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This article examines the 1935–1936 International Exhibition of Chinese Art in London, "the largest Chinese cultural event ever mounted," and the first to be organized jointly by both the British and the Chinese governments. By analyzing this exhibition at multiple stages (from its conception, to the selection, transportation, and display of the artifacts, to their return to the owners), this study demonstrates that this event was a staged spectacle of internationalism, one that celebrated not only Chinese art but also the peoples and the internationalist policies that had led to their display. As such, it represents an important chapter in the history of internationalism, of China's place in the international arena, and of the relationship between politics and aesthetics in the twentieth century.

British literary criticism in the 1930s was concerned with both aesthetics & the ideological exigencies of the period; & the works of Christopher Caudwell, Ralph Fox, & Alick West stand foremost in the critical discussions of Marxist-oriented novels, stories, & poems. This article plays particular attention to Caudwell's Romance and Realism: A Study of English Bourgeois Literature, Fox's The Novel and the People, & West's Crisis and Criticism. The three authors created a broad field of Marxist literary criticism & brought debate about the relationship of art to politics to a broader theoretical plane. Despite arguments that deny value in their works, the authors are seen as expanding the exploration of the interdependence of literature, criticism, & ideology. L. A. Hoffman

Dass die Welt von Zauberlehrling Harry Potter magisch, bunt, schillernd und manchmal gefährlich oder unberechenbar ist, weiß wohl jeder - aber ist sie auch queer? Ist Harry Potter etwa schwul? Vera Cuntz-Leng beleuchtet die Harry Potter-Saga mit besonderem Fokus auf den acht Blockbuster-Verfilmungen sowohl aus queertheoretischer Sicht als auch aus Perspektive der im Internet millionenfach verbreiteten homoerotischen Fanliteratur zur Fantasyreihe. Beide Blickwinkel - Wissenschaft und Fandom - kommen in einen fruchtbaren Dialog miteinander, der auch die queeren Qualitäten und Potenziale des Fantasygenres insgesamt aufzeigt.

Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- Dedication -- Table of Contents -- Figures -- Acknowledgements -- Introduction: An ethnographic approach to nationalist populism -- Character and the ethics of nationalist populism: theoretical engagements -- Ethics in anthropological debates -- Class in Britain -- Is ethnography a methodology? -- Situating the research -- The national landscape of de-industrialization and leisure -- Administrative divisions and local history -- Deprivation and retirement at the seaside -- Outline of the book -- Note -- Chapter 1 The logic of character: 'To put the past back' -- Encountering character -- Character and childhood memories -- The Proust effect -- Involuntary memory and the past -- The ethics of memory -- Relating through character -- The different experiences of character -- The temporality of character -- Maintaining or ruining character -- Character, power and class -- Character and aesthetics -- Notes -- Chapter 2 Connections of character: The British seaside -- Character and the 'Made in Britain' -- Personal memories and the national -- 'Made in Britain' and class -- Period houses -- Clare and Peter's hallway -- Lynva's kitchen -- Julie's living room -- Nationalism at home -- Houses and social hierarchies -- The nation in practice -- Class and home ownership -- Nationalism outside the home -- Remembrance Day -- The local History Society -- A British town -- Nationalism and class -- Notes -- Chapter 3 Disconnections of character: A town undergoing regeneration -- Local regeneration and the creative industries -- The politics of depriving a town -- A new art gallery in town -- 'It's like a bus shelter' -- A discomfort with conceptual art -- Reopening the local amusement park -- Retirement, consumption and memory talk -- Gentrification and the arts at the seaside.

"This book is about the way shifting conceptions of ecology, biology and technology significantly alter what it means to write poetry about nature in a time of environmental crisis. It offers a radical re-reading of three major British poets, Ted Hughes, Derek Mahon and JH Prynne, and their aesthetic strategies for negotiating the complex feedbacks between organisms and their environments in a technological world. Their poetry not only provides ways of thinking and communicating about ecology and biology, but shows how the unpredictable processes of thought and communication impact on organic life in the Anthropocene, providing a substantial challenge to aesthetics, ethics and politics"--

Within hours of the outset of unrest in the August 2011 English Riots, the government asserted that they were the doings of 'criminal gangs'. In doing so, government officials and journalistic commentators cited television images of rioting and plundering youths. Although this assertion was subsequently abandoned, it reflected an on-going process: the criminalization of youth in Britain. The recycled images of flames and hooded teenagers came to serve as the proof of youth 'gone bad'. This paper explores both the actions supposedly captured in the images depicting the riots and the discourses surrounding the reproduction of those images. It seeks to connect the youth politics of the everyday-especially the problems of being ignored as political subjects-to the formal political structures that rely on youth to be socially unruly on one hand and disciplined consumers on the other. Segments of British youth are cast out, seen as unneeded or unwanted in this disciplinary project and constitute what I call here a 'lumpen-consumerate'. The paper concludes with a comparative analysis of the consumer images that both discipline young people and serve as a model for framing the unrest. The paper builds upon Deleuze, Badiou, Bourdieu, Bauman and others in order to examine how spontaneous, uncoordinated action came to be read through mass media spectacle as dismissible and intolerable images of 'criminal gangs' to be policed. Adapted from the source document.

Within hours of the outset of unrest in the August 2011 English Riots, the government asserted that they were the doings of "criminal gangs". In doing so, government officials and journalistic commentators cited television images of rioting and plundering youths. Although this assertion was subsequently abandoned, it reflected an on-going process: the criminalization of youth in Britain. The recycled images of flames and hooded teenagers came to serve as the proof of youth "gone bad". This paper explores both the actions supposedly captured in the images depicting the riots and the discourses surrounding the reproduction of those images. It seeks to connect the youth politics of the everyday—especially the problems of being ignored as political subjects—to the formal political structures that rely on youth to be socially unruly on one hand and disciplined consumers on the other. Segments of British youth are cast out, seen as unneeded or unwanted in this disciplinary project and constitute what I call here a "lumpen-consumerate". The paper concludes with a comparative analysis of the consumer images that both discipline young people and serve as a model for framing the unrest. The paper builds upon Deleuze, Badiou, Bourdieu, Bauman and others in order to examine how spontaneous, uncoordinated action came to be read through mass media spectacle as dismissible and intolerable images of "criminal gangs" to be policed.

Using examples from postwar British and Soviet cinema, this article interprets European Cold War culture within the framework of a shared cultural ecosystem. The case study of reformist movements in 1950s and 1960s British and Soviet cinema makes clear that analogous sociopolitical and economic developments across postwar Europe inspired film heroes, narratives, and aesthetics that transcended national and ideological borders. The concept of a continent-wide cultural ecosystem elucidates how and why specific cultural phenomena-such as the figure of the 'angry young man'-reflect an existence of a dynamic trans-systemic Cold War culture. Adapted from the source document.

AbstractIn 1904, the British Indian government passed the Ancient Monuments Protection Act and, in doing so, radically enlarged the state's bureaucratic claim to structures defined, for the purposes of the Act, as monuments. The project of conserving the Hindu temple was beset by disagreements. The claims of the colonial state and local Hindu devotees were separated by different precepts about religiosity and alternate orders of aesthetics, time, and history. However, it is clear that there were also confluences: legislative authority could masquerade as custody of the antiquarian and, in practice, the secular veneration of material antiquity blurred with Hindu divinity. This paper combines an exploration of the principles of archaeological conservation, as they were formed in the European bourgeois imagination, and then traces their transfer, though imperial administration, to case-studies of specific temples. Of particular interest is the deployment of the Act by local administrations and the counter-challenges, appropriations, and manipulations of the same legislation. How were the aesthetic codes of conservation—and the legislation that sought to order and enforce their introduction—compromised by religious claims and practices?