Goldsmiths, University of London: Journals Online
Not a member yet
1742 research outputs found
Sort by
HAI! (German version)
Full text linkEine Geschichte in Bildern aus der Kunsttherapie in der pädiatrischen Onkologie
Bilder von Marco, Texte von Ulrike Holterman
Editorial
Full text linkAs the ATOL editorial team gathered together before this issue was conceived, we found that we shared a common desire to spend more time in creative processes, as we considered matters arising from the inclusion of visual material within the journal generally, and more broadly, its representation within our published and presented work as clinicians and academics. As art therapists, lecturers, supervisors, researchers and artists ourselves, there was a shared longing for time to create and discover
The China Gun Lascars 1841-1892
Full text linkDuring the first Opium War four companies of Gun Lascars were sent from India in 1841 to serve with the Third Brigade under Lord Saltoun as part of the British Expeditionary Force and were later used to reinforce the garrison at Hong Kong. One company of the Gun Lascars stayed after the war and served with the Royal Artillery at Hong Kong. The Gun Lascars expanded over the years to include a company raised in 1881 and a company later raised for Singapore. The paper looks at the history of China Gun Lascars that served for over five decades before being re-formed in 1892 as part of Asiatic Artillery
Bosworth Field: a battlefield rediscovered?
Full text linkThe Bosworth Project concluded that the deciding battle in The Wars of the Roses was fought entirely at Fenn Lane and the site proposed is the only feasible candidate. However, the authors suggest that the narrative provided overlooks or downplays key aspects of contemporaneous accounts to support those conclusions. It is instead proposed that the primary site of battle was in a nearby location and an alternative narrative is offered that matches more of, and better accommodates, the contemporary accounts of battle events
Guest Editors’ Introduction to Neo-Victorian Decadence: Questions, Trajectories, Paradigms
Full text linkNeo-Victorian decadence is one of the most fascinating and complex areas of scholarly research, lying at the core of an extremely lively debate where literature, history, the fine and the applied arts, the entertainment industry, and new and digital media converge. This is hardly surprising when one thinks of the clusters of ideas conveyed by the adjective ‘neo-Victorian’ coupled with the noun ‘decadence’. The conventions and the idiosyncrasies of decadent and Victorian cultures are subsumed under a label whose complexity is only enhanced by the prefix ‘neo-’. On the one hand, neo-Victorian decadence unambiguously recalls the tension between history and the present, or between historicism and presentism, that Frederic Jameson construed as a pivot of postmodern literature and its cannibalization of past styles.[i] On the other hand, however, this attitude to the past demands self-conscious acts of ‘(re)interpretation, (re)discovery and (re)vision’[ii] that are as hard to pinpoint as ‘Victorian’ and ‘decadence’ are hard to define from a critical viewpoint.
[i] Frederic Jameson, Postmodernism, or, The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 2003), p. 18.
[ii] Ann Heilmann and Mark Llewelyn, Neo-Victorianism: The Victorians in the Twenty-First Century, 1999-2009 (Basingstoke and New York: Palgrave Macmillan, 2010), p. 4 (emphasis in the original)
Review: Adam Alston, Staging Decadence: Theatre, Performance, and the Ends of Capitalism (London: Bloomsbury, 2023)
Full text linkReview: Adam Alston, Staging Decadence: Theatre, Performance, and the Ends of Capitalism (London: Bloomsbury, 2023)
Neo-Victorian Adaptations through the Media: The Representation of the Gothic New Woman in Penny Dreadful
Full text linkThe popular TV series Penny Dreadful (2014-2016), created by John Logan, is an ‘exemplary piece of pastiche’ featuring well-known literary characters from nineteenth-century British literature, including Mary Shelley’s Frankenstein (1818), Oscar Wilde’s The Picture of Dorian Gray (1891), and Bram Stoker’s Dracula (1897). As ‘cultural memes’ residing in our contemporary culture, the Victorian protagonists form relationships that are continuously evolving, resulting in a significant reshaping of their identities. The redefinition of previously marginalized female characters into strong leading figures is especially interesting. In particular, the character of Lily Frankenstein, created and shaped by Victor Frankenstein, undergoes a profound transformation as a result of the traumas she endured in her previous life, leading her to embody the controversial archetype of the Gothic New Woman. As a complex character combining traits of the New Woman and the Gothic heroine, Lily rebels against the role that men have assigned to her and, as a modern Salomé driven by revenge, she craves a bloody revolution against men. Her plan echoes late nineteenth-century fears and theories of about the creation of a super race of women, as advocated by the suffragette Frances Swiney. When her traumatic past is revealed, Lily is finally able to embark on a new path in her own search for identity. This sub-narrative highlights underlying themes concerning the role of women in a patriarchal society, as well as the influence of trauma on the formation of one’s identity.