• Jan Kochanowski: Polish poet

      Tighe, Carl (2012-09)
    • Jane Austen free indirect style, gender and interiority in literary fiction

      MacMahon, Barbara; University of Derby (Palgrave Macmillan, 2018-05-21)
      In this chapter I suggest that Jane Austen’s use of free indirect style has a far-reaching legacy in terms of establishing the form as central to a sense of literariness in prose fiction. More particularly, I argue that Austen’s use of language metarepresents the thoughts of female characters as a dynamic process of understanding themselves and their worlds. This coincides with a more general perception, construction and performance of ‘feminine’ thought and language use as hesitant, equivocal and spontaneous. I explore the influence of Austen’s style with close analysis and comparison of passages of interiority in Austen’s Mansfield Park, Katherine Mansfield’s short story ‘Millie’ and Monica Ali’s novel Brick Lane.
    • Jane Austen, free indirect style, gender and interiority in literary fiction.

      MacMahon, Barbara; University of Derby (Palgrave Macmillan, 2018-11-12)
      Austen is known for her development of free indirect style as a narrative form. Free indirect style is a fusion of narrator and character perspectives, a peculiar linguistic manipulation of deictic centres which allows for a semi-experiential representation of a character’s perceptions, thoughts and experiences. The style does not tell, it shows, and in doing so it invites close engagement with and empathetic reading of character, at the same time as maintaining the distance of a third-person narrative. This can be a powerful narrative device with complex effects.
    • Jane Eyre's Arrival at Thornfield Hall: Illustration of Jane Eyre’ arrival at Thornfield Hall

      McNaney, Nicki; University of Derby (2014-06)
      The illustration was awarded first prize in the illustration section of the Brontë Society creative competition. The print submitted for the Brontë creative competition investigated and examined the use of hand drawn elements in a predominantly photographic printing process and how this might be developed and disseminated to the design student cohort through my teaching using the photogravure method of creating mark-making. The work has been viewed at local, national and international levels by those interested in the works of the Bronte’s and the research could potentially give a greater understanding of the history and literature of the Bronte’s to general art enthusiasts and a wider public audience. Also published in Bronte Studies January 2015 40 (1)
    • The Jews, the Holocaust and the public: the legacies of David Cesarani

      Allwork Larissa; University of Derby (Palgrave Macmillan, 2019-11-25)
      This book explores the work and legacy of Professor David Cesarani OBE, a leading British scholar and expert on Jewish history who helped to shape Holocaust research, remembrance and education in the UK. It is a unique combination of chapters produced by researchers, curators and commemoration activists who either worked with and/or were taught by the late Cesarani. The chapters in this collection consider the legacies of Cesarani’s contribution to the discipline of history and the practice of public history. The contributors offer reflections on Cesarani’s approach and provide new insights into the study of Anglo-Jewish history, minorities and nationalisms, Nazi war crimes and their legacies and the history and public legacies of the Holocaust. This edited collection comprises 17 chapters (approx' 365 pages) that have been curated by Dr Larissa Allwork and Dr Rachel Pistol. As well as working with Pistol to select and copy edit all the chapters, Allwork co-wrote the 'introduction' with Pistol (c. 6000 words), proposing that there is a distinctly 'Cesaranian' interdisciplinary approach to the study of the Holocaust. Allwork also submitted two further chapters to the collection. The first, a sole authored chapter offering an original interpretation of Gerhard Richter and Gustav Metzger's artistic confrontations with Nazi criminality (c. 10,000). The second, a transcript of an interview conducted with Cesarani in 2009 (c. 7,500 words). This includes an introductory section which self-reflexively grounds the interview and is fully footnoted and referenced.
    • John Clare, herbalism, and elegy

      Lafford, Erin; University of Derby (Edinburgh University Press, 2020)
      Discussions of Clare’s engagement with botany often trace his fraught relationship with taxonomy, exploring his admiration for common names over the ‘dark system’ of Linnaean classification. This essay expands understanding of Clare’s botanical imagination by considering how he brings his botanical ‘taste’ to bear on the flower as a key figure of elegiac consolation. I refocus attention on his formative preference for pre-Linnaean herbalism and explore how it informs his engagement with elegiac tradition and imagery, especially in relation to Gray’s ‘Elegy’. I attend to how herbalism is brought into relationship with poetic representations of the floral, focussing especially on the connection between Clare’s preference for herbals and Elizabeth Kent’s Flora Domestica. I then discuss ‘Cauper Green’ and ‘The Village Doctress’ (Clare’s most sustained poetic discussions of herbalism) as elegies that try to reconcile the finite temporality of human life with the regenerative life cycles of plants and their flowers.
    • John Minton’s "Time was away: A notebook in Corsica"

      Neal, Ian; University of Derby (10/11/2016)
      The paper examines the range in Minton’s approach at two levels. Firstly, it considers his dual strategies of Romanticism and Realism. Minton conflates topographical concerns with Neo-Romantic tendencies and draws on the landscape traditions of the sublime and picturesque, and the trope of the figure in the landscape. Secondly, the paper examines the images within a register of autonomy. Some images, operate autonomously, procuring primarily aesthetic responses; in contrast, others demand more literal intertextual readings; still, a further category of semi autonomous images are identified which subtly evoke elements of the text, without being hostage to Ross’s prose. These works in particular, I argue, invite the reader/viewer to re-assemble text and image so as to re-envision and re-imagine the Corsican Landscape. By examining text-image relationships, the place of landscape in post-war illustration, collaborative practice, and the relationship between fine art and illustration, the paper aims to contribute to forwarding the theorisation of illustration.
    • Jonathan Vickers and Kerri Pratt

      Robinson, Carl; University of Derby (WordPress, 21/07/2014)
      2014 Jonathan Vickers Award winner Kerri Pratt, her work and circumstances relating to the award.
    • The journal of imaginary research. Volume 3.

      Cheeseman, Matthew; Guccione, Kay; University of Derby (NATCECT, 2018)
    • Journeys, pathways and track plans

      Rushton, Stephanie; University of Derby (2014-10)
      Journeys - a 2 week contemporary art exhibition based around the idea of the various forms a journey can take, be that physical, of the mind or imagination. Ecopsychology is a psychological subfield that looks at the relationship between human beings and their environment, embracing a more revolutionary paradigm: just as Freud believed that neuroses were the consequences of dismissing deep rooted sexual and aggressive instincts, eco-psychologists believe that grief, despair and anxiety are the consequences of dismissing equally deep rooted ecological instincts.’ It is this connection between the human psyche and nature that is being explored. ‘In the Drowned World’ a recent series of images taken on walks along the track-bed of a disused railway feature labyrinthine, tangled and sometimes menacing vegetation inspired by the paintings of Max Ernst, alluding to Ballardian themes of nature’s retribution. The large scale image is printed on duratrans mounted on opaque Perspex and fixed to the outside of a window, the impression being of the tangled vegetation viewed through the window.
    • Karl Marx's Capital and transatlantic radical book-trade networks in the early twentieth century

      Feely, Catherine; University of Derby (Routledge, 2017)
      The book trade historically tended to operate in a spirit of co-operation as well as competition. Networks between printers, publishers, booksellers and related trades existed at local, regional, national and international levels and were a vital part of the business of books for several centuries. This collection of essays examines many aspects of the history of book-trade networks, in response to the recent ‘spatial turn’ in history and other disciplines. Contributors come from various backgrounds including history, sociology, business studies and English literature.
    • Karri Pratt: Our treasure houses

      Robinson, Carl; University of Derby (Derby Museum and Art Gallery, 2015-09)
      Kerri Pratt’s paintings have references to curious spaces derived from man-made, industrial and urban landscapes. Drawing on childhood memories of growing up in an ex-mining town, when the demise of previously thriving industries of Collieries, Potteries, Pipeworks and Brickworks were all too prominent. Kerri has reconnected with her home county of Derbyshire to produce a new series of paintings referencing remnants and traces of our industrial heritage.
    • Kissing women: The fiction of Sarah Waters

      Bishton, Joanne; University of Derby (Lucian Blaga University Press, 2008)
      The lesbian historical novel is a genre that has been consistently neglected. Reasons of censorship and lack of credibility, during an increasingly hostile Victorian era, forced lesbians into exile, denying them their subjectivity and distancing them from any notion of same sex desire. Inevitably, lives have been lost or forgotten as a consequence. Looking at three of Sarah Waters novels, Tipping the Velvet, Affinity and The Fingersmith, this article intends to consider the existence of the marginalized working class lesbian. It hopes to show how a contemporary woman writer successfully exploits the unreliability of history in order to replicate a series of romantic fantasies and in so doing, it will argue that Waters’ fiction makes it possible to envisage lesbian desire beyond the limitations of heterosexual paradigms. Feminist and queer theory engagement with the texts will highlight the way Waters repossesses the desiring lesbian body, examining a series of erotic lesbian portrayals.
    • The kites are flying

      Hunt, Ava; Maggie Ford; University of Derby (2013-05)
      A television reporter’s experience in the West Bank reveals how children’s hopes and dreams for peace can fly higher than any wall dividing communities and religions. Why won’t Said speak? Why does he make beautiful kites and let them loose in the wind? Following actor Ava Hunt and Director Maggie Ford’s recent visit filming in the West Bank, join us for this new one-woman multimedia performance, bringing this beautiful story alive with laughter, thrills and tears to a land where friendship has no barriers.
    • KssssS

      Tighe, Carl; University of Derby (IMPress, 2004)
      a novel
    • Landscape, land and identity: a performative consideration

      Crouch, David; University of Derby (2012)
      This chapter considers ideas of land and identity processes through an original consideration of landscape. Following Taussig's argument that cultural meaning and identification are less constituted in institutionalised and ritualised signification than emergent in the performance of life, attention focuses upon the performative character of landscape and its relationality with land and identity.... Making land significant in life is considered through landscape in the notion of spacing. The notion of an everyday, gentle politics is introduced to the constitution of identities and feeling of land. Identities and values concerning land are produced relationally in the energy cracks between performativity and institutions, as the several investigations upon which this chapter draws testify.
    • Language development

      Nahmad-Williams, Lindy; Fenton, Carol; University of Derby; Sheffield Hallam University (Routledge, 2018-02-16)
    • Laon and Cythna and The Revolt of Islam: revisions as transition.

      Whickman, Paul; University of Derby (Taylor & Francis, 2018-10-16)
      The enforced amendments made to Laon and Cythna following its withdrawal from publication in December 1817 are generally regarded as workmanlike and prudent, sacrificing aesthetic merit in the name of compromise and self-censorship. There remain, however, few detailed readings of these modifications that go beyond subjective responses. To this end, this article offers a reading of these revisions arguing that although some are indeed functional alterations, other amendments serve thematic and aesthetic ends. One of Shelley’s most common changes, that of changing the word ‘God’ to ‘Power’, is a case in point. Since a key theme of the poem is of the collusion between political and religious tyranny, Shelley’s alteration of ‘God’ to ‘Power’ makes this connection more explicit. From this, this article concludes that these revisions signal, analogously at the very least, a transitioning point in Shelley’s thought and career. Whereas Queen Mab (1813) refers explicitly to ‘God’, later works such as Prometheus Unbound (1820) settle upon the term ‘Power’. The fact that we see Shelley move from one to the other between Laon and Cythna and The Revolt of Islam is therefore significant.
    • Layers of meaning, layers of truth: fragmented histories and composited video collage

      Bosward, Marc; University of Derby (Royal College of Art, 14/05/2016)
      The paper will present a body of ongoing practice-based research that interrogates the interface of live-action and animation, specifically, how found footage as an indexical element of lived experience functions within the aesthetic of a constructed ‘other’ world. Particular focus is given to how video collage, containing found footage components composed in the spatial as well as temporal dimensions, construct non-fiction explorations of the socio-historical world from an ontological perspective. The research explores how found footage elements are deployed to address themes relating to memory and history, with regard to how collective impressions of history are constituted and socially assimilated.
    • Layers, traces and gaps: Collage, found footage and the contested past

      Bosward, Marc; University of Derby (23/06/2017)
      Critical realism is an anti-reductionist approach that asserts the independence of an external world whilst accepting that knowledge of that world is socially constructed and transient. It offers an intermediate position that reconciles the binary opposition of objectivism and subjectivism, challenging the ‘false choice’ (Lovell, 1981) between empiricist and idealist ontologies. In recognising the dense complexity of being and the social world, it advances a stratified reality comprised of co-dependent structures and mechanisms. The paper will describe a framework for practice research that uses found footage and animated collage within a critical realist methodology. The research deploys strategies that privilege simultaneity, overlap and hybridity in articulating layered temporalities that foreground a dialectical conception of history. The practice explores how critical realist collage can challenge essentialist, unitary historical narratives that suppress the interdependence and complexity of socio-historical phenomena. Can the partial and irregular experience of remembering, evoking the contingent and furtive conditions of personal and collective memory be rendered through the aesthetic of moving collage? In reference to animated documentary, the work investigates how spatial and temporal found footage collage can expand the language of non-fiction films that address memory and the past. The paper will argue that the deeper understanding of memory and history that critical realism offers could be apprehended through the construction and mediation that the vocabularies of animation and collage contain.