This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.
12 Encounters with genius: Gertrude Stein and Alfred North Whitehead Kate Fullbrook Notoriously, in her Autobiography of Alice B. Toklas (1933), Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead. This remarkable statement, which functions as one of the main structural elements of the text, ﬁrst appears at the end of the ﬁrst chapter, in the context of Alice’s initial encounter with the woman who was to become her friend and lover. In typical Steinian
herself (p. ). By contrast with Zeuxis, then, the sum of the parts, the ﬁve photos and their four reinterpretations, do not make up the perfect whole, the ‘perfect whole’ being Max’s speciﬁc idea of Telma. Picasso, an icon of art’s diversity,9 appears to him in a dream (connoting Max’s subconscious), and explains that Telma’s identity is eternalised not through someone else’s unavoidably subjective interpretation, but through Max’s own personal idea of her: Qui mieux que vous pourrait faire ce portrait? Car vous l’avez aimée cette femme, n’est-ce pas? Les photos, c
The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.
This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.
In May 1958, and four years into the Algerian War of Independence, a revolt again appropriated the revolutionary and republican symbolism of the French Revolution by seizing power through a Committee of Public Safety. This book explores why a repressive colonial system that had for over a century maintained the material and intellectual backwardness of Algerian women now turned to an extensive programme of 'emancipation'. After a brief background sketch of the situation of Algerian women during the post-war decade, it discusses the various factors contributed to the emergence of the first significant women's organisations in the main urban centres. It was only after the outbreak of the rebellion in 1954 and the arrival of many hundreds of wives of army officers that the model of female interventionism became dramatically activated. The French military intervention in Algeria during 1954-1962 derived its force from the Orientalist current in European colonialism and also seemed to foreshadow the revival of global Islamophobia after 1979 and the eventual moves to 'liberate' Muslim societies by US-led neo-imperialism in Afghanistan and Iraq. For the women of Bordj Okhriss, as throughout Algeria, the French army represented a dangerous and powerful force associated with mass destruction, brutality and rape. The central contradiction facing the mobile socio-medical teams teams was how to gain the trust of Algerian women and to bring them social progress and emancipation when they themselves were part of an army that had destroyed their villages and driven them into refugee camps.
depicted equally powerfully in the picture-poem ‘Guernica’ which accompanies Picasso’s painting of the same name in the collection Ingrowing Thoughts (1985). Thomas claims that The painter has been down at the root of the scream and surfaced again to prepare the affections for the atrocity of its flowers. (9) chapter2 28/1/05 1:25 pm Page 34 34 Elusive identities In these lines the poet is clearly writing about his own project as much as Picasso’s. In an image reminiscent of ‘This To Do’ the painter goes down to the root of the scream and surfaces again. The root
dynamic of the friendship between Alfred North Whitehead and Gertrude Stein. For Stein, writing as Alice B. Toklas and with characteristic modesty, named Whitehead – along with herself and Pablo Picasso – as one of the three geniuses she knew. Despite the disparities in the writing styles and intellectual backgrounds of Stein and Whitehead, their mutual admiration and respect was augmented by their ‘shared conception of process of movement, as the universal feature of all that exists’. Edith Wharton and Virginia Woolf as ‘the two most articulate and inﬂuential literary
artists worked in ceramics workshops, visited traditional craft centres, talked to each other and to journalists and critics, and produced altogether 400 objects collectively. Many of these objects defied traditional ideas of what ceramics should be and featured abstract and fantastic forms reminiscent of folk clay toys, sculptures by Constantin Brancusi and ceramics by Picasso all at the same time (by 1971 Soviet artists were familiar with all of these sources due to greater access to professional literature and trips abroad).62 The Vilnius symposium was held for a
modern, but you can’t be both” (Mellow 1968 ). The author and art collector Gertrude Stein succinctly formulated a contrast between the modern and the museum. The original context is uncertain; but the words were said either as a critical comment on MoMA, the Museum of Modern Art, in Manhattan in New York, which wanted to take over her collection, or as a justification for why Pablo Picasso’s portrait of her went to the nearby Met, the Metropolitan Museum of Art, instead. But are modernity and the museum really mutually exclusive? Perhaps Stein was inspired by the
the development of rail travel and steam shipping which sparked a ‘subduing of space’ and a crisis in the experienced relationship of time and space (Harvey, 1989: 265). Harvey argues that as the new century veered towards the First World War, an annihilation of space through time, increasingly reflected in modernist art and literature such as that of Picasso, Braque, Joyce and Proust, reached crisis point. Just as Benjamin discusses Proust’s writing in his concept of ‘space-crossed time’, so Harvey suggests that Proust’s attempt to ‘recover past time […] rested on