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publics. Conclusion: An Accentuated and Responsive Domestic Turn Under the weight of the changing conditions of the twenty-first century, many traditional pillars of strength with respect to public diplomacy face severe tests. Not only has the strategic model come up against operational

In: Debating Public Diplomacy

publics. Conclusion: An Accentuated and Responsive Domestic Turn Under the weight of the changing conditions of the twenty-first century, many traditional pillars of strength with respect to public diplomacy face severe tests. Not only has the strategic model come up against operational

In: The Hague Journal of Diplomacy
Author:

due to her horrendous family upbringing gives an unprecedented domestic turn to Ackroyd’s depiction of Victorian London, placing the dysfunctional family at its centre. This article argues that the process of sideshadowing brought about by Ackroyd’s representation of the making of a Victorian

In: Neo-Victorian Families
Author:

The fact that the protagonist of Dan Leno and the Limehouse Golem is a woman who becomes a murderess due to her horrendous family upbringing gives an unprecedented domestic turn to Ackroyd’s depiction of Victorian London, placing the dysfunctional family at its centre. This article argues that the process of sideshadowing brought about by Ackroyd’s representation of the making of a Victorian serial killer, with its pattern of cyclical repetition and its carnivalesque excessiveness, casts new light not only on our own traumatic age but also, just as importantly, on the darkest and most forcefully repressed aspects of the Victorian family. More concretely, Abraham and Torok’s theory of the phantom is employed to show how Ackroyd unveils the mechanisms of sublimation and displacement used in mid-Victorian sensation novels and penny dreadfuls to hide the objectifying, often abusive dysfunctionality of nuclear families that threatened the perpetuation of the comforting though illusionary family romance.

In: Neo-Victorian Families

Abstract

Craftivism combines craft and activism. This paper contributes to the field of contemporary culture, mission, and creative making by examining the Christmas Angels project, in which local churches yarn-bomb hand-knitted angels, as an ecclesial expression of craftivism. Recipient responses to this fresh expression of Christian witness are analysed by examination of over 1,100 ‘#xmasangel’ tweets. Analysis reveals a found theology, in which angels are received with joy and surprise, understood in the context of love, experienced as a place-based gift and embody a participative making. A missiology of making is developed, reading the yarn-bombed Christmas angels as an ecclesial practice of witness in continuity with a theology of making in the Wisdom literature and ‘craft-egesis’ of mission in Acts. The research has relevance in exploring the potential of digital data in empirical ecclesial research and challenging missiology to be practical in ‘making’ a domestic turn.

In: Ecclesial Practices

, while keeping the articles on domestic lar- ceny and sexual intercourse. The effort to use municipal power to regulate working conditions for domestics turned out to be a failed experiment, an ineffective means to a dubious end. Why had the towns in Holland resorted to municipal regulation in the first

In: Power and the City in the Netherlandic World

‘an apprenticeship’ for public matters. 6 In this context, domestic turns out not to belong to the realm of the private, as modern usage would suggest; more often it considers family holdings as a basic unit of political economy, and in this sense, inherently building blocks of the public. The

Open Access
In: Early Modern Privacy
Author:

deserve to be studied in a similar way, notably the American Isabella Stewart Gardner, who modeled herself on the Renaissance Isabella and founded a museum in Boston. 86 6.8 The Domestic Turn A recent shift of interest in studies of the Italian Renaissance in particular has been the revaluation

In: The Art Market in Rome in the Eighteenth Century
Author:

contemporary Chinese art,” Art Journal 58.2 (Summer, 1999), 46–59. 143  Wu Hung, “A ‘domestic turn’: Chinese experimental art in the 1990s,” Yishu: Journal of Contemporary Chinese Art 1.3 (Fall/November 2002), 3–17; Wu Hung, Wang Huangsheng, and Feng Boyi, eds, Reinterpretation: a decade of experimental

In: Modern Chinese Religion II: 1850 - 2015 (2 vols.)
Author:

in the field—backed by newly emphasised home church or ‘Hoon Dok Hae’ (hundokhoe 훈독회) activities—to enable Unifica- tion thought to impact on the wider society and domestically turn the tide in favour of the UM’s ideology. A country whose spirit is entrenched in the Unificationist worldview is so

Open Access
In: Vienna Journal of East Asian Studies