Collaboration

2020 ◽  
pp. 153-191
Author(s):  
Natalie Pollard
Keyword(s):  
Twentieth Century ◽  
Literary Text ◽  
Sylvia Plath ◽  
Seamus Heaney ◽  
Ted Hughes ◽  
American Artist ◽  
Late Twentieth ◽  
Century Poetry ◽  
Late Twentieth Century

This chapter examines a particular instance of canonical late-twentieth-century poetry that shows close collaboration with the visual arts. It takes as a case study the work of Ted Hughes, who is often considered central to the development of the English poetic canon, in his collaboration with the American artist and publisher Leonard Baskin in producing the 1973 book, Cave Birds. The trade volume initially contained over ten of Baskin’s pen-and-ink images (which had inspired Hughes to pen his poems). Why, then, are Baskin’s artworks no longer published alongside Hughes’s poems? This chapter puts drawing and text back into dialogue, offering a sustained intra-artistic reading of an image-poem pair as it resonates with the vision of Michelangelo, Michael Ayrton, Giacometti, Sylvia Plath, and Seamus Heaney. Artwork and literary text interact before our viewing-reading eyes, performing an eloquent expression of the complexity of aesthetic co-constitution, across media and history.

Looking Again: The Critical Heritage

2017 ◽  
pp. 21-28
Author(s):  
Jessica Gildersleeve
Keyword(s):  
Twentieth Century ◽  
Contemporary Literature ◽  
Literary Text ◽  
Late Twentieth ◽  
Critical Heritage ◽  
Literature And Film ◽  
British Culture ◽  
Late Twentieth Century

This chapter examines Don't Look Now (1973) in the context of Daphne Du Maurier's Gothic narratives, with particular emphasis on those which had previously been adapted to film, and Nicolas Roeg's earlier films, particularly those which deal with themes of trauma and violence. It proposes that Du Maurier and Roeg's works should be read within the context of mid- to late-twentieth-century British culture, considering them as particularly concerned to depict the cultural traumas of the period. Although there are some distinctive differences between the film and the story from which it is adapted, one must not forget that Don't Look Now is adapted from a literary text, and that this may have implications for the representations and adaptations of trauma in contemporary literature and film. The chapter then reviews the existing studies of the film and the story from which it is adapted. It interrogates Don't Look Now's critical heritage as both avoiding and approaching the ever-retreating position of the trauma-text: a simultaneous recognition and avowal of the film's horror and its anxieties.

Governing Global Aeromobility

Transfers ◽  
2016 ◽  
Vol 6 (3) ◽  
pp. 22-40
Author(s):  
Bret Edwards
Keyword(s):  
Twentieth Century ◽  
Global South ◽  
Air Travel ◽  
Regulatory Response ◽  
National Space ◽  
Entry Points ◽  
Refugee Claimants ◽  
Late Twentieth ◽  
Late Twentieth Century

This article surveys Canada’s regulatory response to global aeromobility in the late twentieth century. It examines the Canadian state’s strategies to restrict the movement of refugee claimants landing at airports during the 1980s and the national discourse around this process. Mass air travel enabled more refugees, particularly from the Global South, to travel to Canada and, in the process, challenged how the country governed aerial and cosmopolitan populations. In response, Canadian authorities erected an enforcement regime at the country’s international airports, which transformed them into contested entry points to national space and normative citizenship where links between mobility, borders, and nation were simultaneously reinforced and contested. This article thus provides an integral case study of national ambivalence toward global aeromobility in the late twentieth century.

Engineers and Social Engineering: Professional/Trade Unions and Social Mobility

2021 ◽  
Vol 120 (1) ◽  
pp. 169-195
Author(s):  
Hannah Forsyth ◽  
Michael P. R. Pearson
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Social Mobility ◽  
Trade Unions ◽  
Social Engineering ◽  
Late Twentieth ◽  
The 1960S ◽  
Late Twentieth Century ◽  
Australian Universities

Professions like engineering were a vehicle for social mobility in Australia early in the twentieth century. By the late twentieth century, despite considerable expansions in higher education, it was much harder for young people to enter a trade and then to use their skills and experience to move into professional engineering. The shift in occupation structure in the early twentieth century, when professions - including engineering - grew rapidly, gave new opportunities to working-class tradespeople to move into professional employment. After the 1960s, when educational norms standardised and professional knowledge became more complex, these pathways narrowed. Motor mechanics, for example, were “trade” engineers who were able to move into professional engineering early in the twentieth century in ways that were extensively limited by the end of the century. This article uses engineering as a case study to consider institutional changes, including the growth of middle-class unions and the increased share of education carried by Australian universities, which made access to professional occupations more difficult for working-class tradespeople from the 1960s onwards. This helps us to identify the emergence of a new kind of class solidarity among professionals in the mid-twentieth century, with which they developed strategies to win rights for themselves, but sometimes at the expense of working-class interests.

Shifting shorelines: Land reclamation and economic blackmail in industrial South Chicago

2018 ◽  
Vol 1 (1-2) ◽  
pp. 186-205
Author(s):  
Chloe E. Taft
Keyword(s):  
Twentieth Century ◽  
Lake Michigan ◽  
Land Reclamation ◽  
Global Capitalism ◽  
Historical Case Study ◽  
Natural Evolution ◽  
Historical Case ◽  
Late Twentieth ◽  
Late Twentieth Century

This article takes an urban political ecological approach to a historical case study to show how corporations shape both material and economic landscapes to make them appear “natural” and stable when they are anything but. In the early twentieth century, Illinois Steel dumped waste into Lake Michigan at its South Chicago plant to surreptitiously expand its landholdings. The company leveraged a legal claim to the land—a claim that it materially produced out of slag—along with threats to move its operations to Indiana as bargaining chips to avoid further community pushback or regulatory intervention. This research modifies the typical chronology of “the runaway factory,” most often associated with the late twentieth century, to show that economic blackmail was instrumental to the process of industrialization itself. I treat the archive of South Chicago’s shifting shoreline as a muddy artifact of multiple and often contradictory social and political claims rather than a record of biophysical reality. By illustrating specific materializations of global capitalism in an unstable landscape, I argue that processes of disinvestment that transformed industrial communities over the course of the twentieth century were not part of a natural evolution but were contested, uneven, and actively pursued.

Last Letters: Keats, Bishop and Hughes

2015 ◽  
Author(s):  
Jonathan Ellis
Keyword(s):  
Twentieth Century ◽  
John Keats ◽  
Letter Writing ◽  
Elizabeth Bishop ◽  
Ted Hughes ◽  
Close Relationship ◽  
Late Twentieth ◽  
Relationship Of ◽  
Late Twentieth Century

This chapter looks at the discourse of last letters in the writing of poets such as John Keats, Elizabeth Bishop and Ted Hughes. In particular, it scrutinises the close relationship of the ‘last letter’ to aesthetic and theoretical debates about the permanence of art over life, mind over matter, writing over speech. The chapter also addresses the elegiac strain in late twentieth-century letter writing, the sense among many poets that they are the very last letter writers.

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