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Political, cultural, green
Andrew Patrizio

‘wary of holism, but needy for connection’ Donna Haraway, A Cyborg Manifesto , 1985) If Elizabeth Grosz is right in asserting that ‘art is not the antithesis of politics, but politics continued by other means’, 1 then it surely follows that art history must also be something of an oblique political strategy. The previous chapter has given us a firm orientation on ecology within the anarchist movement, exploring its potential to reimagine the discipline of art history. One of the fundamental positions of the ecological eye, however, is to

in The ecological eye
Steven King

1 The ecology of poor relief Overview On 18 July 1821 the overseer of Kingswood parish (Gloucestershire) received a letter from George Lewis of Bristol. Asking for ‘Some preasant relife’, Lewis claimed that he was sick and ‘allmost intirely from my Worck’. He was in a verrey Weacke State my self i have a verrrey Soare throat as i am afraide as i am getting the Same Disorder as my family we am harekening Every moment to be the Last of one Chyld the Lords best to put is end to its Breath the biges bot was tacken ill Later day Last which i have five that is very

in Sickness, medical welfare and the English poor, 1750–1834
Clive Cazeaux

9 Aesthetics as ecology, or the question of the form of eco-art Clive Cazeaux Although the origins of ecological art or eco-art (I shall use the latter name from here on) are relatively easy to identify, the full meaning and scope of the name are not so easy to determine. The emergence of eco-art as a visual art form is arguably the result of a number of interrelated factors in the 1960s: American and United Kingdom countercultures, including disillusionment with government and material wealth; conceptual art’s reaction against traditional aesthetic values

in Extending ecocriticism
Lennart J. Lundqvist

2579Ch3 12/8/03 11:47 AM Page 54 3 Up or down with the ecology cycle? Strategies for temporally rational ecological governance Political terms and ecological cycles Next budget and next election; dominant time spans in politics From the early nineteenth century onwards, the dominant political view of time was one of continuous ‘progress’ with the state at the centre of change (Ekengren 1998:30). This linear conception of time is, however, just one possible view. Political time can also be seen as (series of) distinct events or as connected points that have

in Sweden and ecological governance
Andrew Patrizio

, in my view, to the social ecology of Murray Bookchin, who we look at in Part II . For Plumwood, the ‘disavowal of nature is accomplished through the hegemonic construction of autonomy and agency. A centric or colonising system typically differentiates very strongly between a privileged, hegemonic group awarded full agency status who are placed at the centre and excluded peripheral groups who are denied agency and whose contribution is discounted, neglected, denied, or rendered invisible.’ 10 She implies a posthuman approach as a way to develop a democratic and

in The ecological eye
Naomi Booth

‘Dark ecology’ is the term recently coined by critic Timothy Morton to describe our profoundly interconnected coexistence in a world poised on the brink of environmental catastrophe. 1 Morton's vision of ‘nature’ as morbid, enmeshed modes of being has more in common, he tells us, ‘with the undead than with life’, 2 and his thinking might provide a new sense of the gothic as a genre full of dark environmental resonance. In

in Swoon
T.K. Ralebitso-Senior, T.J.U. Thompson, and H.E. Carney

In the mid-1990s, the crime scene toolkit was revolutionised by the introduction of DNA-based analyses such as the polymerase chain reaction, low copy number DNA analysis, short-tandem repeat typing, pulse-field gel electrophoresis and variable number tandem repeat. Since then, methodological advances in other disciplines, especially molecular microbial ecology, can now be adapted for cutting-edge applications in forensic contexts. Despite several studies and discussions, there is, however, currently very little evidence of these techniques adoption at the contemporary crime scene. Consequently, this article discusses some of the popular omics and their current and potential exploitations in the forensic ecogenomics of body decomposition in a crime scene. Thus, together with published supportive findings and discourse, knowledge gaps are identified. These then justify the need for more comprehensive, directed, concerted and global research towards state-of-the-art microecophysiology method application and/or adaptation for subsequent successful exploitations in this additional context of microbial forensics.

Human Remains and Violence: An Interdisciplinary Journal
An ecological approach to rural cinema-going
Kate Bowles

This paper considers the impact of extra-filmic elements on the cultural decision-making behaviours of a small rural Australian cinema audience, focusing on the rural New South Wales village of Cobargo in the late 1920s. In considering how why such fragile rural picture show operations either failed or became successful, it is critical to take account of rural geographies, particularly in terms of early road development, and the nature and state of road bridges in flood-prone areas. The paper argues that these elements are part of a broad ecosystemic framework for cultural decision-making which can assist in our interpretation of early newspaper advertising and promotion for picture show programs.

Film Studies
The Powers of Were-Goats in Tommaso Landolfi‘s La pietra lunare (The Moonstone)
Keala Jewell

Jewell links the were-animals in Tommaso Landolfis novel La pietra lunare to population ecology in the 1930s. Landolfi imagines and narrates a were-population explosion in the specific historical context of the changes fascism brought to rural life when it favored a grain-based economy. When state policy attempts to manage grazing populations and the culture of transhumance, the uncontrolled growth of fast-breeding, broad-ranging, mountain-going were-goats in the novel puts the validity of fascist agricultural policy into question. When in secret at the full moon they couple monstrously and multiply, were-animals thoroughly challenge the effectiveness of discourses of controlled population management.

Gothic Studies
Technologies of Surveillance, Knowledge and Power in Paramount Budget Documents, 1927–58
William Thomas McClain

Film production at Paramount Pictures during the so-called classical era required the mobilisation of massive material and human capital that depended on institutional systems of surveillance, knowledge creation and control ranging from departmental affiliations to the pre-printed budget forms. This article focuses on those pre-printed budget forms as technologies of knowledge and power, revealing that the necessities of creating and managing coalitions of expert labourers created alternative power centres and spaces where being the object of surveillance was itself a source of power. It concludes by discussing the implications of this ecology for the historiography of Hollywood.

Film Studies