This book focuses on the drama and poetry published since 1990. It also reflects upon related forms of creative work in this period, including film and the visual and performing arts. The book discusses some of the most topical issues which have emerged in Irish theatre since 1990. It traces the significance of the home in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke. The book also focuses on the reconfigurations of identity, and the complex intersections of nationality, gender and race in contemporary Ireland. It shows how Roddy Doyle's return to the repressed gives articulation to those left behind by globalisation. The book then examines the ways in which post-Agreement Northern fiction negotiates its bitter legacies. It also examines how the activity of creating art in a time of violence brings about an anxiety regarding the artist's role, and how it calls into question the ability to re-present atrocity. The book further explores the consideration of politics and ethics in Irish drama since 1990. It talks about the swirling abundance of themes and trends in contemporary Irish fiction and autobiography. The book shows that writing in the Irish Republic and in the North has begun to accommodate an increasing diversity of voices which address themselves not only to issues preoccupying their local audiences, but also to wider geopolitical concerns.
relations not only between peoples, but between peoples moving in place. 4 My contention is that the methods of postcolonial ecocritical literary humanities can be enriched by being brought into closer relation with work on mobilities that treats the minute alongside the global. I am particularly interested in what happens when we read mobilities within prose travel texts alongside – and to an extent against – the perhaps more dominant worldings evoked by the visual art of precolonial and early colonial periods. 5 What I hope to do in this chapter, more specifically
volume can contribute to a scholarly ‘democracy of the senses’.13 The pertinence of these concerns to early modern studies is productively articulated by Alice Sanger and Siv Tove Kulbrandstad Walker in their recent edited collection concerned with early modern visual art. A survey of responses to artworks from 1300 to 1700, the volume interrogates the relationships between artwork and the consumer through Classical and Renaissance traditions of sensory thought, with a focus overwhelmingly upon visual art forms and exclusively outside England. The collection engages
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.
the sensory and affective are realised in human relations fostered in art projects. The French art theorist Nicolas Bourriaud is a useful point of departure here in his work on relational aesthetics. Bourriaud defines a relational aesthetic as a ‘set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space’ ( 2002 : 113), and his book announced from the perspective of the late 1990s French visual art scene how ‘for some years now, there
almost two hundred photographs, including those in ‘Still Lives’ described above, which document their experiences in the nocturnal life of the neighbourhood. In this chapter, I explore the photographs collected through Fleeing and Forgetting in order to think through the performances of care that subtended this project, and the broader questions that these pose about art and scholarship produced in relation to experiences of displacement. While a visual art analysis of the images may (generatively) celebrate their qualities as aesthetic objects, I adopt the
alternative futures and knowledge. How would you describe collaboration? Why is collaboration important in social-justice research? How can it ‘go wrong’? What role do you think ‘beyond-text’ methods (e.g., performances and visual art) can play in understanding social injustice and/or in communicating social science? What are the challenges and opportunities of critical survey design? What
of perfume’s lack of aesthetic lustre connects to its status as a commodity, Chandler Burr, the exhibit’s curator, emphasized that one kind of cross-sensory mode has stood in the way of others: the relationship between language and olfaction.9 Seeking to change the terms one uses to describe modern perfume, Burr’s exhibition elevated scent through its association with the traditions of visual art. Such an approach suggests the complex biological and cultural ‘loops’ through which we process sensation; some of these include aesthetic form while others engage more
production altered the condition of literature in terms of both its production and its criticism. The quotes from Lewis that refer to cinema directly are only the most obvious sign of this intrusion of visual art into modern literature. The writing that Lewis produces is in fact much more heavily involved with modern images than this suggests. Lewis understood his work to be based on tracing an ‘external’ relationship to character in which behaviour and physical appearance become the source for Kant and the ends of criticism 203 understanding rather than an appeal to a
, and as such ‘designers are not some special breed remote from artists’, but rather could be the very same people whose easel graphics or theatre props were on display in the same exhibition. Bisti argued that in addition to the conceptual interiors and urban environments, as in the case of Senezh studio, it was not possible to design everyday objects and machines without fundamental knowledge of the basics of visual art. His encompassing understanding of design was similar to Makarov’s inclusive understanding of decorative art: it was all activities directed at