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Hermann Gross: a protean German Expressionist artist who chose to live and work in the north of Scotland
Read more: Hermann Gross: a protean German Expressionist artist who chose to live and work in the north of ScotlandRobin Jackson explores the life and extraordinary range of work of 20th century German artist Hermann Gross
The Edinburgh Companion to Don DeLillo and the Arts: Q&A with the author
by Catherine Gander Tell us a bit about your book. The Edinburgh Companion to Don DeLillo and the Arts brings together 31 excellent international scholars. It’s the first book to comprehensively explore DeLillo’s life-long engagement with the arts – visual,…
Video: A Conversation with Daniel Matthews and William MacNeil
Having won the Penny Pether Prize for his book Earthbound: The Aesthetics of Sovereignty in the Anthropocene, author Daniel Matthews joined series editor William MacNeil for a discussion on the book. They discuss how Matthew’s theory of language informed his…
James Benning: A Cinema of Our Times
In James Benning’s film Concord Woods (2014), we watch a replica of Henry David Thoreau’s famous cabin at Walden Pond. The cabin is first shown during the summer solstice, graced by the golden sunlight. The shot lingers for sixty minutes…
Sentimentalism and the Musical at Eurovision 2017
The 2017 Eurovision Song Contest was won this year by Portugal’s entry, with a singer called Salvador Sobral, who sang a simple, heartfelt song of love and loss. Over and against the elaborate stage mechanics and outlandish attempts at eclecticism…
40 years of Oxford Literary Review
Oxford Literary Review (OLR) founded in 1977 by Ian McLeod, Ann Wordsworth and Robert J. C. Young, is now celebrating its 40th anniversary. To celebrate, in each month of 2017 the Edinburgh University Press blog will highlight an influential article published…
Death Drive
Here, Matt Ffytche introduces a special issue of Psychoanalysis and History, Afterlives of the Death Drive. The death drive has proved relevant to so many different intellectual contexts in part because of the extravagance, or allusiveness of Freud’s original gesture…