Manchester University Press

Featuring new essays by established and emerging scholars, Intersections: Women artists/surrealism/modernism redefines conventional surrealist and modernist canons by focusing critical attention on women artists working in and with surrealism in the context of modernism. In doing so it redefines critical understanding of the complex relations between all three terms.

The essays address work produced in a wide variety of international contexts and across several generations of surrealist production by women closely connected to the surrealist movement or more marginally influenced by it. Intersections explores work in a wide range of media, from painting and sculpture to film and fashion, by artists including Susan Hiller, Maya Deren, Birgit Jurgenssen, Aube Elléouët, Dorothea Tanning, Claude Cahun, Elsa Schiaparelli, Joyce Mansour, Leonor Fini, Mimi Parent, Lee Miller, Leonora Carrington, Ithell Colquhoun and Eileen Agar.

Roadworks: Medieval Britain, medieval roads is a groundbreaking interdisciplinary study of roads and wayfinding in medieval England, Wales and Scotland. It looks afresh at the relationship between the road as a material condition of daily life and the formation of local and national communities, arguing that the business of road maintenance, road travel and wayfinding constitutes social bonds. It challenges the long-held picture of a medieval Britain lacking in technological sophistication, passively inheriting Roman roads and never engineering any of its own.

Previous studies of medieval infrastructure tend to be discipline-specific and technical. This accessible collection draws out the imaginative, symbolic, and cultural significance of the road. The key audience for this book is scholars of medieval Britain (early and late) in all disciplines. Its theoretical foundations will also ensure an audience among scholars of cultural studies, especially those in urban studies, transport studies, and economic history.

‘Realist film theory and cinema’ embraces studies of cinematic realism and 19th century tradition, the realist film theories of Lukács, Grierson, Bazin and Kracauer, and the relationship of realist film theory to the general field of film theory and philosophy. This is the first book to attempt a rigorous and systematic application of realist film theory to the analysis of particular films.

The book suggests new ways forward for a new series of studies in cinematic realism, and for a new form of film theory based on realism. It stresses the importance of the question of realism both in film studies and in contemporary life.

Aitken’s work will be of interest to scholars and advanced students of film studies, literary studies, media studies, cultural studies and philosophy.

The Rushdie affair, September 11 2001 and 7/7 pushed British Muslims into the forefront of increasingly fraught debate about multiculturalism. Stereotyping images have proliferated, reducing a heterogeneous minority group to a series of media soundbites.

This book examines contemporary literary representations of Muslims by British writers of South Asian Muslim descent – including Salman Rushdie, Hanif Kureishi, Monica Ali and Nadeem Aslam – to explore the contribution they make to urgent questions about multicultural politics and the place of Muslims within Britain. By focusing on class, and its intersection with faith, ‘race’ and gender in identity- and community-formation, it challenges the dichotomy of secular freedom versus religious oppression that constrains thinking about British Muslims, and offers a more nuanced perspective on multicultural debates and controversies.

Writing British Muslims will appeal to academics and postgraduate and final-year undergraduate students in the fields of postcolonial studies, English studies and cultural studies.

This book takes the concept of postmemory, developed in Holocaust studies, and applies it for the first time to novels by contemporary British writers. Focusing on war fiction, Alden builds upon current scholarship on historical fiction and memory studies, and extends the field by exploring how the use of historical research within fiction illuminates the ways in which we remember and recreate the past.

Using postmemory to unlock both the transgenerational aspects of the novels discussed and the development of historiographic metafiction, Alden provides a ground-breaking analysis of the nature and potential of contemporary historical fiction. By examining the patterns and motivations behind authors’ translations of material from the historical record into fiction, Alden also asks to what extent such writing is, necessarily, metafictional. Ultimately, this study offers an updated answer to the question that historical fiction has always posed: what can fiction do with history that history cannot?

This is a vital new work; the first to take the University of Manchester’s Museum as its subject. By setting the museum in its cultural and intellectual contexts, Nature and culture explores twentieth-century collecting and display, and the status of the object in the modern world. Beginning with the origins of the Manchester Museum, accounting for its development as an internationally renowned university museum, and concluding at its major expansion at the turn of the millennium, this book casts new light on the history of museums.

How did objects become knowledge? Who encountered museum objects on their way to museums? What happened to collections within the museum? How did visitors use and respond to objects? In answering these questions, Nature and culture illuminates not only the history of one institution, but also contributes to wider discussions in the history of science, cultural history and museology.

Conspiracy theory and American foreign policy examines the relationship between secrecy, power and interpretation around international controversy, where foreign policy orthodoxy comes up hard against alternative interpretations. It does so in the context of US foreign policy during the War on Terror, a conflict that was covert and conspiratorial to its core.

Offering a new dimension to debates on post-truth politics, this book critically examines the ‘Arab-Muslim paranoia narrative’: the view that Arab-Muslim resentment towards America is motivated to some degree by a paranoid perception of American power in the Middle East. This narrative is traced from its roots in a post-War liberal understanding of populism through to foreign policy debates about the origins of 9/11, to the strategic heart of the Bush Administration’s War of Ideas. Balancing conceptual innovation with detailed case analysis, Aistrope provides a window into the ideological commitments of the US War on Terror.

Offering a fascinating insight into conspiracy and paranoia, this book is essential reading for those interested in the relationship between secrecy, power, and contemporary politics.

Lukácsian film theory and cinema explores Georg Lukács’ writings on film. The Hungarian Marxist critic Georg Lukács is primarily known as a literary theorist, but he also wrote extensively on the cinema. These writings have remained little known in the English-speaking world because the great majority of them have never actually been translated into English – until now. Aitken has gathered together the most important essays and the translations appear here, often for the first time.

This book thus makes a decisive contribution to understandings of Lukács within the field of film studies, and, in doing so, also challenges many existing preconceptions concerning his theoretical position. For example, whilst Lukács’ literary theory is well known for its repudiation of naturalism, in his writings on film Lukács appears to advance a theory and practice of film that can best be described as naturalist.

Lukácsian film theory and cinema is divided into two parts. In part one, Lukács’ writings on film are explored, and placed within relevant historical and intellectual contexts, whilst part two consists of the essays themselves.

This book will be of considerable interest to scholars and students working within the fields of film studies, literary studies, intellectual history, media and cultural studies. It is also intended to be the final volume in a trilogy of works on cinematic realism, which includes the author’s earlier European film theory and cinema (2001), and Realist film theory and cinema (2006).

This is the first comprehensive survey of the Irish state, and draws on a range of theoretical approaches to analyse its origins, its evolution, its nature and its role in Ireland’s recent economic success.

The book begins by outlining the fragmentary way in which the Irish state has been treated to date in the social sciences. Subsequent chapters by distinguished contributors then go on to examine the history of the Irish state from 1922 to 1973, the developmental nature of the Irish state since the 1980s, the Irish state as a partnership state, the gendered nature of the state, the changing nature of the state’s autonomy and capacity since independence, whether the Irish state can be described as a competition state, and the activities and policies of the Irish state as a welfare state. The editors examine the lessons learnt from these analyses before detailing a challenging agenda for further research.

The book will be of major interest to students of Irish politics and of Ireland’s recent economic and social development. Given Ireland’s status as a model of success in this globalised era, the book will interest scholars of globalisation and comparative politics, and makes a significant contribution to analyses of the role of the state in this context.

In what ways can we think through the complexities of identity? Identity is a contested concept, but it is more than a thing possessed by agents. Identity is contingent and dynamic, constituting and reconstituting subjects with political effects. In this edited book, identity is explored through a range of unique interdisciplinary case studies from around the world. Questions of citizenship, belonging, migration, conflict, security, peace and subjectivity are examined through social construction, post-colonialism, and gendered lenses from an interdisciplinary perspective. This combination showcases in particular the political implications of identity, how it is constituted, and the effects it produces.

This edited collection will be of particular interest to students of international relations theory, migration studies, gender and sexuality, post-colonialism and policy-making at both undergraduate and postgraduate levels.

The introduction of FOI in Ireland was a watershed moment in Irish democracy. It gave citizens a right to know, and abolished eighty years of official secrecy that had existed since the foundation of the State. As the new 2014 FOI Act is extended to the gardaí and the Central Bank for the first time, this book critically examines the important contribution the legislation has made to the opening up of Irish democracy and society.

The book includes important contributions from the Ombudsman and Information Commissioner Peter Tyndall, former minister Eithne FitzGerald and RTE journalist Richard Dowling. It will be a core text for students of politics and public administration, journalism, media and communications and law; and will be an important reference for policy makers and civil and public servants.

In 1909 the Italian poet Filippo Tommaso Marinetti’s Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912 the Futurists published over thirty manifestos, celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. This collection of essays aims to reassess the activities of the Italian Futurist movement from an international and interdisciplinary perspective, focusing on its activities and legacies in the field of poetry, painting, sculpture, theatre, cinema, advertising and politics.

The essays offer exciting new readings in gender politics, aesthetics, historiography, intermediality and interdisciplinarity. They explore the works of major players of the movement as well as its lesser-known figures, and the often critical impact of Futurism on contemporary or later avant-garde movements such as Cubism, Dada and Vorticism.

Surfaces are often held to be of lesser consequence than ‘deeper’ or more ‘substantive’ aspects of artworks and objects. Yet it is also possible to conceive of the surface in more positive terms: as a site where complex forces meet. Surfaces can be theorized as membranes, protective shells, sensitive skins, even thicknesses in their own right. The surface is not so much a barrier to content as an opportunity for encounter: in new objects, the surface is the site of qualities of finish, texture, the site of tactile interaction, the last point of contact between object and maker, and the first point of contact between object and user.

Surface tensions includes sixteen essays that explore this theoretically uncharted terrain. The subjects range widely: domestic maintenance; avant-garde fashion; the faking of antiques; postmodern architecture and design; contemporary film costume. Of particular emphasis within the volume are textiles, which are among the most complex and culturally rich materialisations of surface. As a whole, the book provides insights into the whole lifecycle of objects, not just their condition when new.

This book is available as an open access ebook under a CC-BY-NC-ND licence.

At a time when payment is claiming a greater place than ever before within the NHS, this book provides the first in-depth investigation of the workings, scale and meaning of payment in British hospitals before the NHS. There were only three decades in British history when it was the norm for patients to pay the hospital; those between the end of the First World War and the establishment of the National Health Service in 1948. Payment played an important part in redefining rather than abandoning medical philanthropy, based on class divisions and the notion of financial contribution as a civic duty.

With new insights on the scope of private medicine and the workings of the means test in the hospital, as well as the civic, consumer and charitable meanings associated with paying the hospital, Gosling offers a fresh perspective on healthcare before the NHS and welfare before the welfare state.

An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.