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Remembering the horsemen of Smithfield: chivalric nostalgia in John Stow’s 'Survey of London'
Get PDF'A Survey of London' offers readers past and present an unrivalled insight into the history of early modern London. However, it is of hitherto unrecognised significance that the 'Survey' draws on a pronounced horse culture and participates in the seventeenth-century revival of chivalric literature as a way of engaging with topographical change in the City. Drawing on early modern nostalgia studies, this article is the first to explore how the depiction of Smithfield’s horsemen evokes chivalric nostalgia. With the help of the memory studies concepts of synchronic and diachronic historical consciousness, I show how this chivalric nostalgia functions as a literary device that by harnessing the traditions of chivalric romance offers a way of challenging the impact of urbanisation on readerly memory. This approach reveals the importance of Smithfield’s horsemen in London’s rich civic history and that nostalgia is a strategy rather than a limiting force in the 'Survey'
Artists, writing: towards inclusive assessment of critical studies in an arts degree programme
No full textTeachers of historical and critical studies within an arts practice context have consistently been faced with the perception from students that academic reading and writing does not correspond to their interests as artists. Historically ‘theory’ and ‘practice’ have been framed as binaries that compete with one another in the context of learning and teaching arts students. These students are accustomed to researching practitioners and art works that help develop their own practice in the studio environment. What are needed in art historical and critical studies modules, then, are approaches to learning that allow art students to learn in similar ways to how they learn in the studio – like artists . Just as more traditional ‘older’ academic approaches to assessment do not necessarily facilitate achievement amongst arts students, neither do traditional approaches to teaching. Established approaches to teaching art history are typically passive (the lecturer speaks, the student receives information), and are not conducive to deep learning. Indeed, such approaches often lean to student disengagement. In the fine art undergraduate degrees at Bath Spa University, three new modules have been introduced for the academic year 2023/24. These modules combine innovative approaches to teaching and learning, with accessible assessment items that ‘dethrone the essay’ in favour of authentic assessment items that prepare artists for the kinds of art historical and critical writing that will more likely form part of an artist’s portfolio of approaches to research
Applying confrontation analysis
No full textConfrontation analysis is a new method of gaming crises. The lecture examined where the method came from, how it has been developed and where it has been used
Inventory of Behaviours - What conditions (cultural, sociological, economic, political) shape artists’ behaviours, and how can they help us to rethink the ways in which we work, teach, and learn?
Get PDFWhat conditions (cultural, sociological, economic, political) shape artists’ behaviours, and how can they help us to rethink the ways in which we work, teach and learn?
IOB was initiated in 2017 to investigate the largely unseen and undiscussed behaviours, embodied tacit knowledge, that surround the making of art. The lead artists of this evolving artwork collected over 400 artists' instructions that document the behaviours, preparations, patterns, neuroses, and procrastinations of artists when they are not actively creating. These behaviours have formed the basis for a series of events in which art students and members of the public have enacted these behaviours in a gallery setting (Tate Modern). Artists and expert witnesses from a range of disciplines, including ethnography, physics, and neuroscience, observed events as they unfolded and interviewed participants, presenting their findings during closing debrief seminars. IOB research has illuminated the fundamental need artists have to engage in peripheral behaviours – to pause, to linger, to look away – as a means of maintaining their creative resources and their capacity to make art. Employing practice-led research methods, the project team asks how these behaviours, that are so crucial to artists’ continued creativity and wellbeing, might be of benefit to others.
This project sits under MPF: An international network of transdisciplinary, practice-based researchers dedicated to querying our positions and agencies as artist-teachers
Promoting good progress in primary schools
No full textThis text is a focused exploration of, and guide to, the concept of 'progress' for trainee primary school teachers and their mentors. It examines what we mean by 'good progress' in the context of the CCF and other frameworks and accountabilities operating in primary schools today. It outlines different understandings of progress, explores the relationship with other concepts such as knowledge, curriculum and assessment, and highlights the links between progress and social justice. Offers practical support for trainees on how to plan for, identify, promote, evidence and communicate information about progress
Unlocked: the real science of screen time (and how to spend it better)
No full textMost of us spend a significant part of the day in front of a screen. Our work and social lives play out through our computers, tablets and phones: on email, social media, video conference calls and gaming servers. But what is all this screen time doing to our health, our sleep, and our relationships?
Professor Pete Etchells studies the way we use screens, and how they can affect us. He delves into the real science behind the panic about our alleged device addiction and withering attention spans. Armed with the latest research, he reveals how little we have to fear, and the great deal we have to gain, by establishing a more positive relationship with our screens. That begins with asking ourselves some essential questions about how we use them
Jorrocks’s canon: Dickens, Surtees, and 1830s print culture
No full textThis chapter makes an argument that two of the most successful Victorian novelists, Charles Dickens and R. S. Surtees, those new men of the 1830s (Surtees was twenty-five when he begins Jorrocks’s Jaunts and Jollities; Dickens twenty-four at the conception of the Pickwick Papers), were both marked deeply by what came before in the late Georgian period’s popular-cultural print culture, notably its sporting comicalities. Though they took that tradition in very different paths – Surtees stayed in the sporting groove throughout his career, while Dickens very soon abandoned it – both were fashioned by it, and both initially positioned themselves within it. Both joined the key post-Napoleonic tradition of picaresque evident in the work of ‘Cockney’ humourists, in the fiction of Pierce Egan, and, indeed, in the poetry of Lord Byron. The chapter reads both men’s early writing against the wider context of late-Georgian print culture, addressing their relationship to the Romantic-era popular-cultural literary forms that inform their early work. The chapter brings to light this vibrant culture, focussing on Dickens and Surtees but also addressing such figures as Pierce Egan, Robert Seymour, and Thomas Hood