bluuebunny/crossref_metadata_2025 huggingface dataset:
Conclusion
Authors: Roberts Gillian
Published: January 2024

The conclusion discusses phenomena not addressed elsewhere, such as novels in production at the same time as their film adaptations (as in Christine Leunen’s Caging Skies(2019), adapted by Taika Waititi as Jojo Rabbit (2019)) as well as Indigenous and partly-Indigenous films made from settler-colonial cultural texts, as in Jeff Barnaby, Kent Monkman, and Caroline Monnet’s short films made from pre-existing footage from Canada’s National Film Board about Indigenous people and the Australian film Ten Canoes, derived from ethnographic photographs and co-directed by Rolf De Heer and Peter Djigirr. Although we see some mainstreaming of Indigenous cinema and culture through Waititi’s Academy Award for Best Adapted Screenplay and his land acknowledgment at the Oscar pageant, it remains the case that not all texts or their adaptations circulate in the same way or with the same reach within and across the global cultural marketplace. However, when these stories reach us from across and via the global cultural marketplace, it is our responsibility not just to take pleasure in them, or take them at face value, but also to consider other versions of these stories, who has told them, and for whom.
Introduction
Authors: Morin Emilie
Published: January 2024

The Introduction summarises some of the many questions, hopes, ambitions and doubts that reverberate throughout the anthology concerning radio’s artistic, social and political significance in Europe during the 1920s and 1930s. To many of those who worked in radio broadcasting, wrote for and about radio, and to their millions of listeners and readers, radio provided a window onto other worlds, real and imaginary throughout this period. Cities, countries, languages and cultures came into close proximity at the turn of a dial, with philosophical and political implications that were thrilling for some, troubling for others. The Introduction sketches out some key contexts and dominating concerns, drawing on the large corpus of essays included in the rest of the anthology.
The Art of Iran in the Twentieth and Twenty-first Centuries
Authors: Keshmirshekan Hamid
Published: January 2024

This book deals with the exploration and theorisation of Modern and Contemporary art of Iran through the examination of art movements and artistic practices in relation to other cultural, social and political discourses during the twentieth and twenty-first centuries. It focuses on discourses and their impact on art movements and practices and aims to selectively explore certain prevailing debates in action during this time. To come to grips with the way that artistic trends in Iran can be traced within the intellectual and political landscape of the country mainly from the 1940s to the present, the book articulates new ideas for relating art to its wider context – whether social, cultural or political – and to bring together critical and historical evidence in order to provide an insight into prevailing artistic concerns. Discussing discourses such as nativism, nationalism, anti-westernism or gharb-zadegi (Westoxification), modernism, secularism, cultural essentialism, global market demands and exoticism, it examines how political events such as the 1979 Revolution impacted cultural and artistic modes in Iran, and how globalisation and its attendant cultural transformations have emerged as new themes for Iranian artists. The book explores these underlying themes and discourses through a series of case studies, , which involve close scrutiny of works of artists across various disciplinary media, including painting, sculpture, photography, video, performance, installation, etc.
Introduction
Authors: Keshmirshekan Hamid
Published: January 2024

The introduction addresses the issue of how the analysis of non-Western modern and contemporary art, when solely based on Euro-American interpretative models, often falls short in capturing the discursive contexts of artistic production, their cultural implications, and their integration into local historical narratives. It argues that this has created unbalanced historiographical maps and art historical sources that inevitably consign non-Western art to the periphery. The introduction further emphasises that Euro-American paradigms cannot be uncritically applied to the study of art of Iran on the assumption that these discourses enjoy universal validity. It attempts to show why it is important to challenge the authority of a single art historical discourse and model and the reproduction of different subjectivities in particular narratives. The introduction clarifies that while some of the so-called ‘global’ art historical paradigms such as critical theory and methodological models has been adapted, much of the content of this book is based on primary sources including those written in Persian, the author’s observations and analysis offered in interviews with artists, curators, art critics and cultural activists. It establishes a framework through which this book’s material is examined.
Historiography of Modern and Contemporary Art of Iran
Authors: Keshmirshekan Hamid
Published: January 2024

It examines the historiography of art criticism and writings on Iranian art from the late 1940s to the 2010s, and selectively discusses the various elements of each art historical narrative, including their ideological premises, sources and discourses, the historical models they are based upon, their temporal perspective, as well as their linguistic and terminological choices. These writings consist of periodical articles and critical reviews of exhibitions, reflections from artists, attitudes reflected in various types of articles and books, the latter both in Persian and English. It shows how negotiating notional cultural and political associations, debates on common encounters with modernism, discussions about the values of modern and contemporary artistic practice, questions of authenticity, the constant fluctuation between past and present and their attribution to the nature of Iranian culture reflected in those primary sources. Arranged in a chronological order, the chapter examines these developments to understand how modern and contemporary art of Iran have been perceived throughout this time and how it is reflected through a variety of ideological and conceptual perspectives.
The Discourse of Neo-traditionalism: Reflecting the Past into the Present
Authors: Keshmirshekan Hamid
Published: January 2024

It focuses on the decades of 1960s and 1970s and explores the concept of neo-traditional art in Iran in this period. Along with the postcolonial Middle East, at an intellectual level, the neo-traditionalists aimed to create a synthesised form of modern art that fused past pictorial heritage with the modern aesthetic language of art. Without ignoring the artists’ distinct self-referential individualism, the chapter examines how this notion was realised within and in correspondence with Iran’s mid-twentieth century socio-cultural practices. Crucial debates over the creation of a balance between the two polarities of modernism and cultural authenticity that had started in the earlier decades reached to a peak in the 1960s and resulted in the creation of the most acclaimed neo-traditionalist movement, the Saqqā-khāneh tendency. Bringing together both historical facts and analytical and critical accounts, the chapter also examines other elements that may have contributed to the creation and promotion of this movement, namely the influence of the official culture (already materialised through the Tehran biennials and the Shiraz Arts Festivals) and market interests.
Discourses on Post-revolutionary Art: The 1980s and early 1990s
Authors: Keshmirshekan Hamid
Published: January 2024

It explores the impacts of the revolution and its attendant political and cultural transformations on artistic developments, including emergence of ideological revolutionary art and formulation of the so-called Irano-Islamic art. Divided into two periods, that of the immediate aftermath of the revolution from 1979 until the end of the Iran–Iraq War in 1988 and from 1988 until the 1997 presidential election, the chapter inspects the practical ramifications of the cultural policy of the state, which brought about a set of critical changes in the artistic landscape of Iran. It then explores the key artistic trends and genres within the socio-cultural context of the newly established Islamic Republic and consider the formation of the notion of motaʻahhed art that was sponsored by the Artistic Centre of Islamic Propaganda Organisation. In the second part, it investigates the resurgence of the post-revolutionary modern art movement with examination of the national biennales providing analytical accounts of the dominant approaches in the early 1990s exhibitions during the so-called ‘Reconstruction’ period (1988–97). It moreover illustrates how the official insistence on the necessity of resistance against what was then called the tahājom-e farhangi of the West was reflected through the national art events.
The New Vienna School of Art History
Authors: Verstegen Ian
Published: January 2024

Often seen as an enticing but ultimately failed, and even dangerous, alternative to the predominant iconological humanism of Erwin Panofsky, the so-called "second" or "younger" Viennese school associated with Hans Sedlmayr and Otto Pächt and their short-lived journal, Kunstwissenschaftliche Forschungen has generally not been taken seriously. Arguing that this assessment is tainted by a nominalist bias engendered by the Cold War, this book is an account of the theory and practice of these practitioners and demonstrates the strong dependence of these writers on the work of Gestalt psychology which was emerging at the time. Gestalt theory emerges as the master key to interpreting Sedlmayr and Pächt’s ideas about art and history and how it affected their practices. Only by setting aside biographical issues and questioning tacit notions of ‘holism,’ we begin to perceive a practice-based approach to history that is more attuned to the visuality of art than is Panofsky’s discursive alternative. This fresh interpretive apparatus casts light on the power and originality of Sedlmayr’s and Pächt’s theoretical and empirical writings. In addition, it demonstrates the existence of a genealogy of Vienna formalism coursing throughout most of the twentieth century, encompassing Johannes Wilde and his students at the Courtauld as well as Otto Demus in Byzantine studies. Ultimately, by bringing Gestalt theory to the surface, we can dispel misunderstandings about the Vienna School theory and attain a deeper understanding of the promise that a Gestalt analytic holism offered.
The Gothic and the Historical Novel: 1828–1860
Authors: Corradi Morena
Published: January 2024

Italian Romanticism has traditionally been considered reluctant to embrace the Gothic for the alleged entertaining essence of the genre, deemed unsuitable to address the undergoing challenges of the nation-making process. Nevertheless, the Gothic played a significant role in historical novels of authors such as Ludovico di Breme, Cesare Balbo, and Francesco Guerrazzi, who were intellectuals closely involved with the Risorgimento. The essay investigates the Gothic streak within the works of these authors, also in the light of their significant contribution to the print media, whose popularity was certainly enhanced by the growing fascination for the “mishmash of witches and ghosts”, as Manzoni famously described the genre. Gothic topoi and narrative style prove largely attuned to both the moral and political agenda of several of the works in question.
The Decline of the Gothic: 1980–2020
Authors: Malvestio Marco
Published: January 2024

This chapter explores the forms and the evolution of Gothic tropes in contemporary Italian literature, comics, and cinema. While the 1980s and 1990s saw a great development of Gothic and horror comics, the general tendency is of a consistent reduction of markedly Gothic cultural products. This happened despite the persisting commercial and critical success of products like Dylan Dog. The late twentieth century is marked by the decline of the phenomenon of the fumetto nero and by a consistent impoverishment in Italian horror cinema, in terms both of quantity and quality. On the other hand, the diffusion of postmodernism in Italian literature, together with the growing debate on the fantastic, marks the entrance of Gothic tropes in the work of mainstream Italian authors. These tropes can be found even in the most recent forms of Italian supernatural fiction, as testified by the recent debate on the so-called New Italian Weird.
Comics and the Gothic
Authors: Camilletti Fabio
Published: January 2024

This chapter focuses on the way Italian comic books exploited their editorial marginality in order to become a privileged channel for the construction of a ‘Gothic’ discourse within Italy’s popular culture. The chapter first discusses the popularity of series such as Diabolik (1962), Kriminal (1964), and Satanik (1964), involving a mixture of aestheticised crime, the supernatural, and eroticism, and Gothic-horror magazines, including translations from US pulp magazines and works by Italian authors, particularly Horror. Then, it focuses on Tiziano Sclavi’s Dylan Dog (1986) and to those series which, between the late 1980s and the early 1990s, captured the vogue of literary Splatterpunk (Splatter, 1989; Mostri, 1990). By remaining relatively untouched by intellectualism and engagement, all these cultural artefacts were able to develop their discourses outside of pre-made ideological frameworks and thus intercepted abject tensions and desires that lay under the radar of ‘highbrow’ culture.
The Female Gothic
Authors: Billiani Francesca
Published: January 2024

The question about what constitutes the Italian Gothic has remained an open one. This chapter seeks to answer this fundamental question by focusing on the point of view of the Gothic’s female protagonists. It draws on feminist and postcolonial theories to argue for a subaltern position occupied by the female ‘heroines’ of Italian Gothic novels, a stance from which they can nonetheless articulate forms of social critique and thus make their voices heard publicly. As a genre not intrinsically part of the Italian canonical literary tradition, the Female Gothic provided a platform to voice social critique and to reclaim a female presence within the nation-formation process. Accordingly, the female Gothic allows for a shift in perspective: the characters of these stories enabled for a multiplicity of feminine models which did not present a unitary view, rather a multifaced understanding of the social fabric of the nation.
Martialling Peace
Authors: Wegner Nicole
Published: January 2024

This is a not a book about peacekeeping practices. This is a book about storytelling, fantasies and emotional connections to myths about peacekeeping. The book argues that the celebration of peacekeeping as a legitimate and desirable use of military force is expressed through the unproblematised acceptance of militarism. Introducing a novel framework – martial peace – the book offers an in-depth examination of the Canadian Armed Forces missions to Afghanistan and the use of police violence against Indigenous protests in Canada as case examples where military violence has been justified in the name of peace. It critically investigates the peacekeeper myth and challenges the academic, government and popular beliefs that martial violence is required to sustain peace.
Martialling Peace: How the Peacekeeping Myth Legitimises Warfare
Authors: Wegner Nicole
Published: January 2024

Introduces key concepts and outlines research methodology and empirical data used for analysis. Offers chapter summaries and key arguments of why the peacekeeping myth legitimises warfare
‘Material Stories’ and Cross-referencing: Experiences of Home and Migration among Women from Russia Living in Japan 1
Authors: Golovina Ksenia
Published: January 2024

The focus points of the study are the interviewees’ living spaces and items inside them as well as the women’s ‘material stories’ about their environments and objects. The practice of cross-referencing is seen to provide a medium for the interviewees to enact images and meanings that simultaneously incorporate the women’s pre- and post-migratory experiences of homes and material environments. Most household items – including cups, kettles, chairs, and a satellite dish – had been obtained in Japan and served multiple purposes. Interviewees compared a specific type of apartment in Japan, usually rented, with the Soviet khrushchyovka housing. When such objects become incorporated into the lived path of one’s migratory experience, alongside references to ‘here’ and ‘there’, they acquire the function of stabilising one’s existence in space and time. Paradoxically, these objects sometimes erase the division between ‘now’ and ‘then’ by throwing together the present and the past. Objects’ have an ability to transform spatiotemporal conventionalities, which was effectuated not only by the objects that perceivably belonged to Russo-Soviet imagery but also by the way in which unlikely and mundane items enacted strong references to ‘home’ and ‘migration’.
The Role of Possessions in Adaptation to a New Life
Authors: Kalyuga Marika
Published: January 2024

Possessions provide valuable insights on how people present themselves and identify their membership in society. In migration, when people uproot their lives and adapt to another country, material objects from the place of their origin are likely to be especially meaningful and play a critical role in the understanding of immigrant identity. The aim of this qualitative study is to examine the effect of a new culture on the life of immigrants by comparing possessions that people take with them to Australia with that remain in their households years later. The focus is on immigrants who moved to Australia from Russia and Ukraine from 1980 to 2019. Questionnaires were the primary means for collecting data. Participants were recruited through snowball sampling. The data collection process also included the examination of online articles, blogs, and forums where people suggest to each other what to bring to Australia. The following categories of possession symbolism were examined in the study: material, personal and sentimental, ethnic. Migration is linked to cultural, economic and personal changes and involves the revaluation of possessions and their functions. Possessions can lose their material or personal significances and change their meanings from material to sentimental or ethnical.
‘She had her hand on the plow’: Shame, Uncertainty and Transformation in The Corn King and the Spring Queen
Authors: Hubble Nick
Published: January 2024

This chapter examines the interplay between tradition and change, uncertainty and certainty, male and female, and reason and magic in Naomi Mitchison’s epic novel of 1931, The Corn King and the Spring Queen. In particular, it analyses Mitchison’s working through of these binaries in terms of the problem of how to transform reality. As part of this discussion, the chapter will relate the novel to Mitchison's body of work as a whole.
Varieties of Sexual Experience: Naomi Mitchison, Mysticism and Gerald Heard
Authors: Woodberry Imogen
Published: January 2024

This chapter examines ideas of socialist self-fashioning in Naomi Mitchison’s work, arguing that she is symptomatic of a tendency within interwar progressive politics that connected social reform with the cultivation of the self. The first part traces her involvement with the public intellectual Gerald Heard, examining the way in which she was influenced by his ideas of the need to expand human consciousness as a way of facilitating political change. The second section explores the importance of polyamory to Mitchison’s idea of socialism in her novel We Have Been Warned (1935).
From Argyll with Love: Naomi Mitchison and the Soviet Union
Authors: Stead Henry
Published: January 2024

Naomi Mitchison, whose brother was a communist scientist, had been impressed on a trip to Soviet Russia in the 1930s by ‘the way women have reacted to economic equality’. She saw this as ‘the best advertisement for Marxism’. She was also impressed by the atmosphere of Free Love in the air at the time, and in the 1950s (according to Doris Lessing) scolded the Soviet writers and officials in her opening speech for becoming ‘so reactionary’ in matters amorous. Never a communist herself, Mitchison found herself on the barricades alongside British communists, fighting in the name of world peace, as an active member of the Authors’ World Peace Appeal. Drawing on a good deal of unpublished correspondence with members of the Foreign Commission of Soviet Writers, recently discovered by the author in an archive in Moscow, this chapter sheds new light on Mitchison’s relationship with the Soviet Union and on the work of Scottish-Soviet cultural exchange in the 1950s that she did so much to facilitate.
Fire or Blood? Aestheticising Resistance in Naomi Mitchison’s The Blood of the Martyrs
Authors: Faragher Megan
Published: January 2024

In 1935, Naomi Mitchison visited sharecroppers in Arkansas, describing the conditions as ‘worse than any rural housing I have ever seen in Europe.’ Four years later, she published The Blood of the Martyrs (1939), a novel centred on Roman practices of slavery and the persecution of early Christians. Foregrounding the value of forgiveness and pacificism, the novel offers a distinct contrast to her earlier interwar novels. Unlike historical slavery allegories like The Corn King and Spring Queen (1930) and The Delicate Fire (1933), Mitchison’s fiction later in the decade locates resistance to slavery outside the violent revolutions that so frequently feature in those early works. This chapter argues that Mitchison’s travels, particularly her work supporting the Southern Tenant Farmers’ Union in the United States, were crucial to the development of her theory of resistance to authoritarian manifestations of power. The Blood of the Martyrs sidelines violent resistance in favour of a community that fosters love, pacifism, and forgiveness as responses to abhorrent persecution. Mitchison’s emphasis on the spirit of collective action, including its ability to transcend death, reveals a new approach to the politics of resistance in her fiction.
Mitchison, Decolonisation and African Modernity
Authors: Purdon James
Published: January 2024

From the late 1950s, Naomi Mitchison was a vocal critic of the Apartheid system in South Africa, and a consistent advocate of Black African self-government. During the 1960s, as British colonies in sub-Saharan Africa were gaining their independence, Mitchison spent much of her time in Botswana, as a guest of, and adviser to, Kgosi Linchwe II, the leader of the Kgatla people. This chapter describes Mitchison’s anti-colonial activism, her fiction set in Botswana and the wider region, and her developing understanding of decolonisation as a cultural and psychological, as well as a political, process.
Women Critics and Building the Auteur
Authors: Tsai Beth
Published: January 2024

This chapter turns to the domestic reception of Taiwan New Cinema during and after festival circulation to reflect on film criticism’s discourses and transformation. The debates between domestic critics and their shifting attitudes towards Western art cinema’s paradigms—exemplified by news reporter Yang Shi-chi, screenwriter Chu T’ien-wen, and film critic, producer, and festival programmer Peggy Hsiung-ping Chiao—played a decisive role in mediating the canonical status of New Cinema. This chapter spotlights writings from the invisible and often-overlooked women in the workforce to chart how Taiwan New Cinema represents local/global encounters, as well as the domination and resistance to paradigms of Western-induced film criticism, ideologies, and modernist aesthetics.
Postscript: An American Girl in Taiwan
Authors: Tsai Beth
Published: January 2024

Abstract and Keywords to be supplied.
A fantastic figure
Authors: Paasonen Susanna
Published: January 2024

Yul Brynner rose from Broadway fame to international film stardom with his three successful Hollywood films of 1956. His was a novel film star aesthetic, one expansively and opaquely exotic, in-your-face masculine, intense in its physical presence, and very much bald. Soon enough, accounts of his animal magnetism and electric sex appeal, fascinated detailing of his voracious appetite, and incredible energy began to abound in the popular press. While it was standard for 1950s Hollywood stars to be framed as extraordinary, Brynner stood out from the crowd more than most in his idiosyncratic body aesthetic and foreignness. This introductory chapter lays the rationale and organisation of a book exploring the different layers of his star image and its transformations over time. It covers the book’s methodological starting points and conceptual underpinnings, introducing the organizing notions of cosmopolitanism and ambiguity in particular.
A royal presence
Authors: Paasonen Susanna
Published: January 2024

Throughout his public life, Brynner remained tenaciously associated with his excessive and stylized performance in The King and I as King Mongkut, a historical Siamese ruler made Broadway, and later Hollywood character. In journalistic mentions of Brynner spanning from the 1950s to the current day, only mentions of his bald head repeat with the same frequency as kingly allusions. Examining Orientalism and masculinity in the narrative of The King and I, the chapter explores the balancing of Russian roots with more opaque kinds of cosmopolitanism in how Brynner’s figure was made sense of. It further zooms in on the royal trope cutting through his star image, expanding to his roles as Pharaoh Rameses II, the ‘buccaneer king’ Jean Lafitte, and King Solomon in the lavish Hollywood studio spectacles that marked the early part of his career.
Bodily assets, or, ‘S-E-X’
Authors: Paasonen Susanna
Published: January 2024

Brynner’s star persona was built on an unabashed display of bodily goods and stylized poses complete with taut muscles and hard, fixed stares. Whether adorned in elaborately decorated oriental costumes of silks and pelts, the elegant apparel of a dandy gunslinger, or little else than a leather loincloth tinted with bronze paint, his bodily presence was designed to stand out. This chapter examines Brynner’s star image through depictions of his physique and sex appeal, from bare-chested cinematic displays to rumours of his affairs, his early nude photoshoots, and the dissonant erotic quests featured in his films. Starting with his trademark baldness, it attends to Brynner’s positioning as a sex symbol in late studio-era Hollywood. It further looks at the logic of repetition – and practices of outright plagiarism – characteristic of 1950s and 60s film journalism as these shaped his star image.
Strong, silent, ethnic types
Authors: Paasonen Susanna
Published: January 2024

Despite the range of ethnicities and nationalities that Brynner played during his career, his roles – from Russian and German military officers to Cossacks, ‘Cajun’ gunslingers, Polish-Japanese American sea rescuers, and Arab and Indian freedom fighters – were largely variations of a type. Typecasting was both an external constraint and a plan of action that he knowingly operated with by repeatedly taking on roles of ‘bastards with a heart of gold’. Exploring Brynner’s roles in the context of the racial dynamics of Hollywood’s Motion Picture Production Code, this chapter makes sense of his roles extending from yellowface to brownface and redface in accented English. Addressing Brynner’s characters’ introduction scenes in particular, as well as the reception films’ reception, it inquires after recurrent elements in his performance style.
Cosmopolitan commitments
Authors: Paasonen Susanna
Published: January 2024

In 1959, the World Refugee Year, Brynner was appointed a special consultant for the United Nations’ High Commissioner for Refugees (UNHCR), visiting refugee camps in Europe and the Middle East and doing photography, radio, television and film work for bringing attention to the global plight of refugees. In the late 1970s, he became an internationally recognized advocate for the rights of Romani people, lobbying the UN in particular. Focusing on the cosmopolitanism of Brynner’s stardom, this chapter moves from post-World War II ideologies pertaining to human rights to his humanitarian work, jet-set lifestyle, romanticized narrations of Romani origins, and the ethical stakes involved in this affiliation suggestive of cultural appropriation. It argues that much of this was the stuff of ambiguity.
Man, beast, machine
Authors: Paasonen Susanna
Published: January 2024

As the Hollywood studio era came to a close, as Brynner’s stardom began to fade and as his roles grew less flamboyant in their ethnic displays, sets, and scale, his film roles were increasingly rife with violence. Indeed, a current of aggression cuts through Brynner’s entire film work while his star image was steeped in alpha masculine undertones. This chapter focuses on his spy thrillers, Westerns, action and science fiction roles of the 1960s and 70s in terms of their masculine displays and gender dynamics. Many of these were European co-productions, popular genre films with international casts and target audiences extending beyond those of national cinemas. The chapter addresses the impact of ageing on the actor’s star image built on physical prowess and allure and further probes the then emergent debates on screen violence, concluding with a discussion of his final late film work as diabolical pirates, criminal masterminds, robot gunslingers, and hired guns.
Introduction: ‘Beastly Modernisms’
Authors: McCracken Saskia , Goody Alex
Published: January 2024

Opening the volume, our introduction will situate the contributions to Beastly Modernisms within the field of modernist animal studies scholarship and explore the concept of ‘beastly modernisms’ that organises the volume as whole. Surveying the important contributions to the field, from foundational work by Carrie Rohman, Cary Wolfe, Margot Norris, Kari Weil, and Derek Ryan to the more recent contributions of Rachel Murray, Cathryn Setz, Peter Adkins and Caroline Hovanec, the introduction charts the development and diversification of work on animals in modernism. We outline our rationale for decentering the canon and geographies of modernism and point readers to literary animal studies scholarship on canonical writers not included in our volume. Alongside this, the introduction engages with the significant theoretical field that informs critical animal studies.Our introduction also propounds and tests our conception of the ‘beastly’ as a speculative frame for encountering the non-human knowledges and animal proximities that manifest in modernist literature and culture. Our introduction ends with an overview of the ‘beastly’ animals and ideas contained in the chapters that follow.
Metamodernist Beasts, or Flush’s Future: Ceridwen Dovey’s Only the Animals and Sigrid Nunez’s Mitz: The Marmoset of Bloomsbury
Authors: Ryan Derek
Published: January 2024

The influence of Flush: A Biography (1933) can be seen in Ceridwen Dovey’s fictional memoir of a pet tortoise belonging to Virginia Woolf in Only the Animals (2014). Like Woolf’s canine biography, these books test the ways in which anthropomorphic language and narrative technique might be used to explore nonhuman consciousness; they also engage with a range of questions relating to imperialism, gender, sexuality, war and science that are central to modernism’s interest in animality. My chapter will frame these two contemporary animal auto/biographies as works of ‘metamodernism’ that self-consciously engage with one of the period’s most innovative beastly narratives. Rather than merely paying homage to Woolf’s life of Elizabeth Barrett Browning’s cocker spaniel, these texts, I will show, reanimate modernism’s concern with human-animal relations in their own historical and aesthetic contexts. In offering close readings of Mitz and Only the Animals, the essay will map their intertextual relationship to Flush and explore how writers’ and readers’ encounters with modernist beasts alter through metamodernist texts. In doing so, the chapter will shed further light on the significance of animal figures to modernism’s lasting impact, while also demonstrating how their afterlives complicate debates around periodization and expansion prevalent in the new modernist studies.
Can Flush Count?: Virginia Woolf, Animality and Numbers
Authors: Goldman Jane
Published: January 2024

'Can Flush Count?' The short answer is 'Yes—But, in more ways than one!' This essay counts some of the ways, and after much calculation concludes with the numerical answer: '555'. The historical, lived dog, Flush, companion of the poet Elizabeth Barrett-Browning, given to her by Mary Russell Mitford, and the subject of Virginia Woolf's novel Flush: A Biography (1933) was apparently taught to count: 'It is amusing to see him stir his little head at "two" & then correct himself—and still more amusing to observe how, at every unqualified success, he turns round & looks at Arabel for applause.' But this parlour game is possibly the least interesting aspect of this essay's investigation into numbers and animality in Woolf's best-selling but least critically scrutinised novel. It considers canine counting and Woolf's own recorded suspicion of measuring—'Who shall measure the heat and violence of a poet's heart when caught and tangled in a woman's body?'—in relation to Derrida's dictum 'Counting is a bad procedure' to argue that Flush: A Biography, Woolf's much neglected ground-breaking work on animality, really does count.
Animal–Human Entanglements in the Canadian Wild Animal Stories of Charles G. D. Roberts
Authors: Cullen Lauren
Published: January 2024

One of the most inventive and distinctive formal and generic interventions into modern writings about animals was the advent of the realistic wild animal story at the turn-of-the-century. As Adrian Hunter has pointed out, it was in the 1890s that ‘a three-way alignment between realism, the short story, and various forms of cultural radicalism and avant-gardism came into being,’ signalling the advent of a new modernist moment. The wild animal story, resultantly, demonstrates the current renegotiation of modernist literary and cultural contours with its formal and thematic preoccupations. Pioneered by Canadian writers Sir Charles G.D. Roberts and Ernest Thompson Seton, this unique genre interwove fiction with accounts of animal behaviour based on developments in animal psychology, cognitive ethology, and Darwinian theory. This chapter analyses how these authors use established narrative strategies such as naming, perspective, and narration, as well as more porous and prolific techniques such as identification and relationality. Roberts’s positioning of this genre as a means of reaching an ‘enlightened’ and ‘spiritual’ understanding of the ‘world of wonder’ opened by animal psychology, however, also raises political, cultural, and ethical questions about settler-colonialism. This chapter throws open the geographical, temporal, and aesthetic boundaries of these late nineteenth into twentieth century works to interrogate the unique contribution that the wild animal story provides to broader discussions of nonhuman animals in modernity.
Encountering Female Human Animal Becomings in Leonora Carrington’s Surrealist Hybrid Tales
Authors: Eckersley Karen
Published: January 2024

By identifying herself as a ‘female human animal’, surrealist Leonora Carrington speaks to her position as a marginalised modernist whose writing and art operate outside of androcentric, humanist frameworks. In her essay ‘What is a Woman?’ (1970) she aligns her gender with the cause of ‘organic life’ and non-human animals, calling upon ‘the Women of the world’ to ‘step out of the mechanical trap and refuse’ thus forcing ‘men to allow life to survive on this planet.’ Focusing upon Carrington’s short stories ‘As They Rode Along the Edge’ (1937-40) and ‘Jemima and the Wolf’ (1937-40) this chapter argues that her hybrid human-animals anticipate a post-anthropocentrism in the manner that they transgress humanist borderlines but also conjure a communion with the animal world, thereby forging feminist ecologies. Both characters Virginia Fur and Jemima are transgressive in the manner that they ‘refuse’, but what is suggested here is that they embody an affirmative shift outside of Cartesian thinking where their hybridity is indicative of their own animality as well as an ontological inter-connection with all animal life. Carrington’s metamorphic praxis is exhibited in the multi-species assemblages that burst forth in her narratives, her multi-verse of hybridised species highlights the myopia of anthropocentrism whilst forging an affirmative, post-human realm where animals are ourselves and our kin.
Modern Intersections: Reading Anita Scott Coleman’s Animals
Authors: Curry Elizabeth
Published: January 2024

This chapter reviews the critical landscape around race and the animal and uses this theoretical scaffolding to read Anita Scott Coleman’s poetry and prose as modernist works that subvert the hierarchies implied through the animalization of racialized people. The chapter exposes how modernist studies, which has shown a significant amount of interest in posthumanism and animal representation, focuses almost exclusively on white writers’ engagement with the nonhuman, inhuman, or human-as-animal. In directing attention toward white modernist work, this field has evaded engaging in analyses of an early-twentieth-century cultural context that linked animality, race, and gender through both subtle and overt discourses and sociolegal practices. Engaging with posthumanism as a field that has the potential to transcend the limits of a Eurocentric humanism grounded in exceptionalism, this chapter calls for modernist animal studies to permanently integrate the modern cultural context around race into its interpretive matrix.In putting recent work in posthumanism into conversation with modernism, this chapter will read Coleman’s 1926 story ‘Three Dogs and a Rabbit’ published in The Crisis as a response to American and European histories of bestializing black men. Ultimately, this chapter finds that significance located in Coleman’s use of animal affinity rather than abjection to explore the dissolution of human boundaries and hierarchies.
1940s Avian Noir
Authors: Blomvall Laura
Published: January 2024

This chapter examines ‘avian noir’ in the 1940s: how what Raymond Borde and Étienne Chaumeton in 1955 first defined as the ‘oneiric, strange, erotic, ambivalent, and cruel’ elements of the 1940s film noir enabled an exploration of the continuities between aggression and eroticism in Second World War poetry by using poetic metaphors of avian species. In queer female wartime poetry in particular, the avian metaphor becomes a lyrically available method for exploring a web of state-sanctioned violence and forbidden forms of intimacy that imbues their poetry with the moral and psychological ambiguities and the surreal, dreamlike and violent visual language associated with 1940s noir cinema.The chapter analyses the works of poets like Bishop, Townsend Warner, Valentine Ackland, Vita Sackville-West and Muriel Rukeyser, situating these within a context of a wartime pastoral turn that also frequently implied a critically underexplored animal turn in 1940s war poetry. Defamiliarizing the bird as a Romantic figure for lyric’s expressive powers, these poems’ avian noir mobilises visual mechanisms both from poetry and cinema to explore an involved and entangled relationship between the human and non-human voices of poetry.
Unhoming the Pigeon: Ahmed Ali’s Twilight in Delhi
Authors: Hovanec Caroline
Published: January 2024

Pigeons’ storied history and waning fortunes have drawn the attention of many writers, including Ahmed Ali. Ali’s 1940 novel Twilight in Delhi uses pigeon imagery to link together the spatial trope of homelessness and the temporal trope of slouching toward extinction. The novel is about the long decline of a Muslim family under British imperial rule. Its patriarch often meditates on the tragedy of cultural extinction, and his pigeon loft is made a synecdoche for that threatened culture. Early critics frequently read Twilight as a nostalgic lament for the Mughal Empire that preceded British occupation in the eighteenth and nineteenth centuries. However, as more recent scholarship has argued, Ali likely intended for his novel to be, not a call to restore the lost precolonial past, but a way of using residual elements of that past to galvanize a postcolonial future. This chapter argues that Twilight in Delhi, like other twentieth-century texts, makes pigeons emblems of homelessness and extinction, but it also refigures the birds as a sign for survival, futurity, and change. In Ali’s vision, those who are in the wrong place or the wrong era are also those who point to other possibilities for social and political life, beyond the cultural and biological depredations of British occupation. This was a powerful anticolonial message in the 1940s. It can be powerful again today, in the era of climate change and the sixth extinction, as an insistent call to make the victims of imperial capitalism—including displaced people and displaced animals—the center of the just community that, one hopes, will succeed us.
Introduction: On the Text–Film Relationship – The Question of Apt and Inapt Adaptations
Authors: Smith Alexandra , Sobolev Olga
Published: January 2024

Abstract and Keywords to be supplied.
Funny and Frightening: Dostoevsky’s The Double in Richard Ayoade’s Interpretation
Authors: Roesen Tine
Published: January 2024

The chapter offers a close reading of Ayoade’s cinematic rendering of Dostoevsky’s novella. It examines several postmodern aspects of Ayoade’s adaptation, including its engagement with the cinematic slapstick potential of Dostoyevsky’s work. Ayoade does not locate his version in Petersburg of the 1840s but transposes the gist of this ‘most abstract and intentional city in the world’ (according to Dostoyevsky’s Underground Man) into an urban wasteland in the form of an abandoned factory building located in the UK. The cinematic space in this adaptation looks both frightening and funny.
Public Service and Life Science Trust
Authors: Hamilton Alexander
Published: January 2024

On returning to the UK the artist takes up projects that offered scope for social engagement. Chairing important art galleries in Edinburgh. The relationship with Life Science begins with the opening of Pishwanton Wood. The birth of the artist second daughter named Larisa.
The Cyanotypes 2000s England Scotland Poland
Authors: Hamilton Alexander
Published: January 2024

The artist unique cyanotypes from the period 1971- 2018
Smithian Moral Judgement: Humean Passions and Beyond
Authors: Carrasco Maria A.
Published: January 2024

Smithian (supposedly) irregular feelings reveal the internal structure of moral judgements by showing that they consist of two distinct elements. These elements belong to different dynamisms of human nature, are triggered by different causes, and produce different reactions in the agent. In the case of resentment, I call them animal resentment and moral resentment, respectively. Animal resentment closely resembles Hume's account of resentment and follows his theory of the passions. Moral resentment is different, for it is not caused directly by pain, but by the recognition of the evil intention of the aggressor. Finally, plain moral resentment – or resentment caused by an unjust action and approved of by the impartial spectator – blends these elements into a unity articulated by Hume’s theory of the passions.
KANSER HASTALARINDA HASTA GÜÇLENDİRMENİN YAŞAM KALİTESİ ÜZERİNDEKİ ETKİSİ
Authors: ÖZMEN Sümeyye , KOCAKAYA Kübranur
Published: January 2024

Kanser, uzun süreli tedavi gerektiren, hastanın yaşam kalitesini düşüren ve hatta ölümle sonuçlanabilen bir hastalıktır. Kanser hastalarının hastalıkları hakkında bilgi ve farkındalık düzeyinin arttırılarak güçlendirilmeleri, aktif katılımlarının sağlanması tedavi sürecinin başarısında önemli rol oynamaktadır. Bu çalışmada Ankara’da kamuya bağlı bir onkoloji hastanesinde ayakta tedavi gören kanser hastalarında hasta güçlendirmenin yaşam kalitesi üzerindeki etkisini incelemek amaçlanmıştır. Tanımlayıcı ve kesitsel nitelikte olan bu çalışmada 400 kanser hastasına anket formu uygulanmıştır. Veri toplama aracı, Hasta Güçlendirme Ölçeği, SF-12 Yaşam Kalitesi Ölçeği ve sosyodemografik sorulardan oluşmaktadır. Hasta güçlendirmenin ve yaşam kalitesinin bekarlarda, üst gelir grubundakilerde, gençlerde, en az lisans eğitimi alanlarda, öğretmenlerde ve çocuk sahibi olmayanlarda diğerlerine göre daha yüksek olduğu tespit edilmiştir. Hasta güçlendirme ile yaşam kalitesi arasında orta düzeyde pozitif yönlü anlamlı bir ilişki tespit edilmiştir. Hasta güçlendirmeye yönelik eğitimlerin dijital platformlarla desteklenerek, sürecin iki paydaşı olan hasta ve sağlık personelinde özellikle hastalar ile yakın temasta olan hemşirelerde farkındalık oluşturacak çalışmalar yapılmasının faydalı olacağı düşünülmektedir.
HASTA-HEKİM İLETİŞİMİ İLE HEKİM SAHİPLİĞİ ARASINDAKİ İLİŞKİ: EĞİTİM DÜZEYİNİN MODERATÖR ROLÜ
Authors: ŞEREMET Gülizar Gülcan
Published: January 2024

Bu çalışma, hasta hekim iletişimi ve hekim sahiplenme ilişkisinde eğitim düzeyinin moderatör rolünü belirlemek amacı ile yapılmıştır. Çalışmanın evreni bir kamu hastanesinde yer alan poliklinik birimine en az bir yıldır giden, aynı hekimden en az beş defa sağlık hizmet alan hastalardan oluşturmaktadır. Çalışmada basit rastgele yöntem ile 384 kişiye ulaşılmıştır. Çalışma 21.02.2023-01.06.2023 tarihleri arasında yürütülmüştür. Çalışmada bağımsız değişken hasta hekim iletişimi iken bağımlı değişken hekim sahiplenme olup bu ilişkide moderatör rol ise eğitim düzeyi değişkenidir. Araştırmada 5’li likert tipli anket tekniği kullanılmıştır. Araştırmada korelasyon, regresyon ve moderatör etkiyi belirleyebilmek adına Andrew Hayes tarafından geliştirilmiş moderatör analiz yapılmıştır. Çalışmada bağımsız ve bağımlı değişkenler arasında (r=.413 p
“Till we meet again!”: The Synchronous Hybrid Teaching of English in Saudi Arabia
Authors: Almuarik Gadah Sulaiman , Alangari Manal Abdulrahman
Published: January 2024

This study explores the perceptions of Preparatory Year (PY) students and teachers at Imam Abdulrahman bin Faisal University regarding synchronous hybrid teaching. It also highlights the effectiveness of teaching English as a foreign language (EFL) within the two modes of the hybrid system (i.e., face-to-face and online). The study employed a triangulation of instruments, including a survey, an interview and three focus groups (FGs). The findings show that each mode has its characteristics. While the students viewed hybrid teaching positively in terms of its logistics, finding it convenient and time-saving. However, they believed high-quality education could be better achieved in person as they understood and enjoyed face-to-face classes more than online learning. They also preferred the online mode for receptive skills and face-to-face interaction for productive skills. On the other hand, teachers found hybrid teaching challenging regarding technical issues and managing two groups (remote and in class) simultaneously. They expressed various views regarding the preferred mode of teaching English skills; some wished to abandon hybrid classes and teach all the skills in face-to-face mode. During the pandemic, hybrid teaching may have been the best option to continue teaching English effectively. However, after the pandemic, this method should be retained as a backup plan to reach students with disabilities and enrich advanced learners of English.