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Bluecoat is a unique and much-loved Liverpool institution, its oldest city centre building. This book tells the fascinating story of its transformation from charity school to contemporary arts centre, the UK’s first. Its early 18th century origins shed light on the religious and maritime mercantile environment of the growing port, whose merchants supported the school. Echoes from then are revealed in themes explored by artists in the 20th century, including slavery and colonial legacies. The predominant focus is on an inclusive building for the arts, starting with colourful bohemian society, the Sandon, who established an artistic colony in 1907, hosting significant exhibitions by the Post...
An Open Access edition of this book will be available on theLiverpool University Press website and the OAPEN library on publication. 'Whoever thought they would one day be able to read Malcolm Lowry's fabled novel ofthe 1930s and 40s, In Ballast to theWhite Sea? Lord knows, I didn't' - Michael Hofmann, TLS This book breaks new ground in studies of the Britishnovelist Malcolm Lowry (1909-57), as the first collection of new essaysproduced in response to the publication in 2014 of a scholarly edition ofLowry's 'lost' novel, In Ballast to theWhite Sea. In their introduction, editors Helen Tookey and Bryan Biggsshow how the publication of In Ballastsheds new light on Lowry as both a highly politi...
A fascinating study that examines Liverpool’s mixed population and its approach to race relations, in order to provide historical context and perspective to debates about Britain’s experience of empire in the twentieth century.
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Liverpool’s dynamic music scene gave the world The Beatles. What city could hope to follow that? But 12 years later, in 1974, lightning nearly struck twice. Deaf School were a band formed in John Lennon’s old art college, rehearsing in the very same rooms. With their chaotic and wildly entertaining brand of rock cabaret, Deaf School were tipped for instant stardom and signed up by Warner Brothers in California. But suddenly, with the world at their feet, Deaf School were swept aside by Britain’s punk rock revolution. “A great band,” said the Sex Pistols’ manager Malcolm McLaren. “But it’s just as bad being too early as too late.” Though their hopes were dashed the band has never surrendered. And 40 years on, Deaf School’s influence is acknowledged by British bands from Madness to Dexy's Midnight Runners. Their reunion shows, still madly glamorous and eccentric, are tribal gatherings for a fanbase that never forgot them. The band’s first full-length biography is written by British music writer Paul Du Noyer, a follower since Deaf School’s early days in Liverpool. “Deaf School are such a delicious secret,” he says. “It’s almost a shame to reveal it.”
The actions of Irish nationalists in Britain are often characterised as a 'sideshow' to the revolutionary events in Ireland between 1912 and 1922. This original study argues, conversely, that Irish nationalism in Britain was integral to contemporary Irish and British assessments of the Irish Revolution between the Third Home Rule Bill and the Anglo-Irish Treaty. Darragh Gannon charts the development of Irish nationalism across the Irish Sea over the course of a historic decade in United Kingdom history – from constitutional crisis, to war, and revolution. The book documents successive Home Rule and IRA campaigns in Britain coordinated by John Redmond and Michael Collins respectively and examines the mobilisation of Irish migrant communities in British cities in response to major political crises, from the Ulster crisis to the First World War. Finally, Conflict, Diaspora, and Empire assesses the impacts of Irish nationalism in metropolitan Britain, from Whitehall to Westminster. The Irish Revolution, this study concludes, was defined by political conflicts, and cultures, across the Irish Sea.
Before his untimely death at the age of 47, Dinesh Allirajah was one of the most versatile and accomplished writers working in the North of England. Whether as a performance poet, literary critic, wry social commentator or masterfully understated short story writer, his work was always international in scope, but local and personal in touch. Witty, irreverent, and intricately observed, his writing was informed by everything from raregroove jazz to experimental theatre, crime noir to stand-up comedy. Yet it always felt, and continues to feel, bespoke to us as readers. The short stories, in particular, allow us to eavesdrop on the most intimate, unattended moments in their characters’ lives....
Guillermo Gómez-Peña has spent many years developing his unique style of performance-activism; his theatricalizations of postcolonial theory. In Ethno-Techno: Writings on Performance, Activism and Pedagogy, he pushes the boundaries still further, exploring what's left for artists to do in a post-9/11 repressive culture of what he calls 'the mainstream bizarre'. Over forty-five photos document his artistic experiments and the text not only explores and confronts his political and philosophical parameters; it offers groundbreaking insights into his, and his company's, methods of production, development and teaching. The result is an extraordinary and inspiring glimpse into the life and work of one of the most daring, innovative and challenging performance artists of our age.
This edited collection, bringing together art historians and curators working both in the ‘East’ and the ‘West’ of Europe, is a result of a growing interest in the theorisation and historical analysis of feminist curating as a distinct practice with its own transnational history and politics. In most former state-socialist countries of Eastern Europe, the emergence and public visibility of feminist curating and exhibitions usually dates back to the 1990s and is associated with the radical transformation of art practices, ideologies and art systems as well as with wider socio-political and intellectual changes, and challenges, of post-socialist transition. This history, and its legacy...
This book examines the role of community filmmaking in society and its connection with issues of cultural diversity, innovation, policy and practice in various places. Deploying a range of examples from Europe, North America, Australia and Hong Kong, the chapters show that film emerging from outside the mainstream film industries and within community contexts can lead to innovation in terms of both content and processes and a better representation of the cultural diversity of a range of communities and places. The book aims to situate the community filmmaker as the central node in the complex network of relationships between diverse communities, funding bodies, policy and the film industries.