bluuebunny/crossref_metadata_2025 huggingface dataset:
Women’s Magazines: The Pursuit of Pleasure and Politics
Authors: Andrews Maggie , Carter Fan
Published: September 2021

This chapter charts the development of the women’s magazine market in the twentieth century. It argues that while commercial magazines are principally leisure purchases shaped by the expectations of industry and advertisers, they are also spaces where sifting and contested ideas of femininity are worked through. Focusing on two moments of significant social and political change for women, the chapter explores the ways that magazines navigated discourses of feminism and political citizenship alongside familiar tropes of consumer femininity. In the interwar years politicians initially courted newly enfranchised women, and magazines sought to encourage women’s political engagement through a mobilisation of the term 'housewife'. Additionally, an examination of the young women's magazine Honey sheds light on the 1960s and 1970s when both the youth movements and women's liberation came to prominence.
The Gaelic Press
Authors: Dunbar Robert
Published: September 2021

Throughout the period in question, Gaelic periodical publishing has faced a number of persistent problems: relatively small, and declining, numbers of speakers, comparatively low levels of literacy in the language, insufficient institutional support, and editors and writers working for little material reward. As a result, most Gaelic periodicals survived for relatively short periods, and aside from the weekly Mac-Talla, published in Canada from 1892 to 1904, there has never been a Gaelic newspaper of any significance. In spite of this, Gaelic periodicals made a major contribution to Gaelic literature and culture more generally, serving as a platform for new generations of Gaelic writers, a conduit for new styles, particularly of modernist Gaelic poetry, and new genres, such as the short story, plays, social and political comment, current affairs, humour, literary translation, and much else.
Continuity and Change in the Belfast Press, 1900–1994
Authors: Moroney Nora , O’Neill Stephen
Published: September 2021

This chapter examines the political and textual transformations of the Belfast Telegraph, the Irish News, and the Belfast News Letter in the twentieth century. It discusses the creation and expression of separate forms of national and editorial identities in regard to the northern Unionist-leaning Telegraph and News Letter, and the nationalist Irish News. All three would eventually be transformed by their reportage of the World War, and the later Troubles. Describing the enduring popularity of all three papers as platforms for political expressions across the spectrum of twentieth century Irish history and politics, it argues that their longevity speaks to the success of their readjustments during these tumultuous years. Drawing on archives in the National Library of Ireland and the Belfast Central Library, the chapter includes case studies focusing on how each paper reported the failure of the Boundary Commission in 1925, the Belfast Blitz in 1941, and the IRA Ceasefire in 1994.
Feminism and the Feminist Press
Authors: Mendes Kaitlynn , Kay Jilly Boyce
Published: September 2021

This chapter provides a review of existing literature on the shifting representations of feminist activism in the press from the 1900s to 2017, as well as a discussion of the ways feminists have created their own print materials to agitate for social change. The chapter also provides two original case studies, including how militant Irish suffrage campaigners were represented in the Irish press for protesting the 1912 Home Rule Bill, and how the Irish Women’s Liberation Movement was represented in six Irish newspapers from 1970-1982. Overall, the chapter identifies a gap in research particularly around Irish feminists and the press, who were active, but less studied compared to their British counterparts.
The Tabloid Press: Tales of Controversy, Community and Public Life
Authors: Johansson Sofia
Published: September 2021

This chapter chronicles the development of tabloid newspapers in Britain and Northern Ireland across the 20th and early 21st centuries. It investigates the spectacular rise and subsequent demise of the popular tabloid as a distinct newspaper form, which has stirred as much controversy as it has shaped public debate. How did tabloid newspapers come to attract such vast readerships? What basis for the formation of public opinion did they provide, and how did they impact on the wider journalistic climate? The chapter explores tabloid history from three interrelated thematic points of departure. Firstly, it pays attention to a notable history of controversy, characterised by the papers’ tendency to push ethical and taste boundaries, and by the introduction of new, sensationalist, journalistic styles and content orientations. From a different perspective, however, the history of tabloid journalism can be regarded as one of building notions of community through, for instance, the provision of an inclusive address to readers, and the interlinking of news with other forms of popular culture. Finally, the chapter considers the historical, highly complex, role of tabloid journalism within public life, as a basis for the formation of public opinion, and as a political force.
The Metropolitan Press: Connections and Competition between Britain and Ireland
Authors: O’Brien Mark
Published: September 2021

This chapter examines the metropolitan press in Britain and Ireland between 1900 and 2011. While newspapers helped to set the agenda and tone of political and cultural discourse there existed often opaque connections between the various locales and the newspaper markets that operated on and between both islands. This chapter seeks to illuminate the relationships and interdependencies between the different newspaper markets and illustrate how, as the twentieth century unfolded, the daily press developed amid the constant flow of people, knowledge, conventions, ideas and technology between those markets.
Looking Across (Greco-Albanian) Borders: Diasporic, Migrant and Supranational Filmmaking
Authors: Phillis Philip E. , Phillis Philip E.
Published: September 2021

This chapter looks at what happens when Albanian filmmakers migrate to Greece and launches a discussion on cultural exchanges that happen beyond national frameworks of cultural production. In particular, the author examines the life and work of Bujar Alimani who migrated to Greece in 1992, received his mentorship beside director Yorgos Korras on the set of Mirupafshim (1998) and went on to direct films in Greek and Albanian. His first feature length, Amnesty/Amnestia (2011), stands out as the first Greek-Albanian coproduction, filmed entirely in Albania. Alimani has been hailed by Greek critics as ‘one of our own’ and his films are treasured in both countries. Agon/Ksimeroma (2012) by Robert Budina, an additional Greek-Albanian coproduction, filmed primarily in Greece, deals on a textual level with exchanges between both countries and reflects further the shifting trajectories of movement from Greece to Albania, contesting the centrality of host nations in the popular imaginary. Agon and Amnesty highlight the location of ‘Other’ cinemas within Greece and Europe and, through their creative context, question established definitions of diasporic filmmaking.
The Anxieties of Transnationalism: Reception of Immigration Films
Authors: Phillis Philip E. , Phillis Philip E.
Published: September 2021

Here we examine closely issues of production and reception of Greek migration films across national borders in order to further discuss questions of cultural identity. The chapter opens with Constantinos Giannaris’s Hostage/Omiros (2005), its hostile reception at home and celebration by Albanians in Greece and Albania. Secondly, the author addresses the obstacles that director Angeliki Antoniou encountered in claiming the ‘certificate of Greek nationality’ for her film Eduart (2006) and argues that both films showcase in their trajectories prevailing anxieties around the ownership of media. Indeed, a careful look into the films’ creative context opens our eyes to a culturally rich and diverse cinema that confuses the boundaries of a nation’s cinema and overall film culture, proposing new and exciting routes of cultural production. The author thus aims to contest national frameworks of inquiry and to propose a more inclusive definition of a national cinema.
Tragic Pathos and Border Syndrome: Constantine Giannaris’s Hostage
Authors: Phillis Philip E. , Phillis Philip E.
Published: September 2021

Giannaris’s film provides an original evocation of border crossing through its reimagining of the 1999 hijacking of an intercity bus in Greece by a clandestine Albanian migrant who endured police brutality in Greece. This chapter affords an in-depth analysis of the film’s form and thematic preoccupations so as to comprehend issues of mobility that are essential to (cinematic) migrant journeys. The author argues that the film’s layered use of on-screen and off-screen mobility reveal the politics of transnational migration and their impact on the migrant’s body. These conventions and their ideological are conveyed to the reader through close readings of select scenes. To further achieve this, the author resorts to the notion of ‘border syndrome’, coined by Gazmend Kapllani in his Short Border Handbook and to Hamid Naficy’s meditations on border subjects in his Accented Cinema, and argues that Hostage reimagines the migrant as a tragic outsider, prone to victimhood.
Others/Mirrors
Authors: Phillis Philip E. , Phillis Philip E.
Published: September 2021

Chapter six looks into cinematic encounters of Greeks with migrants and refugees. From the offset, we are dealing with a hegemonic discourse particularly since filmmakers adopt binaries such as Us/Them, reproducing a hierarchy of belonging rather than greater inclusion. What their films have in common is the question of hospitality which becomes urgent when the Greek protagonist is directly faced with a disenfranchised migrant. In other words, what it means to do ‘the right thing’. Correction/Diorthosi (2008) and Man At Sea (2011) feature a Greek man who, in order to overcome any reluctance and embrace the ‘Other’, must himself become ‘Other’. Plato’s Academy/Akadimia Platonos (2009) and Eternity and a Day/Mia Aioniotita kai mia Mera (1998) suggest that the Greek protagonist must first see himself in the figure of the ‘Other’, like in a mirror that reflects the alienation of Greeks in the era of globalization. Either way, otherness is conceived as a panacea and the migrant maintains a peripheral function. The discussion thus focuses on the potential of Greek migration films to reinforce non-belonging despite good intentions.
Documenting Crises: Raising Awareness through Documentary Film
Authors: Phillis Philip E. , Phillis Philip E.
Published: September 2021

In the final chapter, the author focuses on the most recent efforts by Greek filmmakers to direct attention to the ongoing refugee crisis. In particular, 4.1 Miles (2016) and Summer on the Island of Good (2009), exhibited online , deal head-on with the plight of refugees in Greece and en route to Europe and simultaneously reveal the indifference of the European community and the difficulties that Greece faces in managing the situation amidst its financial crisis. In addition, Golden Dawn: a Personal Affair/Xrysi Avgi:Prosopiki Ypothesi (2016) sheds light on the alarmingly growing popularity of the neo-Nazi party Golden Dawn which has spearheaded a racist rhetoric and attacks on refugees. The discussion thus focuses on cinema as a means towards raising awareness, to politically engage with endemic xenophobia and to challenge cultural perceptions. Ultimately, this chapter aims to show the potential of Greek cinema to document the plight of refugees in a manner that mainstream media and the political establishment overlook.
Does Tarkovsky Have a Film Theory?
Authors: Toymentsev Sergey
Published: September 2021

This chapter attempts to answer the question whether Tarkovsky’s insights in cinema, documented in interviews and in Sculpting in Time (1986), could amount to a coherent film theory. Although many scholars observe that one should abandon analytical reasoning while comprehending his films, they nevertheless follow a certain logic that seems to align with many of Henry Bergson’s philosophical arguments. The same could be said about Tarkovsky’s theoretical propositions: namely, his preference for intuition over intellectual cognition, psychological duration over chronological time, the past over the present as well as his foregrounding the dual nature of the film image in which subjective consciousness (spirit) and objective reality (matter) are coalesced into a single unit. Viewing Tarkovsky as being subconsciously Bergsonian, the author argues, could help us salvage his theoretical musings from being dismissed as unembarrassedly Romantic or outdated.
Temporality and the Long Take in Stalker
Authors: Totaro Donato
Published: September 2021

This chapter concentrates on Tarkovsky’s 1979 film Stalker and in particular how his expression of temporality through his long take aesthetic impacts on narrative meaning. In his close reading, Totaro breaks down the film into three sections that comprise the narrative and character journey – pre-zone reality, the fantastical zone, and the post-zone reality – and examines how time is represented in the long take across these sections. As Stalker’s narrative progresses, the author argues, time in the long take becomes an expression of creation and invention, moving from the so called “drab-time” of the initial pre-zone city scenes, to a “creation-time” in the middle zone section, to a more ambiguous expression of time in the post-zone city scenes.
Approaching the Irreal: Realistic Sound Design in Andrei Tarkovsky’s Films
Authors: Shpinitskaya Julia
Published: September 2021

This chapter focuses on Tarkovsky’s sound design that underwent several transformations throughout his career. Whereas in his early features the director used to employ a regular music track composed by Viacheslav Ovchinnikov, in his later films made in in the 1970s he worked together with composer Eduard Artemiev who created original and highly experimental soundtracks. As the chapter demonstrates, Tarkovsky primarily strived for the realistic sound aesthetic, requesting a variety of noises and natural sounds, in conjunction with electronic arrangement. At the same time his sonic realism progressively tends towards irrealism in his later films when selected natural sounds manifest their otherworldly dimension. His preference for natural sounds sounding unnaturally is especially evident in his last film The Sacrifice (1986), when Tarkovsky decided to work with the sound mixer only, Owe Svensson, without a composer.
Wounds of the Past: Andrei Tarkovsky and the Melancholic Imagination
Authors: Belau Linda , Cameron Ed
Published: September 2021

This chapter provides a psychoanalytically-inflected analysis of the complex nature of Tarkovsky’s melancholia as the predominant affect in his films, functioning as a poetic critique of the reality principle, eschewing our symbolic separation from the Thing. Engaging with the theories of melancholia developed by Sigmund Freud, Jacques Lacan, and Julia Kristeva, the authors trace its various configurations in Tarkovsky’s last three Soviet films: Solaris (1972) exhibits the melancholic clinging to the impossible past brought about by narcissistic withdrawal and interminable mourning; Mirror (1974) dramatizes the impossible return to a pre-symbolic childhood; the story of Stalker (1979) circulates around the unknown that grounds the world of the melancholic.
Cinema as Spiritual Exercise: Tarkovsky and Hadot
Authors: Moss Anne Eakin
Published: September 2021

This chapter examines Tarkovsky’s cinema in relation to contemporary philosopher Pierre Hadot’s concept of spiritual exercises. As the chapter demonstrates, each of Tarkovsky’s films could be seen as such spiritual exercises because of numerous parallels with Hadot’s theory: all his protagonists demand of themselves extreme forms of mental concentration, focused on goals that depart from the everyday and can only be seen as metaphysical, and all of them are quixotic seekers passionately involved in spiritually transcendent quests characterized by deep attention to the world around them. Furthermore, the author argues, the viewer’s experience could also serve as an example of Hadot’s idea of how spiritual exercises might be practiced via deepening and transforming habitual perception.
Zvyagintsev and Tarkovsky: Influence, Depersonalization, and Autonomy
Authors: Wakamiya Lisa Ryoko
Published: September 2021

This chapter traces the presence of Tarkovskian thematic and stylistic motifs in a series of Zvyagintsev’s films, such as the father/son relationship in The Return (2003), elegiac visual techniques in The Banishment (2007), and the Brueghelian landscape in Loveless (2017). The chapter demonstrates how Tarkovsky’s explorations of the relationship between memory and ontology give rise to Zvyagintsev’s enactments of processes of individuation that are not predicated upon difference. The chapter also discusses how it is important for Zvyagintsev to maintain his own authorial autonomy from the depersonalizing influence of the inherited tradition.
Von Trier and Tarkovsky: From Antithesis to Counter-sublime
Authors: Toymentsev Sergey , Dolin Anton
Published: September 2021

This chapter focuses on Lars von Trier’s lifelong engagement with the Russian master, which was openly admitted in his 2009 Antichrist’s shocking dedication. To unravel the complex relationship between the two directors, the chapter places them in the context of Harold Bloom’s rhetorical matrix of revisionary ratios and trace several stages of Tarkovsky’s influence on the Danish director: the early stage of antithetical completion, when the latter continuously attempted to push the former’s messianic project to new limits, and that of counter-sublime, characterized by von Trier’s impossible yet compulsive desire to forget Tarkovsky. The chapter also examines how von Trier simultaneously attacks and reinvents Tarkovsky’s spiritualist ideology of redemption from the position of European cynicism most vividly exemplified by Peter Sloterdijk’s Critique of Cynical Reason (1983).
Intellectual Love of God, Eternal Part of the amor erga Deum
Authors: Matheron Alexandre
Published: September 2021

In this chapter, Matheron presents an interpretation of Proposition 15 of Part V of the Ethics in relation to the corollary to Proposition 32. Rather than see the amor erga Deum of Proposition 15 as being related to the ‘intellectual love of God’ of which the corollary of Proposition 32 speaks in the same way that the second kind of knowledge is related to the third kind of knowledge, Matheron here lays out a different approach to understanding their connection. After meticulously reconstructing the arguments that subtend each proposition, Matheron is led to a crucial problem: how to square the eternal dimension of this love and the joy that necessarily accompanies it with the Spinozist understanding of joy as a passage from a lower to a higher degree of perfection? To resolve this problem, Matheron turns to the scholium of Proposition 33 and reflects on Spinoza’s use of the term beatitude as how one should properly refer to the intellectual love of God.
Passions and Institutions According to Spinoza
Authors: Matheron Alexandre
Published: September 2021

According to Matheron’s interpretation, Spinoza’s political theory and analysis of the different forms of government all follow directly from his theory of the passions. With this in mind, Matheron develops the three implications that follow from this philosophical foundation: 1) political society has as its ‘natural foundation’ the interactions to which human passions are subject 2) this same theory of passions makes possible an account of the ‘institutional dysfunctions’ that necessarily affect the majority of political societies and 3) lastly, the remedies for such dysfunctions can be envisioned by theorizing the conditions necessary to establish perfectly self-regulating institutional systems. Spinoza’s strategy, as Matheron shows, is to propose remedies to the dysfunctions of monarchy and aristocracy by encouraging the maximalisation of democratic functioning. As for Spinoza’s account of a perfectly functioning democracy, one can only speculate since the Political Treatise remained unfinished on precisely this point.
The Ontological Status of Scripture and the Spinozist Doctrine of Individuality
Authors: Matheron Alexandre
Published: September 2021

Do the products of human work, in particular, those that are literary or scriptural in nature, correspond to Spinoza’s definition of an individual? At first glance, such a question seems absurd, but in this essay Matheron endeavours to show that precisely such a conception is the case. Despite the various Holy Books all seeming to blend superstition and history, Matheron, following Spinoza, argues that each, regardless of their empirical genesis, aim to communicate a basic message to readers: the demand for justice and charity based on the love of God. But is the communication of this message merely a metaphor for the way individuals for Spinoza are said to be composed of various bodies that communicate their movements to one another? Not at all. Scripture quite literally communicates with the bodies and minds of its readers consequently affecting their behaviour.
Women and Servants in Spinozist Democracy
Authors: Matheron Alexandre
Published: September 2021

Was Spinoza merely a victim of the prevailing prejudices of his time when he chose to exclude women and servants from his theory of democracy? In this essay, Matheron shows that this explanation is insufficient. On the contrary, a glaring translation error has led generations of translators and interpreters to claim that Spinoza’s theory of democracy excludes servants on the basis of their ‘servile’ occupations. Matheron conclusively shows that if servants, construed broadly, appear to be excluded from democracy, it is not therefore due to the moral standing of their occupation, but because such individuals would necessarily be constrained to hold the same views as their masters for otherwise, they risk losing their means of subsistence. As for women, a similar argument applies. There is nothing essential about women that requires they be excluded from democratic participation, but rather, their exclusion is everywhere the result of men subject to passions. Men whose minds are dominated by inadequate ideas will necessarily destroy a democracy that includes women since they will compete over the attention of the most beautiful women. For Spinoza then, such exclusions appeared necessary due to the irrationality of human beings, in particular, men, dominated by the passions.
The Theoretical Function of Democracy in Spinoza and Hobbes
Authors: Matheron Alexandre
Published: September 2021

In this chapter, Matheron examines the theoretical role played by an appeal to democracy in the political philosophy of Spinoza and Hobbes. The concern is thus not their respective theories of democracy, but rather who references to democracy undergird the theoretical legitimacy of all forms of political sovereignty. For Hobbes’s part, his thinking evolves from first arguing that other forms of sovereignty derive their absolute character from their being derived from democracy to the position that other forms of sovereignty are not derived from democracy, but nonetheless are constituted and the same way, ensuring they remain absolute. Spinoza, for his part, move from this latter position to the claim that all other forms of sovereignty are derived from democracy and therefore are never absolute. For Spinoza, right is coextensive with power, which in turn means that the ‘transfer’ of power from the multitude to a sovereign is never carried out once and for all, but rather is carried out at each moment, leaving open the possibility that the multitude could overturn the sovereign to the precise extent that they have the power to do so.
Conclusions
Authors: Tiburcio Alberto
Published: September 2021

The conclusions analyse the findings of the book mainly in terms of its contribution to: 1) the history of Muslim-Christian relations in Safavid Iran and in the early modern Middle East at large, 2) the history of the genre of interreligious polemics and “signs of the prophecy”, 3) the broader intellectual history of Shiʿi thought in Iran, and 4) debates on the question of confessionalisation in the early modern Middle East
Bergson, the Image and Time
Authors: Aitken Ian
Published: September 2021

This chapter presents an outline of the ideas of Henri Bergson, as a prelude to the later exploration of Georg Lukács in chapters 2-5 of this book. Bergson’s ideas on the image, the body and time, and film are considered, including his notion of ‘cinematographic time’ and ‘duration’. The chapter also includes a general account of the nature of temporality and discusses the influence of Einstein’s theory of relativity on notions of time.
‘On the Phenomenology of the Creative Process’ (Lukács 1914)
Authors: Aitken Ian
Published: September 2021

This chapter is a close analysis of Lukács’s 1914 paper ‘On the Phenomenology of the Creative Process’, in which Lukács moves on from his earlier work Soul and Form to focus on the phenomenology of artistic creation. In this paper Lukács also moves away from the Platonist emphasis that pervaded Soul and Form. The paper focuses on the creative process, the ‘ethical sphere’ and the ‘aesthetic sphere’.
‘Thoughts towards an Aesthetic of the Cinema’ (Lukács 1913)
Authors: Aitken Ian
Published: September 2021

This chapter is a close analysis of Lukács’ 1913 paper ‘Thoughts towards an Aesthetic of the Cinema’, in Which Lukács writes about the relation between film and the theatre. The paper forms part of the ‘Kino Debate’, then taking place in Germany, over the future potential of the cinema as a vehicle for liberation and of aesthetic value. The paper relates film to the body and intuition, in contrast to the theatre, which is regarded as a vehicle for the high intellect. In this paper, Lukacs introduces the notion of the ‘cinema of the fantastic’ and opposes this to the hegemony of logic within modernity. Key notions such as the ‘great moment’ and the ‘present moment’, and the banality of ‘ordinary life’, and the concept of Stimmung, are also considered.
Husserl, Epochē and Lebenswelt
Authors: Aitken Ian
Published: September 2021

This chapter presents an outline of the thought of Edmund Husserl, particularly Husserl’s conceptions of the Lebenswelt (or ‘lifeworld’ and Epoche, as a preluded to the following four chapters on Siegfried Kracauer. The chapter also discusses other aspects of Husserl’s theory of phenomenology, including the distinction between the perceptual lifeworld and the cultural lifeworld, and the concepts of the ‘natural attitude’, and ‘Eidos’
‘The Historical Approach’ and ‘The Historian’s Journey’, from History: The Last Things Before the Last (Kracauer 1968)
Authors: Aitken Ian
Published: September 2021

This chapter is a close analysis of the two chapters from Kracauer’s 1968 book History: The Last Things Before the Last. The chapter covers the influence of Husserl’s concept of the Lebenswelt on Kracauer’s conception of history and explores Kracauer’s notion of ‘ante-room history. Here, Kracauer compares film and photography with historiography, and sets out a conception of non-linear historical time. The notion of the historian, and the exile, as ‘palimpsest’, is also considered. The influence of the art theorist Clement Greenberg on Kracauer’s application of notions of medium specificity to film, photography and historiography is also considered
The Sound of Protest: Acousmatic Resistance in El Método
Authors: López Lerma Mónica
Published: September 2021

Drawing on the works of Henri Lefebvre and Chris Butler, chapter four explores the relationship between justice, aesthetics, and (the right to) the city through the 2012 Spanish film Grupo 7 directed by Alberto Rodríguez. Based on real events, the film follows a police unit tasked with cleansing the touristy downtown of Seville of prostitution and drug trafficking in order to convey an image of modernity for the Universal Exposition of 1992.  By inviting viewers to experience the violent transformation of Seville, the film makes visible pervasive forms of violence (crime, police brutality, and corruption) concealed behind the promises of modernity. It exposes the ways in which the state and the law shape the social body, organize relations of power, and distribute the sensory order—meaning who and what are included or excluded and who and what are visible or invisible—in a way that erases difference and diversity. The chapter argues that rather than offering a solution, the film constructs a haptic aesthetic where the city’s suburbs and outskirts, its messiness and noise, generally all brushed off by the logic of progress and modernization, cannot be left out from the viewer’s sensory experience of the city.
Introduction
Authors: Lamont Craig
Published: September 2021

An introduction to the structure of the book, introducing the main themes and disciplines, with a particular focus on the historiography of the Scottish Enlightenment and the field of memory studies.
Georgian Glasgow: A History
Authors: Lamont Craig
Published: September 2021

This chapter offers a condensed history of the period, looking back to the beginnings of the Union (1707), all the way through to the end of the Georgian era in 1837. This shows Glasgow’s key landmarks of growth, including population statistics, major events, and new buildings.
Glasgow as a Centre for the Arts, Science and Medicine
Authors: Lamont Craig
Published: September 2021

This chapter showcases Glasgow as a truly important, often central, hub of the Scottish Enlightenment. Beginning with Francis Hutcheson’s revolutionary ideas and teaching style, the chapter traces the activities of the Foulis brothers, William Cullen, William Hunter, Tobias Smollett, and James Watt.
‘Unimpaired remembrance reigns’
Authors: Lamont Craig
Published: September 2021

This chapter examines the cultural afterlife of the Scottish Enlightenment, which was laid out in more detail in chapter 2. Beginning with a study of Tobias Smollett’s cultural memory, the frame widens and the question of how well Glasgow’s Enlightenment has been remembered is considered. To do this, theories of memory studies are used to underpin readings of paintings, buildings, institutions, and statues.
‘Then went forth our Scots’
Authors: Lamont Craig
Published: September 2021

This chapter considers the story of emigration from Glasgow across the Atlantic. Looking back to the religious persecutions of the seventeenth-century that drove Scots overseas, as well as the Darien Scheme to set up a Scots colony, it is shown how opportunities in the ‘New World’ were exploited via the British Empire. The work of writer and colonist John Galt is used as a case study.
Literary Tourists and Soldier Heroes
Authors: Lamont Craig
Published: September 2021

This chapter looks at the image of Glasgow via the late-Georgian, or Romantic-era, infatuation with literary and military figures. Building on the seminal work of Nicola Watson (Literary Tourism) and Graham Dawson (Soldier Heroes), Glasgow is shown to have fashioned itself as a centre of the British Empire.
The Great Exhibitions: 1888–1938
Authors: Lamont Craig
Published: September 2021

This chapter examines the main International Exhibitions hosted by Glasgow in the years 1888, 1901, 1911, and 1938. These occasions were used to promote Glasgow as a primarily industrial city with pride of place in the British Empire. Nostalgia for the Georgian and medieval periods is shown to have affected the cultural memory of Glasgow’s role in the Scottish Enlightenment.
Conclusion
Authors: Lamont Craig
Published: September 2021

Rounds off the main arguments of the book, looking at the year 2014 as a pivotal moment for Glasgow as the host of the XX Commonwealth Games. Unlike the great exhibitions of the previous centuries, the Games – and the historical exhibition held at the same time by Glasgow Life – became notable as a catalyst for change in the public’s awareness of empire and slavery.
A Case for Crisis in Japanese Security Policymaking
Authors: Singh Bhubhindar
Published: September 2021

This chapter raises the question how has Japan’s security
policymaking elite negotiated the stringent domestic constraints and somewhat less influential regional constraints to expand Japan’s security policy practice in the post-Cold War period. It introduces the alternative explanations that are offered by publications influenced by realism and social constructivism theories.
‘Crisis is What a State Makes of it’
Authors: Singh Bhubhindar
Published: September 2021

This chapter analyses the role of crisis in explaining security policy change. The discussion is divided into the following parts: how crisis is understood in international relations, including the definition and key features of military crises; what is the analytical framework that connects military crises to Japanese
security policy expansion, known as the threat construction process; and what are the cases to show the effects of various crises on Japanese post-Cold War security
International Peacekeeping
Authors: Singh Bhubhindar
Published: September 2021

This chapter shows the importance of the 1990–1 Persian Gulf Crisis to explain the Japanese security policy development. Here, it shows how the security policymaking elite utilised this crisis as a policy window to achieve their objective of expanding the
SDF’s mandate to include international peacekeeping missions.
Global Missions
Authors: Singh Bhubhindar
Published: September 2021

This chapter demonstrates how the September 11th attacks on the US, and Japan’s subsequent participation in the Operation Enduring Freedom and Operation Iraqi Freedom, proved to be crucial policy windows for Japanese the security policymaking elite to add global missions into the SDF’s mandate.
Summary, Implications and Us–China Competition
Authors: Singh Bhubhindar
Published: September 2021

This chapter summarises the argument, extracts key points on the effects of external military crises on Japanese security policy expansion, key implications of the argument on Japanese security policy practice, and concludes with Japan’s responses to the worsening US-China competition.
Momentary Rupture? Dawn (1928) and the Transgressive Potential of the Edith Cavell Case
Authors: Sternberg Claudia
Published: September 2021

The chapter establishes the complex web of transgressions that underlie the enduring preoccupation with Edith Cavell, the English nurse and resistance worker who was executed in Belgium by German occupying forces during the First World War. The contribution then offers a close reading of the biographical anti-war film Dawn (dir. Herbert Wilcox, UK 1928) which constitutes a transgressive text in its own right. Politically, this late silent production brings back the Cavell story at a time of public forgetting, provoking instances of censorship and self-censorship. In narrative terms, Dawn subverts cinemagoers’ certainties by introducing a new paradigm to British screens for the depiction of the Great War more generally. Finally, Dawn’s pacifist feminism and humanisation of the enemy, as proposed by writer Reginald Berkeley, are ideological border crossings that attempt to refashion the Cavell myth. By comparing the editing and intertitles of the British and Belgian versions of the film, the chapter concludes that Dawn remains an exception within visual culture and the representation of Cavell and her executioners.
The End of Transgression: Fritz Bauer as Traitor on the German Screen
Authors: Wölfel Ute
Published: September 2021

This chapter offers a close reading of two recent German films – Der Staat gegen Fritz Bauer/ The People vs. Fritz Bauer (2015) and Die Akte General/ The General (2016) - depicting the postwar life and work of Fritz Bauer as attorney general in the court of Hesse (1956-68), where he initiated postwar key Nazi-criminal trials. Bauer’s prosecution of Nazi criminals, his attempts to reform postwar jurisdiction and re-instill a moral consciousness were at the time perceived by many Germans as treason; the majority of West Germans saw Bauer’s work as a transgression and betrayal of their heavily guarded victim identity. As the case of Bauer shows, within the complex re-negoiation of West German postwar identity, the concept of treason formed a central point of convergence of the burdens of the past and the hopes for a democratic future. My reading focusses on the films’ framing of Bauer’s role as perceived traitor and explores the ambivalence of cinematic strategies which retrospectively celebrate Bauer’s historical efforts and at the same time still elicit an undercurrent of retribution in the name of the historically questioned German postwar community of ‘victims’.
The Photo-filmic and the Post-human: Picturesque Landscapes at the Peripheries of Global Cinema
Authors: Pethő Ágnes
Published: September 2021

The chapter describes a slightly paradoxical form of the picturesque tableau that has emerged in a globalized, markedly transnational cinema. The relative autonomy of such a tableau, defined by the aesthetic of high definition digital photography, foregrounds both the single photograph’s inherent connection to death and its close ties with the art of painting. As such, it also becomes a perfect form to unfold a kind of post-human landscape, a setting for eschatological narratives told in the minimalist mode, staging a clash between elemental, biological existence and powerful forces of society that threaten this existence with imminent destruction. In the international arthouse film festival circuit we see a number of films made in the context of so-called peripheral cinemas which engage in this way the in-betweenness of photography and film in an unsettling mixture of documentary realism and pictorial detachment. The chapter focuses on the photo-filmic qualities of three such films: Timbuktu directed by Abderrahmane Sissako, Test (Ispytaniye) by Alexander Kott, and Nabat, by Elchin Musaoglu (all made in 2014).
Dream Screen: On Cinema and Painting, Blur and Absorption
Authors: Beugnet Martine
Published: September 2021

This chapter explores some of the ways in which low definition or blur orchestrate the encounter between film and painting. Depending on the technique, film stock, the choice of analogue or digital filming, and the degree of experimentation, such an encounter may take an endless variety of forms. Focusing on the effects of blur on figurality and the representation of the human form, this chapter interrogates intermedial resonances as well as the regimes of identification or absorption that are produced when the depiction of the figure eschews visual clarity.
With reference to films ranging from the silent to the digital era, the author considers the sense of absorption and empathetic response the softening of contours elicits from the viewer, as well as the contradictory effect of the blurring of lines, between intimacy and distance, closeness and concealment. In turn, M. Beugnet looks at the different kind of absorption offered by the chaotic universes of the cinema of sensation, before discussing the tension between theatricality and absorption in evidence in recent filmmaking.
From the Periphery to the Interstices: Avant-garde Film, Medium Specificity and Intermediality, 1970–2015
Authors: Townsend Christopher
Published: September 2021

This chapter surveys an important shift in the last fifty years in the study of avant-garde film within academia. It explores the move from study at the margins of widely separated disciplines, notably Art History and the nascent field of Film Studies, to the interstices between increasingly connected disciplines, but focused upon English and Modern Languages. As a consequence of this move, the author argues, avant-garde film has become the object of a form of scholarship that scrutinises the intermedial relations of films and texts. With this attention, mostly from scholars trained in literature and textual analysis, there is a risk of losing the technical competence in film analysis that characterised the earlier mode of scholarship. In the 1960s and 70s, much of the crucial work in the field was undertaken by practising, experimental filmmakers who understood the material possibilities and constraints of their medium. Both approaches and sites of scholarship bring particular benefits and problems, and contemporary study of the intermedial relationships of experimental film in the wider, intermedial, culture needs to account for both in its historiography.
The ‘Artist as Filmmaker’: Modernisms, Schisms, Misunderstandings
Authors: Reynolds Lucy
Published: September 2021

The film artist Annabel Nicolson’s 1972 article ‘The Artist as Filmmaker,’ written for a special artist film themed issue of Art and Artists, pinpoints in hindsight attitudes and approaches to the use of the film medium potentially shared between two artistic, and contemporaneous, movements in 1970s Britain who held themselves apart: conceptual artists and artist filmmakers. This essay considers the reasons for this disconnect, finding them in Britain’s wider cultural policies towards emergent art practices such as performance and film. Could, as Nicolson’s article intimates, there be much common ground – little acknowledged then, or in historical accounts since? Discussions of the film actions of Nicolson and the film installations of David Dye in relation to conceptual counterparts such as John Hilliard and Dan Graham, make the case that they were closer in method and medium than they thought.
The Artwork/Statement as Intermedial Nexus: Paul Sharits’s N:O:T:H:I:N:G
Authors: Dicker Barnaby
Published: September 2021

This chapter asks if an artist statement can be integral to, rather than simply illuminate, an artwork. The close-knit rapport between Paul Sharits’s 1968 flicker film N:O:T:H:I:N:G and some remarks about it published in Film Culture the following year suggest such an ‘intermedial nexus’. The concepts of ‘differential specificity’ as developed by Louis Althusser and Marcelin Pleynet and that of the ‘avant-garde gambit’ set out by Griselda Pollock are useful in navigating this proposition.
Filming and Feeling between the Arts: Pascale Breton, Suite armoricaine and Eugène Green, Le Fils de Joseph
Authors: Schmid Marion
Published: September 2021

This chapter discusses the intersections between cinema, literature, painting and music in two recent French films: Pascale Breton’s Suite Armoricaine and Eugène Green’s Le Fils de Joseph [The Son of Joseph, both 2016]. With special reference to Proust, Georges de La Tour and Caravaggio, the author argues for the significance of the other arts in these works as a means of interrogating questions of belonging, personal growth and transmission. Drawing on Jacques Aumont’s notion of artistic ‘migration’ as well as on Alain Badiou’s concept of cinema’s ‘breached frontier’, where ideas can pass through the invocation of other art forms, the chapter explores cinematic intermediality as a privileged vehicle for making ideas and emotions apprehensible in a non-verbal, sensory mode.
Muybridge’s Disobedient Horses: Non-stop Stop-motion
Authors: Vasof Anna
Published: September 2021

In this chapter, the media artist Anna Vasof discusses her animation project Non-Stop Stop-Motion, situated at the intersection between video, performance, the fine arts and photography. Non-Stop Stop-Motion is an ongoing practice-based artistic research project, which investigates where we can find the essence of cinematic illusion when we look into everyday life and what happens when we use everyday situations, objects, spaces and actions as cinematographic mechanisms. This question leads to multiple observations of everyday life and experimentation therein.
Virginia Woolf in Arabic: A Feminist Paratextual Reading of Translation Strategies
Authors: Kamal Hala
Published: September 2021

This chapter offers a feminist critique of the strategies used in translating Virginia Woolf’s work into Arabic. The study examines the representation of Woolf in Egypt and the Arab World, detailing the shift from emphasis on Woolf as a modernist novelist to a feminist writer. It begins with a historical overview of Woolf’s works translated into Arabic since the 1960s, followed by a discussion of the critical approaches to the translated texts from a feminist perspective, with particular emphasis on the significance of a paratextual analysis. The last section is devoted to examining A Room of One’s Own (1929) as a case study of the translation of Woolf into Arabic. The chapter ends by highlighting the ethical dimensions embedded in the translation strategies related to Virginia Woolf and feminist texts in general.
Tracing A Room of One’s Own in Sub-Saharan Africa, 1929–2019
Authors: Dubino Jeanne
Published: September 2021

This chapter traces the presence of Woolf in sub-Saharan Africa from 1929 to the present day. The historic trajectory starts with the final decades of the British Empire’s colonial rule in sub-Saharan Africa, with a focus on Kenya (1929–59); continues through the half-century of the postcolonial era (1960–2010); and concludes with the age of globalisation (2011–). For the first part, I examine how Woolf, through the narrator in A Room of One’s Own, asserts that (white) Englishwomen do not have the same urge as their white brothers to possess and to convert someone into imperial property. At the time she wrote this claim, there were real-life white European women who were walking by and writing about Black women in Kenya. In the postcolonial era, when the English Departments in anglophone sub-Saharan African countries were influenced by Leavisism, Woolf’s works would not have been taught. I show how colonialism and its institutional legacies, including university curricula, libraries, and publishing, militate against Woolf’s broader appeal to sub-Saharan Africa-based writers. Finally, in the present day, through online references to A Room, one can see how Woolf’s idea of a room is transformed, throughout anglophone Africa, into a virtual writers’ workshop.
Virginia Woolf’s Reception and Impact on Brazilian Women’s Literature
Authors: de Oliveira Maria A.
Published: September 2021

This chapter discusses Woolf’s reception in Brazil as revealed through the work of Brazilian women writers. As a theoretical framework, the chapter relies on a transnational approach including Jessica Berman’s Modernist Commitments: Ethics, Politics and Transnational Modernism; Chandra Talpade Mohanty’s ‘Under Western eyes: Feminist scholarship and colonial discourse’, Gayatri C. Spivak’s article ‘Can the subaltern speak?’ and Pelogia Goulimari’s Women Writing Across Cultures. The chapter traces the waves of feminism in Brazil over the decades, examines Woolf’s surge of popularity in Brazil following the publication of Brenda Silver’s Virginia Woolf Icon (1999), and analyses Woolf’s impact on multiple Brazilian women writers: Tetrá de Teffé (1897–1995), Lucia Miguel Pereira (1901–59), Clarice Lispector (1920–77), Carolina Maria de Jesus (1914–77), Ana Cristina Cesar (1952–83), Lygia Fagundes Telles (1923–), Hilda Hilst (1930–2004), Sônia Coutinho (1939–), Adriana Lunardi (1964–), Luiza Lobo (1948–) and Hilda Gouveia de Oliveira (1946–). By the twenty-first century, Woolf’s work has become truly global. Woolf died more than sixty years ago, but her texts are still alive, and she is still moving and inspiring other women writers, to the point that we can talk about a multiplicity of Woolfs.