How is Ireland’s housing crisis shaping Irish art today? Sarah Churchill asks contemporary Irish artists Aideen Barry and Spicebag for their thoughts.
In part two of this five-part series, Geetha Ramanathan considers the use of the “ancestral archive” to discuss gender models…
In this five-part series, Geetha Ramanathan, author of Kathleen Collins: The Black Essai Film (Edinburgh University Press, 2020), explores over…
Even before COVID-19, unprecedented levels of public and private borrowing placed debt at the centre of academic and public debates. If access to credit at this stage of the pandemic is crucial for keeping alive economies across the globe, the health crisis has further exacerbated our reliance on borrowing. Massive efforts are expected of states and central banks to support not only individual financial institutions but the financial system as a whole.
In and extended blog post, William Brown and David Fleming discuss 8 new introductions to their new book, The Squid Cinema from Hell.
William Brown and David H Fleming discuss the eight possible other introductions to their book The Squid Cinema from Hell.
Biography is a dangerous genre for any historian. Inevitably it has to be set in the history of the subject’s…
To celebrate the release of Muslim Preaching in the Middle East and Beyond: Historical and Contemporary Case Studies, editors Simon…
The past years have seen many commemorations in the Israeli–Arab conflict: 100 years since the Balfour Declaration (2017), seventy years…
Anglophone literary criticism has over the last decade engaged in a searching analysis and critique of its own methods. Perhaps surprisingly, much of that debate has considered *how* one should engage in literary interpretation—whether one should read closely or from a distance, interpret in a paranoid or reparative way, emphasize the work’s surface or depth, engage in “critique” or some other mode of attachment—and rather less *why*. But we might benefit from asking that question more openly: what, after all, is the point of literary criticism? Why does this practice merit the sustained intellectual energy so many scholars have devoted to it?