Down by the sea: visual arts,artists and coastal regeneration

This paper takes a critical approach to the arts-led regeneration of Margate, south east England. It argues that regeneration policy has effectively utilised local characteristics to recreate Margate as an artful space, and has stimulated a local milieu of artistic and cultural activity. However, though the work of local artists is vital in producing Margate as a creative place, local artists are marginalised by policy interventions focussed on attracting new consumers and investors. Thus, this paper argues that a misplaced policy emphasis is failing to support the labour and social relations on which the interpretation of places as ‘creative’ is built, and arguably undermines the sustainability of an arts-based regeneration. This has implications for culture-led policy, calling for greater attention to be paid to the specific locations in which it is deployed, and to the networks of producers whose labour is critical to its success.     

Constructing Images,Constructing Policy: The case of Filipina migrant performing artists

In 1991 a Filipina performing artist died while working in Japan. Her death became an international incident and a catalyst for action on the issue of migrant exploitation. In particular, a series of policies was constructed by the Philippine Government in an attempt to afford protection to migrant workers. In this paper I critically examine the construction of these policies, with the purpose of identifying how specific notions of gender and sexuality are incorporated into the construction and reconstruction of policy. I demonstrate how the representation of exploitation within systems of labor migration serves the purposes of dominant factors of society, with little regard to the actual lived experiences of migrant workers. Findings indicate that current policy is based on an image that only illegally-deployed, hence immoral and disreputable women are exploited, overlooking the observation that both illegally- and legally-deployed women are susceptible to abuse. At one level this paper reflects an ontological attack against the employment of categories previously conceptualized as natural within the construction of migration policy. At a second level this paper is also concerned with the issue of 'who speaks for whom,' and the implications of this for viable protective policies. The significance of this paper extends beyond the confines of the Philippines, for it encompasses a growing international awareness of abuses toward migrants.     

Engaging with place: artists,site-specificity and the Hebden Bridge Sculpture Trail

This paper traces the creative processes employed by artists participating in the 2004 Hebden Bridge Sculpture Trail and examines relationships between place, art and site-specificity. The Trail is a popular, temporary annual local arts event that invites international artists, students and community art groups to create and exhibit site-sensitive sculpture within Hardcastle Crags in Yorkshire, England. We consider some of the multiple ways in which artists mediate relationships between ‘site’ and artwork. We connect geographical concepts of place that highlight location, locale and sense of place, with mobile understandings of site as porous and flowing. The paper positions geographical research of art, opening out art and site in a non-urban environment through comparative discussion of concepts of ‘place’ and three ‘paradigms’ in site-specific art (phenomenological, social/institutional and discursive, Kwon 2002 Kwon, M. 2002. One Place After Another: Site-specific Art and Locational Identity, Cambridge MA: MIT Press. [Crossref] , [Google Scholar]). Three elements of site-specificity – histories, natures, interactions – are then explored through fourteen artists' creative practices and our documentation of the installation of their artwork in the Trail. We highlight the juxtaposition of ‘sites’ within the Trail, the over-lapping of ‘paradigms’ within individual artworks, and transitory aspects of ‘site’ to suggest that ‘time’ holds great significance in understanding site-specificity, place and art outdoors.     

Motherhood and nation: The voice of women artists in Israel's bereavement and memorial discourse

This article offers an interpretive reading of current works of art by women that indicate the paradoxical place of the woman artist as a mother in the cycle of militarism and attitudes toward the discourse of bereavement and commemoration. My hypothesis is that the arts herald or anticipate the trauma by seeking to express something that may be called “pre- and counter-commemoration.” This interpretation of these artists' stance expands on insights arising from the notion of “counter-memory” to discuss a paradoxical form of commemoration that refuses to acquiesce in the cycle of militarism and memorialization. The article offers an integrated examination of theory and practices in the historical context of motherhood and nationalism and, specifically, of women artists in Israel in recent decades in the “discourse of bereavement” as opposed to the “discourse of the bereaved.”     

Creating a life: the role of symbolic and economic structures in the gender dynamics of Swedish artists

This article examines the prevalence of parenthood among professionally practising artists in Sweden. The overall aim of the article is to employ feministic and sociological perspectives to provide a theoretically-based understanding of the problems of balancing work and family life in the arts. Data are presented that reveals that female artists are more frequently childless compared to their male counterparts and women in the overall population. Male artists, however, are less frequently childless than men in general. The article develops a theoretical explanation focused on the effect of economic resource structures, which leave women artists to cope with lower incomes with which to pursue careers in the arts, and symbolic structures, which present creative work as difficult to combine with everyday domestic work. Given that motherhood continues to be associated with more comprehensive caring responsibilities than fatherhood, women are more frequently confronted with a choice between starting a family and pursuing their artistic calling.     

The Strange Case of Dr. Bucaille: Notes for a Re‐examination

The present essay focuses on the figure of Maurice Bucaille and on his contribution to the discourse on Islam and science. Its purpose is twofold. First of all, it aims to provide the reader with a concise map of the ideas of the French author, reconstructing their core and their interrelations. Furthermore, it aims to question what I define as “the apparent naivety” of Bucaille's work, a reason why he can sometimes be too easily dismissed, by pinpointing a number of original features of his intellectual activity. My argument is that Bucaille deserves more attention for two good reasons: firstly, because of the influence that he de facto exerts on Muslim societies, secondly, because of some highly specific characteristics of his discourse. Such features not only distinguish his contribution from analogous ones, but also give rise to interpretative questions, which have as yet been either overlooked or unsatisfactorily addressed. Closely connected to this thesis is the idea that Bucaille's work constitutes a good starting point for a discussion amongst scholars of different disciplines and from different cultural backgrounds. The first section reconstructs Bucaille's life and works. The second section focuses on his method and ideas regarding science. The third section is devoted to Bucaille's conclusions following his study of the Bible and the Qur'an, and therefore deals more closely with the core of his ideas. The fourth section covers Bucaille's complementary criticism of the theory of evolution. In the fifth section I examine the possible reasons behind the scant scholarly attention concerning Bucaille. In the final section I propose an interpretative model of Bucaille's figure conceived as a system of concentric spheres and I raise, for each one of them, several questions, which have so far been, in my view, insufficiently investigated, thus setting an agenda for further scholarly work.     

Dr. Oliver Wendell Holmes on phrenology: Debunking a fad

ABSTRACT

Oliver Wendell Holmes, Sr. (1809–1894) was a Boston physician, a professor of medicine at the Harvard Medical School, and a writer of prose and poetry for general audiences. He was also one of the most famous American wits of the nineteenth century and a celebrity not bashful about exposing costly, absurd, and potentially harmful medical fads. One of his targets was phrenology, and the current article examines how he learned about phrenology during the 1830s as a medical student in Boston and Paris, and his head-reading with Lorenzo Fowler in 1858. It then turns to what he told readers of the Atlantic Monthly (in 1859) and Harvard medical students (in 1861) about phrenology being a pseudoscience and how phrenologists were duping clients. By looking at what Holmes was stating about cranioscopy and practitioners of phrenology in both humorous and more serious ways, historians can more fully appreciate the “bumpy” trajectory of one of the most significant medical and scientific fads of the nineteenth century.     

The Legacy of Ian Hunter's Work on Literature Education and the History of Reading Practices: Some Preliminary Remarks

Summary

Ian Hunter's early work on the history of literature education and the emergence of English as school subject issued a bold challenge to traditional accounts that have in the main focused on English either as knowledge of a particular field or as ideology. The alternative proposal put forward by Hunter and supported by detailed historical analysis is that English exists as a series of historically contingent techniques and practices for shaping the self-managing capacities of children. The challenge for the field is to advance this historical work and to examine possible implications for English teaching.     

Creative geographies of ceramic artists: knowledges and experiences of landscape,practices of art and skill

This paper argues for a conception of art as an embodied and creative material practice. It draws on research conducted with seven professional ceramic artists who deal with landscape in their work to explore their processes of art-making through interview and (filmed) observation. It demonstrates the distributed range of embodied and relational more-than-artistic practices which inform how landscape is encountered, known and ultimately represented. It argues that artists’ self-expression in art is based upon material, social and political knowledges which interweave in artists’ lives. By studying ceramicists’ making this paper demonstrates both the non-conscious skill and the conscious technical knowledge needed to make art. It shows chance to have a triple role in practices of making, as something to work alongside, to work against and to draw on as a creative resource. This paper both argues for and demonstrates the value of an approach to art-making that frames it as a complex of both conscious, socio-cultural, technical knowledges and non-conscious skills which together (in)form works of (ceramic) art.