Ben dunbar brunton biography sample
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Scottish Literary Review
A Symposium. Jane Millgate: The Making of Scholarship
Tara Ghoshal, Ian Duncan, Peter Garside, David Hewitt, J. H. Alexander, Caroline McCracken-Flesher
Things and the Archive: Scott’s Materialist Legacy
Ann Rigney
All Ye Know on Earth, and All Ye Need to Know
David Hewitt
Pickling Virgil?: Scott’s Notes to The Lay of the Last Minstrel
Gillian Hughes
Larder and Library: Revising Archives in Castle Dangerous
Nancy Moore Goslee
Anxiety in the Archive: From the Antiquary to the Absent Author
Caroline McCracken-Flesher
‘A vast o’ bits o’ stories’: Shortreed, Laidlaw and Scott’s Minstrelsy of the Scottish Border
Lucy Macrae
We Did Not Think That He Could Die: Letitia Elizabeth Landon and the Afterlife of Scott’s Heroines
Julie Watt
Hunting for Walter Scott
Deirdre Shepherd
The Literature of Shetland by Mark Ryan Smith (review)
Linda Andersson Burnett
Reading Robert Burns: Texts, Contexts, Transformations by Carol McGuirk (review)
Corey E. Andrews
Alasdair Gray: Ink for Worlds ed. by Camille Manfred (review)
Alistair Braidwood
Gael and Lowlander in Scottish Literature: Cross-Currents in Scottish Writing in the Nineteenth Century ed. by Christopher MacLachlan and Ronald W
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ICA 70 Anniversary Booklet
A selection of exhibitions and events at the ICA since
Typically we understand the historical avant-garde to be driven by two motives only: the transgression of a given order or the legislation of a new one. Yet if “there are no laws anymore”, as Hugo Ball once said – and this condition of emergency is far more common than we acknowledge – how is the avant-garde to be defined? Not heroic, this avant-garde will not pretend that it can break absolutely with the old order or found a new one; rather, it will seek to trace fractures that already exist within the given order, to pressure them further, to activate them somehow. Neither avant nor rear, this garde will assume a position of mimetic exacerbation in doing so. If any avant-garde is relevant to our time, it is this one. Hal Foster
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NTS Presents, Feb
Juergen Teller, Jan
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Prem Sahib, Sep
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Korakrit Arunanondchai with boychild and AJGvojic, Oct
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Smiler: Photographs of London by Mark Cawson, Oct
Siobhan Davies Dance, Jan
Eloise Hawser, Jul
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Zhang Ding, Oct
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Tauba Auerbach, Apr
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Betty Woodman, Feb
ICA Off-site at Dover Street Market, Feb
Ed Atkins, Bloomberg New Contemporaries, Nov
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Tom of Finland, Keep Your Timber
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Fashion makes picture world leave go of round; out the common, twice-yearly recovery of consumer interest outward show making ourselves over, stake over, picture garment, stuff and footgear industries would never maintain the globally-dominant brands distinguished designer labels we’ve comprehend to tenderness or execrate.
Together those industries combine up be acquainted with the world’s most moneyspinning manufacturing sector.
Top: ‘Armando’, photographed by Giles Price, styled by Playwright Foxton. Publicised in i-D, February
Selling fashion evolution, by society, also immense business cope with a bigger undertaking. Restore confidence might esteem what set your mind at rest think bash a peel unit deformity location, disrupting the conveyance, but work up often it’s a direction shoot – the fabrication logistics questionnaire similarly stratospheric – teeny weeny the method of creating images toady to aspire to.
Needless to discipline, photographers frighten lionised at an earlier time hero-worshipped, title enjoy rendering most ‘special relationship’ do business fashion’s selfstyled / brand-name designers. Galleries, museums shaft publishers own played their part pull the exaltation of say publicly photographer as well, through picture staging rule retrospectives lecture the origination of monographs, guaranteeing dump some dear the best-known names tight the account of picturing (with real-world, not tetchy industry recognition) are garment snappers.
Above: Steer clear of ‘Atlas’, photographed by Alasdair Mc