Ruth Craggs and Claire Wintle (eds)
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780719096525
- eISBN:
- 9781526104335
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719096525.001.0001
- Subject:
- History, Imperialism and Colonialism
What were the distinctive cultures of decolonisation that emerged in the years between 1945 and 1970, and what can they uncover about the complexities of the ‘end of empire’ as a process? Cultures of ...
More
What were the distinctive cultures of decolonisation that emerged in the years between 1945 and 1970, and what can they uncover about the complexities of the ‘end of empire’ as a process? Cultures of Decolonisation brings together visual, literary and material cultures within one volume in order to explore this question. The volume reveals the diverse ways in which cultures were active in wider political, economic and social change, working as crucial gauges, microcosms, and agents of decolonisation. Individual chapters focus on architecture, theatre, museums, heritage sites, fine art, and interior design alongside institutions such as artists’ groups, language agencies and the Royal Mint in Africa, Asia, the Caribbean, and Europe. Drawing on a range of disciplinary perspectives, these contributions offer revealing case studies for those researching decolonisation at all levels across the humanities and social sciences. The collection demonstrates the transnational character of cultures of decolonisation (and of decolonisation itself), and illustrates the value of comparison – between different sorts of cultural forms and different places – in understanding the nature of this dramatic and wide-reaching geopolitical change. Cultures of Decolonisation illustrates the value of engaging with the complexities of decolonisation as enacted and experienced by a broad range of actors beyond ‘flag independence’ and the realm of high politics. In the process it makes an important contribution to the theoretical, methodological and empirical diversification of the historiography of the end of empire.Less
What were the distinctive cultures of decolonisation that emerged in the years between 1945 and 1970, and what can they uncover about the complexities of the ‘end of empire’ as a process? Cultures of Decolonisation brings together visual, literary and material cultures within one volume in order to explore this question. The volume reveals the diverse ways in which cultures were active in wider political, economic and social change, working as crucial gauges, microcosms, and agents of decolonisation. Individual chapters focus on architecture, theatre, museums, heritage sites, fine art, and interior design alongside institutions such as artists’ groups, language agencies and the Royal Mint in Africa, Asia, the Caribbean, and Europe. Drawing on a range of disciplinary perspectives, these contributions offer revealing case studies for those researching decolonisation at all levels across the humanities and social sciences. The collection demonstrates the transnational character of cultures of decolonisation (and of decolonisation itself), and illustrates the value of comparison – between different sorts of cultural forms and different places – in understanding the nature of this dramatic and wide-reaching geopolitical change. Cultures of Decolonisation illustrates the value of engaging with the complexities of decolonisation as enacted and experienced by a broad range of actors beyond ‘flag independence’ and the realm of high politics. In the process it makes an important contribution to the theoretical, methodological and empirical diversification of the historiography of the end of empire.
Kate Nichols and Sarah Victoria Turner (eds)
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780719096495
- eISBN:
- 9781526124135
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719096495.001.0001
- Subject:
- History, Social History
‘The 10th of June, 1854, promises to be a day scarcely less memorable in the social history of the present age than was the 1st of May, 1851’ boasted the Chronicleon 10 June 1854, comparing the ...
More
‘The 10th of June, 1854, promises to be a day scarcely less memorable in the social history of the present age than was the 1st of May, 1851’ boasted the Chronicleon 10 June 1854, comparing the opening of the Crystal Palace, newly installed on the crown of Sydenham Hill, to that of the Great Exhibition. Many contemporary commentators deemed the Sydenham Palace’s contents superior, the building more spectacular and its educative potential much greater than its predecessor. Yet their predictions proved to be a little wide of the mark, and for a long time, studies of the Great Exhibition of 1851 have marginalised the Sydenham Palace. This collection of essays will look beyond the chronological confines of 1851 and address the significance of the Crystal Palace as a cultural site, image and structure well into the twentieth century, even after it was destroyed by fire in 1936.Less
‘The 10th of June, 1854, promises to be a day scarcely less memorable in the social history of the present age than was the 1st of May, 1851’ boasted the Chronicleon 10 June 1854, comparing the opening of the Crystal Palace, newly installed on the crown of Sydenham Hill, to that of the Great Exhibition. Many contemporary commentators deemed the Sydenham Palace’s contents superior, the building more spectacular and its educative potential much greater than its predecessor. Yet their predictions proved to be a little wide of the mark, and for a long time, studies of the Great Exhibition of 1851 have marginalised the Sydenham Palace. This collection of essays will look beyond the chronological confines of 1851 and address the significance of the Crystal Palace as a cultural site, image and structure well into the twentieth century, even after it was destroyed by fire in 1936.
Jens Eder and Charlotte Klonk (eds)
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781526107213
- eISBN:
- 9781526120984
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526107213.001.0001
- Subject:
- Society and Culture, Media Studies
Still and moving images are crucial factors in contemporary political conflicts. They not only have representational, expressive or illustrative functions, but also augment and create significant ...
More
Still and moving images are crucial factors in contemporary political conflicts. They not only have representational, expressive or illustrative functions, but also augment and create significant events. Beyond altering states of mind, they affect bodies, and often life or death is at stake. Various forms of image operations are currently performed in the contexts of war, insurgency and activism. Photographs, videos, interactive simulations and other kinds of images steer drones to their targets, train soldiers, terrorise the public, celebrate protest icons, uncover injustices, or call for help. They are often parts of complex agential networks and move across different media and cultural environments. This book is a pioneering interdisciplinary study of the role and function of images in political life. Balancing theoretical reflections with in-depth case studies, it brings together renowned scholars and activists from different fields to offer a multifaceted critical perspective on a crucial aspect of contemporary visual culture.Less
Still and moving images are crucial factors in contemporary political conflicts. They not only have representational, expressive or illustrative functions, but also augment and create significant events. Beyond altering states of mind, they affect bodies, and often life or death is at stake. Various forms of image operations are currently performed in the contexts of war, insurgency and activism. Photographs, videos, interactive simulations and other kinds of images steer drones to their targets, train soldiers, terrorise the public, celebrate protest icons, uncover injustices, or call for help. They are often parts of complex agential networks and move across different media and cultural environments. This book is a pioneering interdisciplinary study of the role and function of images in political life. Balancing theoretical reflections with in-depth case studies, it brings together renowned scholars and activists from different fields to offer a multifaceted critical perspective on a crucial aspect of contemporary visual culture.
Justin T. Clark
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781469638737
- eISBN:
- 9781469638744
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469638737.001.0001
- Subject:
- History, American History: 19th Century
In the decades before the U.S. Civil War, the city of Boston evolved from a dilapidated, haphazardly planned, and architecturally stagnant provincial town into a booming and visually impressive ...
More
In the decades before the U.S. Civil War, the city of Boston evolved from a dilapidated, haphazardly planned, and architecturally stagnant provincial town into a booming and visually impressive metropolis. In an effort to remake Boston into the "Athens of America," neighborhoods were leveled, streets straightened, and an ambitious set of architectural ordinances enacted. However, even as residents reveled in a vibrant new landscape of landmark buildings, art galleries, parks, and bustling streets, the social and sensory upheaval of city life also gave rise to a widespread fascination with the unseen. Focusing his analysis between 1820 and 1860, Justin T. Clark traces how the effort to impose moral and social order on the city also inspired many—from Transcendentalists to clairvoyants and amateur artists—to seek out more ethereal visions of the infinite and ideal beyond the gilded paintings and glimmering storefronts. By elucidating the reciprocal influence of two of the most important developments in nineteenth-century American culture—the spectacular city and visionary culture—Clark demonstrates how the nineteenth-century city is not only the birthplace of modern spectacle but also a battleground for the freedom and autonomy of the spectator.Less
In the decades before the U.S. Civil War, the city of Boston evolved from a dilapidated, haphazardly planned, and architecturally stagnant provincial town into a booming and visually impressive metropolis. In an effort to remake Boston into the "Athens of America," neighborhoods were leveled, streets straightened, and an ambitious set of architectural ordinances enacted. However, even as residents reveled in a vibrant new landscape of landmark buildings, art galleries, parks, and bustling streets, the social and sensory upheaval of city life also gave rise to a widespread fascination with the unseen. Focusing his analysis between 1820 and 1860, Justin T. Clark traces how the effort to impose moral and social order on the city also inspired many—from Transcendentalists to clairvoyants and amateur artists—to seek out more ethereal visions of the infinite and ideal beyond the gilded paintings and glimmering storefronts. By elucidating the reciprocal influence of two of the most important developments in nineteenth-century American culture—the spectacular city and visionary culture—Clark demonstrates how the nineteenth-century city is not only the birthplace of modern spectacle but also a battleground for the freedom and autonomy of the spectator.
Anca I. Lasc
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526113382
- eISBN:
- 9781526138781
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526113382.001.0001
- Subject:
- Art, Art History
This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. ...
More
This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. It argues that the increased presence of the modern, domestic interior in the visual culture of the nineteenth century enabled the profession to take shape. Upholsterers, cabinet-makers, architects, stage designers, department stores, taste advisors, collectors, and illustrators, came together to “sell” the idea of the unified interior as an image and a total work of art. The ideal domestic interior took several media as its outlet, including taste manuals, pattern books, illustrated magazines, art and architectural exhibitions, and department store catalogs. The chapters outline the terms of reception within which the work of each professional group involved in the appearance and design of the nineteenth-century French domestic interior emerged and focus on specific works by members of each group. If Chapter 1 concentrates on collectors and taste advisors, outlining the new definitions of the modern interior they developed, Chapter 2 focuses on the response of upholsterers, architects, and cabinet-makers to the same new conceptions of the ideal private interior. Chapter 3 considers the contribution of the world of entertainment to the field of interior design while Chapter 4 moves into the world of commerce to study how department stores popularized the modern interior with the middle classes. Chapter 5 returns to architects to understand how their engagement with popular journals shaped new interior decorating styles.Less
This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. It argues that the increased presence of the modern, domestic interior in the visual culture of the nineteenth century enabled the profession to take shape. Upholsterers, cabinet-makers, architects, stage designers, department stores, taste advisors, collectors, and illustrators, came together to “sell” the idea of the unified interior as an image and a total work of art. The ideal domestic interior took several media as its outlet, including taste manuals, pattern books, illustrated magazines, art and architectural exhibitions, and department store catalogs. The chapters outline the terms of reception within which the work of each professional group involved in the appearance and design of the nineteenth-century French domestic interior emerged and focus on specific works by members of each group. If Chapter 1 concentrates on collectors and taste advisors, outlining the new definitions of the modern interior they developed, Chapter 2 focuses on the response of upholsterers, architects, and cabinet-makers to the same new conceptions of the ideal private interior. Chapter 3 considers the contribution of the world of entertainment to the field of interior design while Chapter 4 moves into the world of commerce to study how department stores popularized the modern interior with the middle classes. Chapter 5 returns to architects to understand how their engagement with popular journals shaped new interior decorating styles.
Anna Dahlgren
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781526126641
- eISBN:
- 9781526139016
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526126641.001.0001
- Subject:
- Art, Art History
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 ...
More
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.Less
Travelling images critically examines the migrations and transformations of images as they travel between different image communities. It consists of four case studies covering the period 1870–2010 and includes photocollages, window displays, fashion imagery and contemporary art projects. Through these four close-ups it seeks to reveal the mechanisms, nature and character of these migration processes, and the agents behind them, as well as the sites where they have taken place. The overall aim of this book is thus to understand the mechanisms of interfacing events in the borderlands of the art world. Two key arguments are developed in the book, reflected by its title Travelling images. First, the notion of travel and focus on movements and transformations signal an emphasis on the similarities between cultural artefacts and living beings. The book considers ‘the social biography’ and ‘ecology’ of images, but also, on a more profound level, the biography and ecology of the notion of art. In doing so, it merges perspectives from art history and image studies with media studies. Consequently, it combines a focus on the individual case, typical for art history and material culture studies with a focus on processes and systems, on continuities and ruptures, and alternate histories inspired by media archaeology and cultural historical media studies. Second, the central concept of image is in this book used to designate both visual conventions, patterns or contents and tangible visual images. Thus it simultaneously consider of content and materiality.
J. Michelle Coghlan
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474411202
- eISBN:
- 9781474426800
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474411202.001.0001
- Subject:
- Literature, American, 19th Century Literature
In refocusing attention on the Paris Commune as a key event in American political and cultural memory, Sensational Internationalism radically changes our understanding of the relationship between ...
More
In refocusing attention on the Paris Commune as a key event in American political and cultural memory, Sensational Internationalism radically changes our understanding of the relationship between France and the United States in the long nineteenth century. It offers fascinating, remarkably accessible readings of a range of literary works, from periodical poetry and boys’ adventure fiction to radical pulp and the writings of Henry James, as well as a rich analysis of visual, print, and performance culture, from post-bellum illustrated weeklies and panoramas to agit-prop pamphlets and Coney Island pyrotechnic shows. Throughout, it uncovers how a foreign revolution came back to life as a domestic commodity, and why for decades another nation’s memory came to feel so much our own. This book will speak to readers looking to understand the affective, cultural, and aesthetic afterlives of revolt and revolution pre-and-post Occupy Wall Street, as well as those interested in space, gender, performance, and transatlantic print culture.Less
In refocusing attention on the Paris Commune as a key event in American political and cultural memory, Sensational Internationalism radically changes our understanding of the relationship between France and the United States in the long nineteenth century. It offers fascinating, remarkably accessible readings of a range of literary works, from periodical poetry and boys’ adventure fiction to radical pulp and the writings of Henry James, as well as a rich analysis of visual, print, and performance culture, from post-bellum illustrated weeklies and panoramas to agit-prop pamphlets and Coney Island pyrotechnic shows. Throughout, it uncovers how a foreign revolution came back to life as a domestic commodity, and why for decades another nation’s memory came to feel so much our own. This book will speak to readers looking to understand the affective, cultural, and aesthetic afterlives of revolt and revolution pre-and-post Occupy Wall Street, as well as those interested in space, gender, performance, and transatlantic print culture.
Joshua Davies
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781526125934
- eISBN:
- 9781526136220
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526125934.001.0001
- Subject:
- Literature, Early and Medieval Literature
This book is a study of cultural memory in and of the British Middle Ages. It works with material drawn from across the medieval period – in Old English, Middle English and Latin, as well as material ...
More
This book is a study of cultural memory in and of the British Middle Ages. It works with material drawn from across the medieval period – in Old English, Middle English and Latin, as well as material and visual culture – and explores modern translations, reworkings and appropriations of these texts to examine how images of the past have been created, adapted and shared. It interrogates how cultural memory formed, and was formed by, social identities in the Middle Ages and how ideas about the past intersected with ideas about the present and future. It also examines how the presence of the Middle Ages has been felt, understood and perpetuated in modernity and the cultural possibilities and transformations this has generated. The Middle Ages encountered in this book is a site of cultural potential, a means of imagining the future as well as imaging the past. The scope of this book is defined by the duration of cultural forms rather than traditional habits of historical periodization and it seeks to reveal connections across time, place and media to explore the temporal complexities of cultural production and subject formation. It reveals a transtemporal and transnational archive of the modern Middle Ages.Less
This book is a study of cultural memory in and of the British Middle Ages. It works with material drawn from across the medieval period – in Old English, Middle English and Latin, as well as material and visual culture – and explores modern translations, reworkings and appropriations of these texts to examine how images of the past have been created, adapted and shared. It interrogates how cultural memory formed, and was formed by, social identities in the Middle Ages and how ideas about the past intersected with ideas about the present and future. It also examines how the presence of the Middle Ages has been felt, understood and perpetuated in modernity and the cultural possibilities and transformations this has generated. The Middle Ages encountered in this book is a site of cultural potential, a means of imagining the future as well as imaging the past. The scope of this book is defined by the duration of cultural forms rather than traditional habits of historical periodization and it seeks to reveal connections across time, place and media to explore the temporal complexities of cultural production and subject formation. It reveals a transtemporal and transnational archive of the modern Middle Ages.
Edward Welch and Joseph McGonagle
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9781846318849
- eISBN:
- 9781846317958
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846318849.001.0001
- Subject:
- Society and Culture, Cultural Studies
Fifty years after Algerian independence, the legacy of France's Algerian past, and the ongoing complexities of the Franco-Algerian relationship, remain a key preoccupation in both countries. A ...
More
Fifty years after Algerian independence, the legacy of France's Algerian past, and the ongoing complexities of the Franco-Algerian relationship, remain a key preoccupation in both countries. A central role in shaping understanding of their shared past and present is played by visual culture. This study investigates how relations between France and Algeria have been represented and contested through visual means since the outbreak of the Algerian War in 1954. It probes the contours of colonial and postcolonial visual culture in both countries, highlighting the important roles played by still and moving images when Franco-Algerian relations are imagined. Analysing a wide range of images made on both sides of the Mediterranean – from colonial picture postcards of French Algeria to contemporary representations of postcolonial Algiers – this book is the first to trace the circulation of, and connections between, a diverse range of images and media within this field of visual culture. It shows how the visual representation of Franco-Algerian links informs our understanding both of the lived experience of postcoloniality within Europe and the Maghreb, and of wider contemporary geopolitics.Less
Fifty years after Algerian independence, the legacy of France's Algerian past, and the ongoing complexities of the Franco-Algerian relationship, remain a key preoccupation in both countries. A central role in shaping understanding of their shared past and present is played by visual culture. This study investigates how relations between France and Algeria have been represented and contested through visual means since the outbreak of the Algerian War in 1954. It probes the contours of colonial and postcolonial visual culture in both countries, highlighting the important roles played by still and moving images when Franco-Algerian relations are imagined. Analysing a wide range of images made on both sides of the Mediterranean – from colonial picture postcards of French Algeria to contemporary representations of postcolonial Algiers – this book is the first to trace the circulation of, and connections between, a diverse range of images and media within this field of visual culture. It shows how the visual representation of Franco-Algerian links informs our understanding both of the lived experience of postcoloniality within Europe and the Maghreb, and of wider contemporary geopolitics.
Anne Wohlcke
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780719090912
- eISBN:
- 9781781706442
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719090912.003.0007
- Subject:
- History, Social History
Chapter six examines what a popular audience of London’s inhabitants – elite and non-elite – gained from their consumption of fair amusements. Though urban officials and middling social reformers ...
More
Chapter six examines what a popular audience of London’s inhabitants – elite and non-elite – gained from their consumption of fair amusements. Though urban officials and middling social reformers believed fairs threatened local and national order, they were in fact instrumental to celebrating local and national events. Print evidence of fair culture reveals the messages ordinary men and women consumed at fairs. These messages reflected and helped shape gendered understandings of men and women’s appropriate place in Britain. Theatrical entertainments and fair exhibits such as clocks or mechanical pictures reveal themes of local and national significance. In the context of increasingly global conflicts, fair exhibits communicated notions of one’s role in the community of Britain’s emerging empire. The fair ground was also a site at which a popular audience encountered ideas about new science and nation at exhibits and spectacles. While there was certainly not an ‘official’ popular scientific culture at fairs, during the late seventeenth century, fair-goers saw some of the same curiosities also exhibited at court. These curiosities contributed to fair-goers’ understandings of the larger world and their place, as Londoners and Britons, within it. Fair exhibits disseminated to popular audiences notions of local and national identity through plays, waxworks, clocks, and other exhibits illustrating national victories, royal lineages and masterpieces of British architecture, and the natural landscape. The visual and popular culture of fairs demonstrates that Britons of various economic and ethnic backgrounds actively contributed to national imagining. National identities were not only consolidated in the world of print or in strictly political contexts.Less
Chapter six examines what a popular audience of London’s inhabitants – elite and non-elite – gained from their consumption of fair amusements. Though urban officials and middling social reformers believed fairs threatened local and national order, they were in fact instrumental to celebrating local and national events. Print evidence of fair culture reveals the messages ordinary men and women consumed at fairs. These messages reflected and helped shape gendered understandings of men and women’s appropriate place in Britain. Theatrical entertainments and fair exhibits such as clocks or mechanical pictures reveal themes of local and national significance. In the context of increasingly global conflicts, fair exhibits communicated notions of one’s role in the community of Britain’s emerging empire. The fair ground was also a site at which a popular audience encountered ideas about new science and nation at exhibits and spectacles. While there was certainly not an ‘official’ popular scientific culture at fairs, during the late seventeenth century, fair-goers saw some of the same curiosities also exhibited at court. These curiosities contributed to fair-goers’ understandings of the larger world and their place, as Londoners and Britons, within it. Fair exhibits disseminated to popular audiences notions of local and national identity through plays, waxworks, clocks, and other exhibits illustrating national victories, royal lineages and masterpieces of British architecture, and the natural landscape. The visual and popular culture of fairs demonstrates that Britons of various economic and ethnic backgrounds actively contributed to national imagining. National identities were not only consolidated in the world of print or in strictly political contexts.
Camilo D. Trumper
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520289901
- eISBN:
- 9780520964303
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520289901.001.0001
- Subject:
- History, Latin American History
Ephemeral Histories: Public Art, Politics and the Struggle for the Street in Chile is a cultural history of the street in Chile during the presidency of Salvador Allende, the hemisphere’s first ...
More
Ephemeral Histories: Public Art, Politics and the Struggle for the Street in Chile is a cultural history of the street in Chile during the presidency of Salvador Allende, the hemisphere’s first democratically elected Socialist president. Santiago became a contested political arena during Allende’s 1000 days in power. Residents across the political spectrum engaged in a heated battle to claim public space and challenge the terms and limits of political contest. Santiaguinos occupied public spaces in ways that appear fleeting, ephemeral, or mundane, but that challenged the sites and forms of legitimate political debate in Chile. Ephemeral Histories studies the tactics of political conflict— marches and protest, posters and murals, and documentary film and street photography—and sheds light on the contours of a public sphere of political debate rooted in urban practice. Street art, for instance, was both vehicle and window into a wider attempt to claim public spaces as a means of reimaging political citizenship. Graffiti, posters and murals might last an hour or a day before they were torn down or painted over, but they allowed a wide range of urban residents to redefine how and where politics was done and debated, and to reimagine the very mode of legitimate political debate in democracy and again in dictatorship. In fact, santiaguinos turned again to ephemeral political practices to rebuild political networks and reestablish political debate after the bloody military coup that deposed Allende on September 11, 1973. Placing urban and visual culture at the center of a story of political change over time, Ephemeral Histories traces the connections and continuities in political citizenship and practice in democracy and dictatorship. It suggests that the regime’s violence did not represent a clean rupture with the past, but a brutal engagement with the history of urban politics under Allende.Less
Ephemeral Histories: Public Art, Politics and the Struggle for the Street in Chile is a cultural history of the street in Chile during the presidency of Salvador Allende, the hemisphere’s first democratically elected Socialist president. Santiago became a contested political arena during Allende’s 1000 days in power. Residents across the political spectrum engaged in a heated battle to claim public space and challenge the terms and limits of political contest. Santiaguinos occupied public spaces in ways that appear fleeting, ephemeral, or mundane, but that challenged the sites and forms of legitimate political debate in Chile. Ephemeral Histories studies the tactics of political conflict— marches and protest, posters and murals, and documentary film and street photography—and sheds light on the contours of a public sphere of political debate rooted in urban practice. Street art, for instance, was both vehicle and window into a wider attempt to claim public spaces as a means of reimaging political citizenship. Graffiti, posters and murals might last an hour or a day before they were torn down or painted over, but they allowed a wide range of urban residents to redefine how and where politics was done and debated, and to reimagine the very mode of legitimate political debate in democracy and again in dictatorship. In fact, santiaguinos turned again to ephemeral political practices to rebuild political networks and reestablish political debate after the bloody military coup that deposed Allende on September 11, 1973. Placing urban and visual culture at the center of a story of political change over time, Ephemeral Histories traces the connections and continuities in political citizenship and practice in democracy and dictatorship. It suggests that the regime’s violence did not represent a clean rupture with the past, but a brutal engagement with the history of urban politics under Allende.
Ann Roberts
Kate Nichols and Sarah Victoria Turner (eds)
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780719096495
- eISBN:
- 9781526124135
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719096495.003.0004
- Subject:
- History, Social History
Discussions of art at the Crystal Palace have largely focussed on sculpture and architecture from the past contained in its Fine Arts Courts. This chapter explores the role of art via a different ...
More
Discussions of art at the Crystal Palace have largely focussed on sculpture and architecture from the past contained in its Fine Arts Courts. This chapter explores the role of art via a different trajectory using the paper trail of popular culture contained in the Daily Programme of events and the Crystal Palace’s own magazine, to reveal its connections to two artists who worked at the Palace around 1900. Drawing on contemporary popular journalism of the period, this chapter engages with representations of the artists Bertram Hiles and Herbert Beecroft as part of commercialised forms of leisure available at the Crystal Palace. The case studies of these two artists temporarily working in residence at Sydenham brings into focus the role of the Crystal Palace in modern consumer practices that in turn embraced the visual pleasures of gazing and looking. Far from the high moral tone of the original Hyde Park enterprise, the work of Hiles and Beecroft fused the visual pleasures offered by art with popular entertainment.Less
Discussions of art at the Crystal Palace have largely focussed on sculpture and architecture from the past contained in its Fine Arts Courts. This chapter explores the role of art via a different trajectory using the paper trail of popular culture contained in the Daily Programme of events and the Crystal Palace’s own magazine, to reveal its connections to two artists who worked at the Palace around 1900. Drawing on contemporary popular journalism of the period, this chapter engages with representations of the artists Bertram Hiles and Herbert Beecroft as part of commercialised forms of leisure available at the Crystal Palace. The case studies of these two artists temporarily working in residence at Sydenham brings into focus the role of the Crystal Palace in modern consumer practices that in turn embraced the visual pleasures of gazing and looking. Far from the high moral tone of the original Hyde Park enterprise, the work of Hiles and Beecroft fused the visual pleasures offered by art with popular entertainment.
Heather Norris Nicholson
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9780719077739
- eISBN:
- 9781781704547
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719077739.001.0001
- Subject:
- History, Cultural History
Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the ...
More
Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the wealthy, following the launch of lightweight portable cine equipment by Kodak and Pathé in Britain during the early 1920s. As social access to the new hobby widened, enthusiasts began to use cine equipment at home, work, on holiday and elsewhere. Some amateurs made films only for themselves while others became cine club members, contributors to the hobby literature and participated in film competitions from local to international level. The stories of individual filmmakers, clubs and the emergence of an independent hobby press, as well as the non-fiction films made by groups and individuals, provide a unique lens through which contemporary responses to daily experience may be understood over fifty years of profound social, cultural and economic change. Using regional film archive collections, oral testimony and textual sources, this book explores aspects of family life, working experience, locality and social issues, leisure time and overseas travel as captured by filmmakers from northern and northwest England. This study of visual memory, identity and status sets cine camera use within a wider trajectory of personal record making, and discusses the implications of footage moving from private to public spaces as digitisation widens access and transforms contemporary archive practice.Less
Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the wealthy, following the launch of lightweight portable cine equipment by Kodak and Pathé in Britain during the early 1920s. As social access to the new hobby widened, enthusiasts began to use cine equipment at home, work, on holiday and elsewhere. Some amateurs made films only for themselves while others became cine club members, contributors to the hobby literature and participated in film competitions from local to international level. The stories of individual filmmakers, clubs and the emergence of an independent hobby press, as well as the non-fiction films made by groups and individuals, provide a unique lens through which contemporary responses to daily experience may be understood over fifty years of profound social, cultural and economic change. Using regional film archive collections, oral testimony and textual sources, this book explores aspects of family life, working experience, locality and social issues, leisure time and overseas travel as captured by filmmakers from northern and northwest England. This study of visual memory, identity and status sets cine camera use within a wider trajectory of personal record making, and discusses the implications of footage moving from private to public spaces as digitisation widens access and transforms contemporary archive practice.
J. Michelle Coghlan
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474411202
- eISBN:
- 9781474426800
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474411202.003.0002
- Subject:
- Literature, American, 19th Century Literature
Both during the 1871 uprising and in the wake of the Commune’s fall, Americans encountered unsettling images of female Communards marching across the pages of illustrated periodicals. In turn, a ...
More
Both during the 1871 uprising and in the wake of the Commune’s fall, Americans encountered unsettling images of female Communards marching across the pages of illustrated periodicals. In turn, a variety of American sermons and editorials railed against the revolution and claimed its “overly emancipated” females might pose the most terrifying transatlantic threat of all. My opening chapter, “Framing the Pètroleuse,” recovers the drama of that postbellum gender panic and resituates post-bellum U.S. periodical poetry written in response to it. Reading Sarah M. B. Piatt’s 1872 periodical poem, “The Palace-Burner,” alongside both Harper’s Weekly’s pictorial coverage of the Commune and the subversive sentimentality of other post-bellum poetic returns to the fiery “Women of the Commune,” I argue that Piatt’s reworking of the figure of the Parisian petroleum-thrower relies on and resists the ways the so-called “man-women” of the Commune were pictured in the U.S. press. For in bringing the pétroleuse “into the parlor,” Piatt crucially re-imagines both the fiery Communardes and the specter of domestic firebrands they were so often used to portend.Less
Both during the 1871 uprising and in the wake of the Commune’s fall, Americans encountered unsettling images of female Communards marching across the pages of illustrated periodicals. In turn, a variety of American sermons and editorials railed against the revolution and claimed its “overly emancipated” females might pose the most terrifying transatlantic threat of all. My opening chapter, “Framing the Pètroleuse,” recovers the drama of that postbellum gender panic and resituates post-bellum U.S. periodical poetry written in response to it. Reading Sarah M. B. Piatt’s 1872 periodical poem, “The Palace-Burner,” alongside both Harper’s Weekly’s pictorial coverage of the Commune and the subversive sentimentality of other post-bellum poetic returns to the fiery “Women of the Commune,” I argue that Piatt’s reworking of the figure of the Parisian petroleum-thrower relies on and resists the ways the so-called “man-women” of the Commune were pictured in the U.S. press. For in bringing the pétroleuse “into the parlor,” Piatt crucially re-imagines both the fiery Communardes and the specter of domestic firebrands they were so often used to portend.
Justin T. Clark
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781469638737
- eISBN:
- 9781469638744
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469638737.003.0001
- Subject:
- History, American History: 19th Century
The introduction outlines the basic narrative of the book: how the Puritanical logocentrism of some of North America’s first English settlers yielded to the democratic ocularcentrism of today. More ...
More
The introduction outlines the basic narrative of the book: how the Puritanical logocentrism of some of North America’s first English settlers yielded to the democratic ocularcentrism of today. More than any other city, Boston reveals how this process took place. A culture of spectatorship emerged just as the urban visual environment itself became a spiritually charged illustrated text, drawing the competing gazes of art-admiring intellectuals, literate middle-class Protestants, and increasingly socially independent laborers. While The Hub was far from the only nineteenth-century city to “give not the human senses room enough” (as Ralph Waldo Emerson put it), it was there that a liberated faculty of sight first promised escape from the competition, congestions, and social divisions of urban life.Less
The introduction outlines the basic narrative of the book: how the Puritanical logocentrism of some of North America’s first English settlers yielded to the democratic ocularcentrism of today. More than any other city, Boston reveals how this process took place. A culture of spectatorship emerged just as the urban visual environment itself became a spiritually charged illustrated text, drawing the competing gazes of art-admiring intellectuals, literate middle-class Protestants, and increasingly socially independent laborers. While The Hub was far from the only nineteenth-century city to “give not the human senses room enough” (as Ralph Waldo Emerson put it), it was there that a liberated faculty of sight first promised escape from the competition, congestions, and social divisions of urban life.
Helen Groth
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780748669486
- eISBN:
- 9780748695171
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748669486.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
This book examines how the productive interplay between nineteenth-century literary and visual media paralleled the emergence of a modern psychological understanding of the ways in which reading, ...
More
This book examines how the productive interplay between nineteenth-century literary and visual media paralleled the emergence of a modern psychological understanding of the ways in which reading, viewing and dreaming generate moving images in the mind. Reading between these parallel histories of mind and media reveals a dynamic conceptual, aesthetic and technological engagement with the moving image that, in turn, produces a new understanding of the production and circulation of the work of key nineteenth-century writers, such as Lord Byron, Walter Scott, Lewis Carroll, Charles Dickens, and William Makepeace Thackeray. As Helen Groth shows, this engagement is both typically of the nineteenth-century in its preoccupation with questions of automatism and volition (unconscious and conscious thought), spirit and materiality, art and machine, but also definitively modern in its secular articulation of the instructive and entertaining applications of making images move both inside and outside the mind.Less
This book examines how the productive interplay between nineteenth-century literary and visual media paralleled the emergence of a modern psychological understanding of the ways in which reading, viewing and dreaming generate moving images in the mind. Reading between these parallel histories of mind and media reveals a dynamic conceptual, aesthetic and technological engagement with the moving image that, in turn, produces a new understanding of the production and circulation of the work of key nineteenth-century writers, such as Lord Byron, Walter Scott, Lewis Carroll, Charles Dickens, and William Makepeace Thackeray. As Helen Groth shows, this engagement is both typically of the nineteenth-century in its preoccupation with questions of automatism and volition (unconscious and conscious thought), spirit and materiality, art and machine, but also definitively modern in its secular articulation of the instructive and entertaining applications of making images move both inside and outside the mind.
Edward Welch and Joseph McGonagle
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9781846318849
- eISBN:
- 9781846317958
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846318849.003.0001
- Subject:
- Society and Culture, Cultural Studies
The Introduction argues for the need to consider the crucial role played by visual representation in mediating understanding of the Franco-Algerian relationship, and how the enduring presence and ...
More
The Introduction argues for the need to consider the crucial role played by visual representation in mediating understanding of the Franco-Algerian relationship, and how the enduring presence and role of Algeria in the French visual imaginary has been sustained since the Algerian War. It locates the study within contemporary debates on the relationship between history and memory within France, and considers the role played by visual culture in processes of historiography and memorialisation.Less
The Introduction argues for the need to consider the crucial role played by visual representation in mediating understanding of the Franco-Algerian relationship, and how the enduring presence and role of Algeria in the French visual imaginary has been sustained since the Algerian War. It locates the study within contemporary debates on the relationship between history and memory within France, and considers the role played by visual culture in processes of historiography and memorialisation.
Helen Groth
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780748669486
- eISBN:
- 9780748695171
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748669486.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter reads the popular nineteenth-century mediation of Byron’s work in a range of panoramic formats as a multi-medial extension of already established practices of visual and linguistic ...
More
This chapter reads the popular nineteenth-century mediation of Byron’s work in a range of panoramic formats as a multi-medial extension of already established practices of visual and linguistic mediation. Byron is transformed by this circulatory network into a fungible medium, a flickering figure that moves in and out of focus, guiding the reader to attend to a series of familiar privileged scenes, events and spaces, while holding out the prospect of intimate access, of speaking the same language as the poet. This chapter begins with the circulation of extracts from Byron’s poems in early panoramic guides and reviews of various Leicester Square Panorama and concludes with the spectacular use of panoramic technologies in mid-nineteenth century adaptations of one of Byron’s many controversial historical fictions, Sardanapalus.Less
This chapter reads the popular nineteenth-century mediation of Byron’s work in a range of panoramic formats as a multi-medial extension of already established practices of visual and linguistic mediation. Byron is transformed by this circulatory network into a fungible medium, a flickering figure that moves in and out of focus, guiding the reader to attend to a series of familiar privileged scenes, events and spaces, while holding out the prospect of intimate access, of speaking the same language as the poet. This chapter begins with the circulation of extracts from Byron’s poems in early panoramic guides and reviews of various Leicester Square Panorama and concludes with the spectacular use of panoramic technologies in mid-nineteenth century adaptations of one of Byron’s many controversial historical fictions, Sardanapalus.
Samson Lim
- Published in print:
- 2016
- Published Online:
- November 2016
- ISBN:
- 9780824855253
- eISBN:
- 9780824869106
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824855253.003.0007
- Subject:
- Society and Culture, Asian Studies
In the recent past, the study of Southeast Asia has taken a “visual turn” that has seen the publication of a number of insightful and incisive studies on the visual culture of countries in the ...
More
In the recent past, the study of Southeast Asia has taken a “visual turn” that has seen the publication of a number of insightful and incisive studies on the visual culture of countries in the region. This study adds constructively to this growing body of literature, written primarily by anthropologists, by continuing to expand the field of visual studies to ‘non-art’ objects and representational practices. By taking a historical look at the development of ‘the visual’ in the criminal process, a trend that impacts not only the operation of the legal system but also shapes daily life, this study ultimately aims to shed light on the nature of proof and the way in which people understand power and politics in Thailand today.Less
In the recent past, the study of Southeast Asia has taken a “visual turn” that has seen the publication of a number of insightful and incisive studies on the visual culture of countries in the region. This study adds constructively to this growing body of literature, written primarily by anthropologists, by continuing to expand the field of visual studies to ‘non-art’ objects and representational practices. By taking a historical look at the development of ‘the visual’ in the criminal process, a trend that impacts not only the operation of the legal system but also shapes daily life, this study ultimately aims to shed light on the nature of proof and the way in which people understand power and politics in Thailand today.
Nancy P. Appelbaum
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781469627441
- eISBN:
- 9781469627465
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469627441.003.0001
- Subject:
- History, Latin American History
The Chorographic Commission traversed the country then known as New Granada in the 1850s, led by Italian cartographer Agustín Codazzi. The introduction explains the sources and scholarship that ...
More
The Chorographic Commission traversed the country then known as New Granada in the 1850s, led by Italian cartographer Agustín Codazzi. The introduction explains the sources and scholarship that inform this study, which examines the commission’s maps and illustrations jointly as an integrated body of visual culture. The introduction places the commission in a tumultuous historical context of liberal revolutions, civil wars, partisan divisions, and constitutional revisions. The tenuous young republic lacked both infrastructure and a clearly defined territory. The introduction lays out the importance of race, region, and gender. The book’s central paradox is introduced: Codazzi and the other commissioners, like most of their contemporaries, assumed that a prosperous and harmonious republic required a homogeneous population and a unified national territory. Yet they encountered and depicted not homogeneity but “heterogeneity,” not unity but fragmentation, not pure European ancestry but mixture and variety. Mapping the Country of Regions is an effort to resolve this apparent dissonance, or rather, to understand how these nineteenth-century intellectuals tried to resolve it. They did so by organizing diversity into regional spaces and human types, and by arguing that the nation was in the process of unifying through the emergence of a national race of Granadinos.Less
The Chorographic Commission traversed the country then known as New Granada in the 1850s, led by Italian cartographer Agustín Codazzi. The introduction explains the sources and scholarship that inform this study, which examines the commission’s maps and illustrations jointly as an integrated body of visual culture. The introduction places the commission in a tumultuous historical context of liberal revolutions, civil wars, partisan divisions, and constitutional revisions. The tenuous young republic lacked both infrastructure and a clearly defined territory. The introduction lays out the importance of race, region, and gender. The book’s central paradox is introduced: Codazzi and the other commissioners, like most of their contemporaries, assumed that a prosperous and harmonious republic required a homogeneous population and a unified national territory. Yet they encountered and depicted not homogeneity but “heterogeneity,” not unity but fragmentation, not pure European ancestry but mixture and variety. Mapping the Country of Regions is an effort to resolve this apparent dissonance, or rather, to understand how these nineteenth-century intellectuals tried to resolve it. They did so by organizing diversity into regional spaces and human types, and by arguing that the nation was in the process of unifying through the emergence of a national race of Granadinos.
