scholarly journals Dementia and literature

2003 ◽  
Vol 9 (6) ◽  
pp. 439-445 ◽  
Author(s):  
Christopher A. Vassilas
Keyword(s):  
Scar Tissue ◽  
First Person ◽  
Iris Murdoch ◽  
The Public ◽  
The Arts ◽  
Jewish Migration ◽  
Two Generations ◽  
Four Books ◽  
Person Account ◽  
The Uk

As we doctors are beginning to understand more and more about dementia, the public has become increasingly aware of the condition and in turn this has been reflected in the arts. This article discusses four books whose main focus is the experience of dementia, each written from an entirely different perspective: a novel giving a first-person account of dementia by the Dutch writer J. Bernlef; a biography of the famous novelist Iris Murdoch by her husband John Bayley; Linda Grant's account of her mother's multi-infarct dementia (which also describes Jewish migration to the UK two generations ago); and Michael Igniateff's autobiographical novel Scar Tissue. Such accounts, offering insights into how patients and carers feel, cannot but help make us better doctors.

Introduction to Stuart Hall

2006 ◽  
Author(s):  
Stephen Howe ◽  
Stuart Hall
Keyword(s):  
Culture Media ◽  
Public Intellectual ◽  
The Public ◽  
Black British ◽  
The Arts ◽  
Two Generations ◽  
Stuart Hall ◽  
The Face ◽  
The Public Sphere ◽  
Tv Show

Stuart Hall has inspired, influenced, and often provoked at least two generations of scholars and activists, across Britain and far beyond. He has held distinguished academic positions in both Cultural Studies (a discipline, or discourse, in whose making and remaking he has been a central figure) and Sociology. But his ideas and their impact have not been, and could not be, confined to any disciplinary mould, nor to the academic world alone. He has written on and been a significant and original voice in debates on popular culture, media and the arts, Thatcherism and the future of the Left, Marx and Gramsci, modernism and postmodernism, racial theories and race relations, concepts of diaspora, globalization, ethnicity, identity, and hybridity—and even that is just a near-random selection from among the themes that his work has addressed. His influence may be encountered, his name invoked, among artists and film-makers, especially younger black British ones, as well as academics. Strikingly, in a recent poll seeking to rank the ‘100 Greatest Black Britons’, Hall was the only living intellectual to feature at all prominently (at no. 10) among musicians, sportspeople, and TV personalities. This polymathic presence does not, however, extend to absolute ubiquity: it should be pointed out that the presenter of the once-popular TV show ‘It’s a Knockout’ was an entirely different Stuart Hall. Our Stuart Hall is, on the face of it, very much a ‘public intellectual’. This is a label more familiar in America than in Britain, and one which sometimes seems to mean ‘glib, media-friendly polemicist’. That is clearly not Hall at all, and perhaps the idea of the public intellectual fits him better if it is redefined: not (just) as someone who appears frequently in the public sphere, but as one whose efforts have always been directed towards defending and extending that sphere, its integrity, democracy, and inclusiveness. It is an ethical as well as a political endeavour. Hall’s lifelong adherence to it, no less than the subject-matter and intellectual power of his essay here, makes him an apt choice to open this collection of Oxford Amnesty Lectures.

The Discovery of a Masterpiece

2019 ◽  
pp. 5-50
Author(s):  
Margaret Dalivalle ◽  
Martin Kemp ◽  
Robert B. Simon
Keyword(s):  
New Orleans ◽  
Da Vinci ◽  
Research Process ◽  
Leonardo Da Vinci ◽  
First Person ◽  
National Gallery ◽  
The Public ◽  
The Press ◽  
Person Account

Chapter 1 presents a first-person account of the discovery of the Salvator Mundi, from its appearance as a copy at an American auction to its establishment as the lost original painting by Leonardo da Vinci. Robert Simon presents a chronological account of his involvement with the acquisition, research, conservation, and scholarly verification of the work over the period from 2005 to 2011, when the painting was included in the landmark exhibition at the National Gallery, Leonardo da Vinci Painter at the Court of Milan. The modern provenance of the painting is reviewed, focusing on its tenure in the Cook Collection of Richmond, its sale in 1958, and its reappearance in New Orleans. The conservation of the painting by Dianne Dwyer Modestini is discussed, as well as the research process, and the introduction of the painting to art historians, Leonardo specialists, the press, and, eventually, the public.

scholarly journals Practices of Remembrance: The Experiences of Artists and Curators in the Centenary Commemoration of World War I

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 59
Author(s):  
Katherine Isobel Baxter
Keyword(s):  
World War I ◽  
Social Transformation ◽  
Creative Arts ◽  
World War ◽  
World War One ◽  
The Public ◽  
The Arts ◽  
Affective Experiences ◽  
The Uk ◽  
National Investment

The centenary of World War One was marked in the UK by an unprecedented national investment in the creative arts as a vehicle for remembrance. This scale of funding for commemorative arts, not least under a government whose mantra had been economic “austerity”, demonstrates the importance that the nation-state placed on remembrance and on engaging the public in acts of memory through the arts. In the aftermath of the centenary, funding bodies have commissioned evaluations of this programming. These evaluations have focused on audiences reached, organisations benefitted, and social transformation. What remain occluded by the reports are the experiences of the artists themselves and the curators with whom they worked. In this article I explore the personal and affective experiences of several artists and curators whose work contributed to this national programme of remembrance. I ask: to what extent did artists and curators consciously engage with prior artistic responses to World War One? How did the context of collective commemoration and memory-making inform their practice and the works produced? What did their involvement in this programme of national remembrance make them feel? What were the narratives of the war they wanted to tell? To begin to answer these questions, I draw on a series of one-to-one interviews conducted with a number of artists and curators who were involved in commemorative projects in the UK and overseas.

Unlock imagined: arts in criminal justice

2019 ◽  
Vol 1 (2) ◽  
pp. 131-143
Author(s):  
Alison Frater
Keyword(s):  
Criminal Justice ◽  
Criminal Justice System ◽  
Justice System ◽  
Interdisciplinary Approach ◽  
Personal Perspective ◽  
Theoretical Understanding ◽  
The Arts ◽  
Optimistic Picture ◽  
The Uk ◽  
Causes Of Crime

Starting with a personal perspective this piece outlines the place and role of the arts in the criminal justice system in the UK. It paints an optimistic picture, though an unsettling one, because the imagination and reflexiveness of the arts reveals a great deal about the causes of crime and the consequences of incarceration. It raises questions about the transforming impact of the arts: how the benefits could, and should, be optimised and why evaluations of arts interventions are consistent in identifying the need for a non-coercive, more socially focused, paradigm for rehabilitation. It concludes that the deeper the arts are embedded in the criminal justice system the greater the benefits will be, that a more interdisciplinary approach would support better theoretical understanding, and that increased capacity to deliver arts in the criminal justice system is needed to offer more people a creative pathway out of crime.

Editorial: Antisemitism in the UK Labour Party

2020 ◽  
Vol 3 (2) ◽  
Author(s):  
Lesley Klaff
Keyword(s):  
Open Access ◽  
Public Sphere ◽  
Labour Party ◽  
Research Note ◽  
The Public ◽  
The Public Sphere ◽  
The Uk ◽  
Exciting Development

I am pleased to publish an open-access online preprint of two articles and a research note that will appear in the forthcoming issue of the Journal of Contemporary Antisemitism 3, no. 2 (Fall 2020). This preprint is a new and exciting development for the Journal. It has been made possible by the generous donations from sponsors, including BICOM's co-chairman, David Cohen, whose support for the work of the Journal allows for timely scholarly analysis to be put into the public sphere.

An Expert Ranked List of Pro-nature Conservation Behaviours for Public Use

2019 ◽  
Author(s):  
Lea Barbett ◽  
Edward Stupple ◽  
Michael Sweet ◽  
Miles Richardson
Keyword(s):  
Nature Conservation ◽  
General Population ◽  
Mass Extinction ◽  
Negative Impact ◽  
Ecological Impact ◽  
Human Action ◽  
Short Paper ◽  
The Public ◽  
The Uk ◽  
Ranked List

The planet is facing an anthropogenic mass extinction of wildlife, which will have a grave impact on the environment and humans. Widespread human action is needed to minimize the negative impact of humans on biodiversity and support the restoration of wildlife. In order to find effective ways to promote pro-nature conservation behaviours to the general population, there is a need to provide a list of behaviours which will have worthwhile ecological impact and are worth encouraging. In a novel collaboration between psychologists and ecologists, 70 experts from practical and academic conservation backgrounds were asked to review and rate 48 conservation related behaviours. According to their judgement, this short paper presents a ranked list of pro-nature conservation behaviours for the public in the UK and similar landscapes. This includes behaviours people can engage in in their homes, their gardens, on their land, and in their roles as citizens.

Sisterhood and After

2019 ◽  
Author(s):  
Margaretta Jolly
Keyword(s):  
Oral History ◽  
Women's Liberation ◽  
Equal Rights ◽  
Collective Memories ◽  
Women’S Liberation ◽  
Two Generations ◽  
Personal Accounts ◽  
The Individual ◽  
The Uk ◽  
Cultural Taste

This ground-breaking history of the UK Women’s Liberation Movement explores the individual and collective memories of women at its heart. Spanning at least two generations and four nations, and moving through the tumultuous decades from the 1970s to the present, the narrative is powered by feminist oral history, notably the British Library’s Sisterhood and After: The Women’s Liberation Oral History Project. The book mines these precious archives to bring fresh insight into the lives of activists and the campaigns and ideas they mobilised. It navigates still-contested questions of class, race, violence, and upbringing—as well as the intimacies, sexualities and passions that helped fire women’s liberation—and shows why many feminists still regard notions of ‘equality’ or even ‘equal rights’ as insufficient. It casts new light on iconic campaigns and actions in what is sometimes simplified as feminism’s ‘second wave’, and enlivens a narrative too easily framed by ideological abstraction with candid, insightful, sometimes painful personal accounts of national and less well-known women activists. They describe lives shaped not only by structures of race, class, gender, sexuality and physical ability, but by education, age, love and cultural taste. At the same time, they offer extraordinary insights into feminist lifestyles and domestic pleasures, and the crossovers and conflicts between feminists. The work draws on oral history’s strength as creative method, as seen with its conclusion, where readers are urged to enter the archives of feminist memory and use what they find there to shape their own political futures.

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