existential challenge. 2 For an excellent periodisation, see Brown (2018) . 3 The terms global North and South are used here figuratively. Loosely associated with modernist distinctions between developed and underdeveloped countries, they no longer imply any fixed geographical or social homogeneity. Their use, however, serves to retain the sense of historic, political and economic divisions that continue to produce global power and distribute life-chances unequally. 4 Crawford
broader strategy on the part of ISIL to ensure basic services for the local population, so the interests of the two organisations converged. According to the periodisation described by Jean-Hervé Bradol when managing MSF’s project in Qabassin, this strategy was part of the ‘honeymoon phase’: As I continued to mull over the situation, I thought the second phase of the relationship between local populations and global jihadists could be
Difficult pasts combines book history, reception history and theories of cultural memory to explore how Reformation-era audiences used medieval literary texts to construct their own national and religious identities. It argues that the medieval romance book became a flexible site of memory for readers after the Protestant Reformation, allowing them to both connect with and distance themselves from the recent ‘difficult past’. Central characters in this study range from canonical authors like Geoffrey Chaucer and Edmund Spenser to less studied figures, such as printer William Copland, Elizabethan scribe Edward Banister and seventeenth-century poet and romance enthusiast, John Lane. In uniting a wide range of romance readers’ perspectives, Difficult pasts complicates clear ruptures between manuscript and print, Catholic and Protestant, or medieval and Renaissance. It concludes that the romance book offers a new way to understand the simultaneous change and continuity that defines post-Reformation England. Overall, Difficult pasts offers an interdisciplinary framework for better understanding the role of physical books and imaginative forms in grappling with the complexities of representing and engaging with the past.
Modernism and postmodernism ‘Modernism’ is a term usually reserved for a set of movements in the arts that began in the latter part of the nineteenth century in Europe, gained a particular momentum in the early years of the twentieth century and continued to flourish until at least the middle of the twentieth century, the periodisation being dependent on when one believes that a new set of aesthetic strategies and products, dubbed postmodernist, began. As we will see, for many commentators postmodernism in the arts was, by and large, a continuation of modernism
problems Concerns about periodisation in the discipline of history are not, of course, limited to the history of emotions, but they are starkly in evidence in the formative years of this particular historiographical development. There are run-of-the-mill reasons for this as well as some esoteric developments that have put modernists and medievalists apparently at odds. It is, of course, not unusual that medievalists and modernists do not really engage with each other’s historical work, but in the formative period of theory development in the history of emotions
the Reformation. Several works seek to dismantle the periodisation which has generated the supersessionary organisation of our studies, publication and teaching on the ‘medieval’ and the ‘early modern.’ Like the obscure beginnings of Christian time, the relationship between these periods is famously indistinct, and all the plays examined in this book, like N-Town’s Joseph and Mary, find themselves caught uncomfortably between these periods. My work as a reviewer for the ‘Middle English: Drama’ section of the Year’s Work in English Studies , for example, requires an
, periodisation and historiography. And it takes the medieval romance genre, books like Bevis of Hampton and ‘Arthur of the round table’, as its focal point. Interrogating the shift from ‘medieval’ to Renaissance, Reformed, or early modern England is well-trodden ground, and scholars’ perceptions of this shift take on different contours depending on the viewer’s perspective. 4 Was the shift primarily dynastic, occurring with the death of Richard III? Was it intellectual, following the influences of continental humanist thought? Or
ways that have brought to the fore the speculative nature of settler colonies as sites of ‘uneasy emergent’ modernities, as well as foregrounding the histories, genealogies, and cultures of Indigenous, Black, and other non-European peoples. 7 In the literary field, a number of studies have contested foundational settler myths and reinstated racialised silences within national historiographies and canons. Yet aside from pioneering works by African nationalist, Black Consciousness, and Indigenous studies scholars, few have radically questioned the periodisations and
Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.
which German–Israeli relations developed over the 1950s and 1960s. The interplay between these political forces is woven through the three-phase periodisation which characterises this study. First, by zooming in on the discussions ( chapter 1 ), negotiations ( chapter 2 ) and confrontations ( chapter 3 ) that prompted West Germany to compensate Israel, and East Germany not to, Part I analyses of the emergence of two radically different attitudes vis-à-vis Israel within the West and East German political circles. It also investigates the shades of grey that existed