting Jewish people – will not submit.1 On a Battalion level no officer or other rank should ever be allowed to negotiate with a civilian on matters of security, other than through the medium of a bullet. This was probably one of the most important lessons learnt in Palestine.2 A political decision was needed in Palestine. What that decision should have been was not my

in Defending the realm?
Into the frame of Clive Barker’s The Midnight Meat Train and Dread comic and film adaptations
Bernard Perron

Ryûhei Kitamura in 2008. 5 ‘Dread’ was adapted into a comic book by Fred Burke in 1992 (Eclipse Books), and illustrated by Dan Brereton. Anthony DiBlasi wrote and directed the movie in 2009. Clive Barker was involved as a producer in the making of both films. The goal of my close reading of the intertextual process at work between the words, the drawings, and the film frames is

in Clive Barker
The PSOE after the 2011 general election
Paul Kennedy

10 Back to the drawing board: the PSOE after the 2011 general election Paul Kennedy Introduction When the Spanish Socialist Workers’ Party (PSOE) comfortably won the March 2008 general election, gaining a vote even higher than the previous historic peak obtained when the party entered office in 2004, there was ample reason for satisfaction. With Spanish economic growth outpacing the EU average since the mid-1990s, unemployment had been brought down to 8 per cent and the party’s programme for the 2008 general election contained a pledge to create two million new

in European social democracy during the global economic crisis
Cordelia Warr

Italian ms 63, now in the John Rylands Library, contains fifty-four images of monstrous births, both human and animal. The manuscript was probably completed in the mid-eighteenth century and was owned by Edward Davenport (1778–1847) of Capesthorne Hall and later by the Manchester-based physician David Lloyd Roberts (1835–1920). This article explores the possible sources for some of the images, which range from descriptions or illustrations in well-known publications on monsters, to popular pamphlets, to drawings and paintings. An analysis of the choice of subject matter and the ways in which the source material has been used places the manuscript within eighteenth-century collecting practices and emphasises the multivalency of the monstrous.

Bulletin of the John Rylands Library