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This book demonstrates the significance of transnationality for studying and writing the lives of artists. While painters, musicians and writers have long been cast as symbols of their associated nations, recent research is increasingly drawing attention to those aspects of their lives and works that resist or challenge the national framework. The volume showcases different ways of treating transnationality in life writing by and about artists, investigating how the transnational can offer intriguing new insights on artists who straddle different nations and cultures. It further explores ways of adopting transnational perspectives in artists’ biographies in order to deal with experiences of cultural otherness or international influences, and analyses cross-cultural representations of artists in biography and biofiction. Gathering together insights from biographers and scholars with expertise in literature, music and the visual arts, Transnational Perspectives on Artists’ Lives opens up rich avenues for researching transnationality in the cultural domain at large.
An exploration of how personal life-stories, when reconstructed as 'transnational lives,' escape the confines of national histories and open up new avenues for interpreting cultural identity, social mobility, and public memory.
Transnational Perspecives on Feminism and Art, 1960–1985 is a collection of essential essays that bring transnational feminist praxis into conversation with histories of feminist art in the 1960s, 1970s, and early 1980s. The artistic practices and processes examined within these pages all centre on gender and sexual politics as they variously intersect with race, class, sovereignty, Indigeneity, citizenship, and migration at particular historical moments and within specific geopolitical contexts. The book’s central premise is that reconsidering this period from transnational feminist perspectives will enable new thinking about the critical commonalities and differences across heterogeneous and geographically dispersed practices that have contributed to the complex and multifaceted relationship between feminism and art today. The book will be of interest to scholars working in art history, cultural studies, visual culture, material culture, and gender studies.
This collection of essays explores the myriad ways in which the women’s suffrage movement in Britain in the nineteenth century and twentieth century engaged with and was expressed through literature, art and craft, music, drama and cinema. Uniquely, this anthology places developments in the constituent arts side by side, and in dialogue, rather than focusing on a single field in isolation. In so doing, it illustrates how creative endeavours in different artforms converged in support of women’s suffrage. Topics encompassed range from the artistic output of such household names as Sylvia Pankhurst and Ethel Smyth, to the recent feature film Suffragette. It also brings to light under-represented figures and neglected works related to the suffrage movement. A wide variety of material is explored, from poems, diaries and newspapers to posters, dress and artefacts to songs, opera, plays and film. Published in the wake of the centenary of many women receiving the parliamentary vote in the UK, this book will appeal to scholars, undergraduate and graduate students, and members of the public interested in the broad areas of women’s history and the women’s suffrage movement, as well as across the arts disciplines.
Researching and writing about contemporary art and artists present unique challenges for scholars, students, professional critics and creative practitioners alike. This collection of essays from across the arts disciplines—music, literature, dance, theatre and the visual arts—explores the challenges and complexities raised by engaging in researching and writing on living or recently deceased subjects and their output. Different sections explore critical perspectives and case studies in relation to innovative, distinctive or otherwise leading work, as well as offering innovative modes of discourse such as a visual essay and a music composition. Subjects addressed include recent scandals of Canadian literary celebrity, late-career output, the written element of music composition PhDs, and the boundaries between ethnography and hagiography, with case studies ranging from Howard Barker to Adrian Piper to Sylvie Guillem and Misty Copeland.
A polyphonic collection of voices of migrant women artists in Israel that reflects their individual and collective experiences of migration and in particular, the gendered aspects of uprooting and re-grounding in a steadily expanding transnational reality of the ethno-national state.
The Routledge Companion to Expressionism in a Transnational Context is a challenging exploration of the transnational formation, dissemination, and transformation of expressionism outside of the German-speaking world, in regions such as Central and Eastern Europe, the Baltics and Scandinavia, Western and Southern Europe, North and Latin America, and South Africa, in the first half of the twentieth century. Comprising a series of essays by an international group of scholars in the fields of art history and literary and cultural studies, the volume addresses the intellectual discussions and artistic developments arising in the context of the expressionist movement in the various art centers and cultural regions. The authors also examine the implications of expressionism in artistic practice and its influence on modern and contemporary cultural production. Essential for an in-depth understanding and discussion of expressionism, this volume opens up new perspectives on developments in the visual arts of this period and challenges the traditional narratives that have predominantly focused on artistic styles and national movements.
Richmal Crompton, Author of Just William: A Literary Life celebrates the first two William books, Just William (1922) and More William (1922). As well as a study of her famous character William Brown, this book is an introduction to Richmal Crompton’s less well-known fiction and a story about her writing life. Her multifaceted identity—her deep knowledge of Classical Greek and Latin literature and languages, her life as a disabled writer, and her writing about domestic violence and disability—played a role in her literary persona. Jane McVeigh moves beyond Richmal Crompton’s impact on children’s literature and offers an appraisal of all her writing including her novels and short fiction, her media profile on radio and TV, her impact on her readers—both adults and children—and her international success. Particularly, McVeigh considers Crompton in the context of twentieth century woman writers and the development of crossover fiction for dual audiences. The book argues that as a woman writer pigeon-holed as a writer for children, Crompton’s other novels and short stories have been side-lined and overlooked. More than a century after the first book collection of Crompton’s William stories was published, this biography places Richmal Crompton among other twentieth century women writers.
In the United Kingdom, the notion of a common culture has always been suggestive of a national culture which is accessible to all and provides various kinds of benefits to all, including participation in national cultural life. Brian Russell Graham's exploration of the theme aims to clarify how we might define common culture in the twenty-first century, and offers a perspective on specific benefits of such a shared culture. Common culture can generate a sense of inclusive national identity, he argues. Additionally, it can even out differences in our so-called ‘cultural capital’ – it can make people more equal in terms of their cultural lives.
This is the first book to develop a postmigrant analytical perspective for the study of art, concentrating on how postmigration reopens the study of contemporary art and migration. The book introduces art historians and other scholars with a methodological interest in cultural analysis to the innovative concept of postmigration, offering a comprehensive introduction to the various meanings and uses of the term as well as translating it methodologically to an art historical context. The book analyses art projects from Denmark, Germany and Great Britain, which address some of the current challenges to European societies of immigration, and by drawing on theory from fields such as migration studies, transcultural studies and feminist, postcolonial and political theory, as well as re-engaging established concepts such as imagination, commemoration, belonging, identity, racialization, community, public space and participation. The book will be of interest to scholars working in art history, art and politics, migration studies, and transcultural studies.