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'Socialism' names a form of collective life that has never been fully realized; consequently, it is best understood as a goal to be imagined. This study locates an aesthetic impulse that animates some of the most consequential socialist writing, thought, and practice of the long nineteenth century. This volume explores this tradition of radical activism, investigating the diverse ways that British socialists - from Robert Owen to the mid-century Christian Socialists to William Morris - marshalled the resources of the aesthetic in their efforts to surmount 'politics' and develop non-governmental forms of collective life.

Critics and historians of the late 18th century have developed a multidisciplinary approach to the history of culture. This work, from literary critics and theorists, art historians and social historians, remaps the relations between culture and society, politics and aesthetics, law and representation

How are the aesthetics of fear politically mobilised and politically mobilising? This article directs this question to a specific series of events beginning with the bombing of the London transportation system on 7/7, the near repeat performance of this event on 7/21, and the `Shoot to Kill to Protect' policy's first application which resulted in the killing of electrician Jean Charles de Menezes on 7/22. In particular, it addresses itself to one specific aestheticisation of fear, the images posted on the website Werenotafraid.com and the incessant circulation and discussion of these images since 7/7. The article a rgues that the asetheticisation of the London bombings through this specific website illustrates the often overlooked second movement in the Kantian sublime: the movement from rupture to a restoration of o rder and of closure. What interests me are the aesthetic strategies by which Werenotafraid.com effects a restoration of order and gives c losure to the breakdown of the British imagination, of not only national security but also unity. This article first traces the reliance of these aesthetic strategies on a Kantian morality. It then explains how these Kantian-inflected strategies repair the breakdown of the British imagination of security through a very specific `panhuman' restoration of British unity. Finally, it analyses the failures of the Werenotafraid.com project, politically and morally.

For this paper I shall look at ways of coordinating politics and entertainment, or in slightly other terms aesthetics and politics, as they have been used to construct ancient tragedy as a means to the good society. In my title this aspect of tragedy is identified as "home", to indicate tragedy's preoccupation with community. This is a note repeatedly struck in discourse about tragedy, both by the earliest commentators and by those negotiating the development of the nation-state, and of political reform, in the eighteenth, nineteenth and twentieth centuries. This essay thus first considers some of the different ways in which tragedy has been associated with the goal of the good community, by the theoretical works of Plato, Aristotle, Schlegel, Williams and Eagleton, as well as by harnessing productions and performances to the political effort of nation-building. The essay will then contrastingly explore tragedy's "homelessness", the ways in which it uproots its characters and sets them in restless motion. These latter reflections are prompted by recent receptions of tragedy that have responded to the global migrant crisis, and that are thus in dialogue with earlier critical understandings of tragedy which were more likely to foreground a sense of civic identity associated with the polis. I thus consider productions of Aeschylus' Suppliant Women in Syracuse and Edinburgh, and the new ancient trilogy, acted by Syrian women refugees, which has unfolded since 2013, in the Middle East and Europe, under the creative guidance of Omar Abu Saada and Mohammad Al Attar. The new focus is born of and gives voice to new global realities. Barbara Goff is Professor of Classics at the University of Reading, UK. She has published extensively on Greek tragedy and its reception, especially in postcolonial contexts. Her most important books include Your Secret Language: classics in the British colonies of West Africa (London: Bloomsbury, 2013), Crossroads in the Black Aegean: Oedipus, Antigone, and dramas of the African diaspora (Oxford: Oxford University Press, 2007), and The Noose of Words: Readings of Desire, Violence and Language in Euripides' Hippolytos (Cambridge: Cambridge University Press, 1990). Her most recent publication is a collection, co-edited with Introduction, titled Classicising Crisis: the modern age of revolutions and the Greco-Roman repertoire (London: Routledge, 2020). Keywords: tragedy, exile, home, refugee, Syria

The exhibition focused on dress practices amongst black people in Britain from the late 1940s to 2004. It developed out of concerns about the relationships between dress, ethnicity, 'race' and place outlined in '"Out of Many, One People"?: The Relativity of Dress, Race and Ethnicity to Jamaica, 1880-1907' (Tulloch 1998).In 'Black British Style' garments, accessories, photography and film were used to discuss the black identities developed by men, women and children in post-war Britain. The exhibition challenged stereotypes associated with black aesthetics and identities. It placed the dress choices made by individuals to define their sense of self in a historical context. I wanted visitors to gain a better understanding of how, and why, black people in Britain styled their bodies, whether as part of migration, religious, secular or political activities. Oral testimonies played an important role in portraying 'the sincere self' to the choice of garments chosen for display. The exhibition stressed that there is a historical legacy that underpins the style performance associated with this cultural group. 'Black British Style' showed how black people in Britain confronted the tenets of difference to present a sense of 'authenticity' to their life experiences. Black British Style' was the first major exhibition devoted to these issues to be shown in a national museum. It's cultural significance extended internationally as it was the inspiration for the exhibition 'Black Style Now' (2006), Museum of the City of New York. The positive national and international media reactions to the exhibition reinforced the importance of recognising the presence and cultural impact of black people in Britain. An outcome of the exhibition, the associated publication and conference was the successful application for an AHRC Diasporas, Migration and Identities Network grant. This has resulted in the Dress and the African Diaspora Network.

AbstractVirginia Woolf and the Mediated Modern Subject: Class System, Spacetime, and the Aesthetics of Creative LaborbyDavid Del Rey MenillaDoctor of Philosophy in EnglishUniversity of California, BerkeleyProfessor Ann M Banfield, Chair Growing up in a privileged home but also existing "outside" it gave Woolf the space and time to look critically at the social forces of repression and oppression which structured her reality. As a self-described "outsider," Woolf formed her social critique through an engagement with political as well as new scientific ideas. I discuss the synergy she sees between Marx's work and Einstein's theories of Special and General Relativity. I argue that Woolf combines Marx's interest in the cultivation of our natural desires, the return to the body, as the way out of estranged labour--the ideology of private property--with Einstein's idea of spacetime, in which time is relative, which for Woolf means that characters are not confined to the "present" but can re-experience the past or even the future. Woolf presents characters whose minds and bodies can encompass a vast expanse of spacetime. For Einstein, the notions of the past, present, and future are a figment of our imaginations. Where we are in time is a function of were we are in space. Woolf plays with Einstein's theories to portray characters like Mrs. Ramsay and Lily Briscoe in To The Lighthouse who are able to revisit the past through their labor--making "patterns." The rhythmical quality of what I define as their "creative labor," a Marxist notion of being in the body, allows them to overcome the physical and mental boundaries of abstract space and time which structures religious and capitalist social relations. In many ways, we can think of Einstein as representing a further development of Marx's ideas since the abstract notions of space and time which structure religion and capitalism also structure the Enlightenment's pursuit of knowledge. The various systematic forms of repression which are rooted in religion and develop further in capitalism have neglected the body and instilled the belief in abstract, mediated, truths. Not bound by the narrowness of the "present," and the momentary illusion of power promised by the class system, Woolf's characters are able to revisit and deconstruct the causes of trauma. Free from the boundaries which keep them apart from themselves and others, they are now able to connect intimately with others across spacetime. They are able to uses other senses to relate to others. Woolf shows characters who can feel and think what other characters experience. Capitalist social relations based on establishing distinct economic boundaries between the self and others are transformed into fluid boundaries of embodied exchange. The self becomes part of a larger whole where social relations shift away from what Marx calls egotistical, "vulgar need" (90), to the recognition that we need others to develop our latent powers. For Marx as for Woolf, "human essence" (89) is creative; the selfishness which Freud ascribes to the libido only exists as a basic human need to survive. The selfish ego is not innate but a product of socio-historical forces. I discuss how Woolf, synthesizing Marx and Einstein, shows characters who can deconstruct the past in order to reconnect with their creative essence.

The art of transculturation / Julie F. Codell -- Art's changing publics and politics : transcultural receptions. Baron of Bengal : Robert Clive and the birth of an imperial image / Romita Ray -- Miniature paintings as transcultural objects? The John Norton and Peter Jones portraits / Kristina Huneault -- The politics of transculturation : the life and art of John Frederick Lewis (1804-1876) / Emily M. Weeks -- The many shades of Shakespeare : representations of Othello and Desdemona in Victorian visual culture / Nancy Rose Marshall -- "Bronzed and muscular bodies" : jinrikishas, tattooed bodies, and Yokohama tourist photography / Luke Gartlan -- The camera and the contact zone : re-envisioning the representation of aboriginal women in the Canadian north / Susan Close -- Te kai-hautu o te waka/Director of the canoe : the statue of Sir George Grey in Auckland / Mark Stocker -- Ambivalent geographies : the British Concession in Tianjin, China, c. 1860-1946 / Dana Arnold -- When art moves and multiplies : transcultural geographies. Divided objects of empires : Ottoman imperial portraiture and transcultural aesthetics / Mary Roberts -- "A voice from the Congo" : Herbert Ward's sculptures in Europe and America / Kirsty Breedon -- War and peace : Harry Bates's Lord Roberts memorial in London, Calcutta, and Glasgow / Jason Edwards -- "Wonderful pieces of stage management" : reviewing masculine fashioning, race, and imperialism in John Singer Sargent's British portraits, c. 1897-1914 / Andrew Stephenson -- Colonial nationalism and closer union : Hugh Lane in South Africa / Morna O'Neill

Auf der Grundlage des augustischen Dualismus von Erfahrung und Wissen diskutiert dieser Bericht die Geschichte von Fechners "Ästhetik von unten" im Laufe der letzten 100 Jahre. Die britische Aufklärungsphilosophie erweist sich als Quelle dieser empirischen Ästhetiktheorie, ihre gesellschaftspolitische Relevanz zeigt sich am Eifer seiner oft stark parteiischen zeitgenössischen Kritiker wie E. v. Hartmann, F. Brentano und B. Croce. Zu Beginn dieses Jahrhunderts wurde eine außergewöhnliche Anzahl von Experimenten in der ästhetischen Psychologie durchgeführt, aber ihre Ergebnisse boten keine Grundlage für spätere Forschungen zur Formulierung einer überzeugenden Theorie. Nach dem Zweiten Weltkrieg wurde die Forschung auf diesem Gebiet von elementorientierten Theorien (Informationstheorie) beeinflusst, was vom Autor kritisiert wird, der eine Rückkehr zu den Ideen der Gestaltpsychologie empfiehlt. [Translated with www.DeepL.com] ; Based on the Augustianian dualism of experience and knowledge, this report discusses the history of Fechner's »Ästhetik von unten« in the course of the last 100 years. The British philosophy of enlightenment is shown to be the source of this empiric theory of aesthetics, its socio-political relevance is demonstrated by the fervour of his often strongly biased contemporary critics, such as E. v. Hartmann, F. Brentano and B. Croce. At the beginning of this century an extraordinary number of experiments in aesthetical psychology were made but their results offered no base for later research to formulate a convincing theory. After World War II, research in this field was influenced by element orientated theories (information theory) which is criticized by the author who recommends a return to the ideas of Gestalt psychology. ; notReviewed ; publishedVersion

Marriage between older husbands and younger wives was common in nineteenth-century literature, and as Godfrey skillfully argues, provides a useful window into the dynamics of the patriarchic paradigm. Examining canonical and non-canonical texts from Sense and Sensibility to Dracula, this study finds that literary January-May marriages respond to distinctively nineteenth-century anxieties regarding gender roles by deploying a surprising range of modes parody, incest, aesthetics, horror, economics, and love. The January-May Marriage in Nineteenth-Century British Literature ultimately argues that age, like race, sexuality and class is an essential component of gendered identities.