Judgmental Point of View on Marlowe’s Doctor Faustus (1) وجهة نظر ناقدة حول م...Al Baha University
The Elizabethan poet-dramatist Christopher Marlowe is one of the most distinguished literary figures who put a touchable print and significantly contributed to the English literature through various masterpieces such as The Tragical History of the Life and Death of Doctor Faustus. The main character is Doctor Faustus, who surpasses in many fields of learnings but unfortunately, he detours his track searching for unlimited power and influence. The paper attempts to shed light on some critical and condemnatory points of view on Elizabethan theater with particular reference to Doctor Faustus as a person of extravagant ambition, an experienced philosopher who rejects natural sciences to metaphysical powers. This task might be extended with more investigations to deal with the two broad points fully; the Elizabethan theater and Doctor Faustus. This study comes to an end with a concise summary as an initial conclusion.
Judgmental Point of View on Marlowe’s Doctor Faustus (1) وجهة نظر ناقدة حول م...Al Baha University
The Elizabethan poet-dramatist Christopher Marlowe is one of the most distinguished literary figures who put a touchable print and significantly contributed to the English literature through various masterpieces such as The Tragical History of the Life and Death of Doctor Faustus. The main character is Doctor Faustus, who surpasses in many fields of learnings but unfortunately, he detours his track searching for unlimited power and influence. The paper attempts to shed light on some critical and condemnatory points of view on Elizabethan theater with particular reference to Doctor Faustus as a person of extravagant ambition, an experienced philosopher who rejects natural sciences to metaphysical powers. This task might be extended with more investigations to deal with the two broad points fully; the Elizabethan theater and Doctor Faustus. This study comes to an end with a concise summary as an initial conclusion.
this is my Renaissance literature's presentation. this presentation is a part of my academic study in M.A at Department of English M. K. Bhavnagar university, it is submitted to Dr. Dilip Barad.
PPT on Paper 11. The Post Colonial Literature Sima Rathod
In this presentation i have tried to discuss about the three versions of The Tempest by William Shakespeare with Aime Cesaire's A Tempest and The Tempest by Neil Gaiman .
Clowns and fools_in_william_shakespeares_drama_Nidhi Jethava
This presentation is about 'Clowns and Fools' in William Shakespeare's work. This will very helpful to all of us. Roll of clowns are very important in his works.
Presentation about the Restoration Period of Drama, the most popular type of comedy of the age - Comedy of Manners and Richard Sheridan, who wrote The School for Scandal, a representative play of the Restoration Age of Drama.
Lecture slides for MA Contemporary Art Theory and for MFA Visual Culture students at Edinburgh College of Art.
http://www.eca.ac.uk/pdf/getCourse.php?id=88
this is my Renaissance literature's presentation. this presentation is a part of my academic study in M.A at Department of English M. K. Bhavnagar university, it is submitted to Dr. Dilip Barad.
PPT on Paper 11. The Post Colonial Literature Sima Rathod
In this presentation i have tried to discuss about the three versions of The Tempest by William Shakespeare with Aime Cesaire's A Tempest and The Tempest by Neil Gaiman .
Clowns and fools_in_william_shakespeares_drama_Nidhi Jethava
This presentation is about 'Clowns and Fools' in William Shakespeare's work. This will very helpful to all of us. Roll of clowns are very important in his works.
Presentation about the Restoration Period of Drama, the most popular type of comedy of the age - Comedy of Manners and Richard Sheridan, who wrote The School for Scandal, a representative play of the Restoration Age of Drama.
Lecture slides for MA Contemporary Art Theory and for MFA Visual Culture students at Edinburgh College of Art.
http://www.eca.ac.uk/pdf/getCourse.php?id=88
Lecture slides for MA Contemporary Art Theory and for MFA1 Studio students in the School of Art, Edinburgh College of Art.
http://www.eca.ac.uk/pdf/getCourse.php?id=88
These are still to be updated for Dorm, but are similar those I will discuss at:
The Model – Sligo, Ireland
Opening: Saturday 1 May 2010 18:00-21:00
Symposium: Sunday 2 May 2010 16:00-18:00
Exhibition: Sunday 2 May – Sunday 4 July 2010
http://themodel.ie/exhibitions/dorm
The Model re-opens May Day with the vibrant exhibition Dorm. To coincide with this occasion, Reactor open the doors of The Munkanon Centre for one day only, with Munkanites on hand and ready to help. For the duration of the exhibition, an audio recording will be left in situ, which along with the remaining artefacts and remnants provide a glimpse into the world of Munkanon.
http://neilmulholland.blogspot.com/2010/04/munkanon-centre-model-sligo-ireland.html
This lecture is part of a series of four lectures, developed for the AKI-academy, Enschede, The Netherlands, for the department Crossmedia Design. These lectures are the points of reference for short presentations created by the participating students.
“On Dumpster Diving” by Lars Eighner Essay Example | StudyHippo.com. On Dumpster Diving Essay Example | StudyHippo.com. Dumpster Diving - Free Essay Example - 609 Words | PapersOwl.com. Dumpster Diving essay. Dumpster Diving - Free Essay Example | PapersOwl.com. My Daily Dives in the Dumpster Response Essay Example | StudyHippo.com. ⇉Essay About “Dumpster Diving” by Lars Eighner Essay Example | GraduateWay. On Dumpster Diving - 575 Words | Free Essay Example on GraduateWay. ⇉Dumpster Diving by Lars Eighner Analysis Essay Example | GraduateWay. On Dumpster Diving Critique Essay Example | Topics and Well Written .... 005 Dumpster Diving Essay Example Organization Structure Form ~ Thatsnotus. Dumpster diving essay analysis... On dumpster diving essay. Dumpster Diving Essay Thesis Proposal.
ESF Presentation to Nuclear Proliferation International History Project: Roma Are University and supported by the Historical Archives of the European Union.
The Mississippi Scheme Gardens of the Hotel de Soissons, 1720 Memoirs of E...Chuck Thompson
Take a trip back in time with this ebook. From 1720 Europe, Interesting and at times truly remarkable stories from our past. It's hard to put down once you start. Gloucester, Virginia Links and News website. Visit us for more incredible content.
URSULA K. LE GUIN (11. 1929) is Ilrcv titrrr,ylrlrr of hilc.docxdickonsondorris
URSULA K. LE GUIN (11. 1929) is Ilrcv titrrr,ylrlrr of '/'hilctri~~rrr Kroc*/~c*r, r r
writer, and Alfred Louis Kroeber, a pioneerirrg anllrro~~oli~,~isl at tlrc llrrir~clrsil,y I ) /
California at Berkeley. From her family background Id(# Guirr acqrrin1rl rr rii~uble
orientation, humanistic and scientific, that shows in all her writ in^. She 7i)tls
educated at Radcliffe College and Columbia University, where she corrrl?l~,tod rr
master's thesis i n medieval romance literature. In 1953 she married the historirrrr
Charles Le Guin, with whom she had three children. Although she wrote her first
science-fiction story at the age of twelve, she didn't begin publishing until twenty
years later. One of her stories, "Semley's Necklace," grew into her first publishrd
novel, Rocannon's World (1966). Another story, "Winter's King," introduced the
setting she developed for her first major success, the novel The Left Hand of
Darkness (1969). These stories and novels, along with Planet of Exile (1966),
City of Illusions (1967), The Dispossessed (1974), the novella The Word for
World Is Forest (1976), and stories in The Wind's Twelve Quarters (1976),
form the Hainish cycle, a series of independent works sharing an imaginary historic
background. Le Guin has also published several other fantasy novels and three more
story collections.
Although Le Guin's earliest work primarily attracted a devoted audience of
science-fiction readers, her later work - especially The Left Hand of Darkness
- has wider appeal. In that novel she explored the theme of androgyny on the
planet Winter (Gethen), where inhabitants may adopt alternately male and female
roles. Le Guin insists on Aristotle's definition of Homo sapiens as social animals,
and she shows how difficult it is to think of our fellow humans as people, rather
than as men and women.
Le Guin brings to fantasy fiction a wealth of literary scholarship, crediting
Leo Tolstoy, Anton Chekhov, and Virginia Woolf (among others) as her primary
influences. Most of her stories, like "The Ones W h o Walk Away from Omelas," are
about reciprocal relationships, illustrating "the sort of golden rule that whatever
you touch, touches you." This maxim has scientific backings in ecology and philo-
sophical echoes i n Taoism and Zen. Le Guin doesn't claim to be a brilliant stylist
or an original thinker. She has said that she works best with what she calls "fortune
cookie ideas" suggested by someone else. Through her stories she shows how simple
concepts hide a mass of complexity and contradiction that can create anarchy when
human beings try to act on them. In 1979 Le Guin published a book developing her
ideas about writing, The Language of Night: Essays on Fantasy and Science
Fiction.
RELATED COMMENTARY: Ursula K. Le Guin, "The Scapegoat in Omelas,"
page 1472.
The Ones Who Walk Away from Omelas
With a clamor of bells that set the swallows soaring, the Festival of
Summer came to th ...
Slides for a First Year introduction to aesthetics focusing on the problems of Donald Judd's dictum. The slides relate to my chapter entitled "Art Worlds" in Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley. Published University of Edinburgh Press, 2005
Talk given at LGP Art Theory Course (1968-72) Symposium - 18th November 2010
LGP are organising a symposium of leading academics, artists, curators and writers to analyse the echoes of events at CSAD 1968 - 72 and look at current art educational practice and the perceived systematised failures and/or successes. It will examine the role that the regional art education institution played in the art education narrative and its significance to the wider counter culture of the 70s. In the late sixties and early seventies, CSAD held a vital subset of staff and students who together were responsible for formidable critical opposition to the art education model’s perceived compliance with the market definition of the art object and its reliance on the centrality of the author. The Art and Language collective’s critical agenda was to shift focus beyond the material paradigm and to construct an education capable of reflecting and promoting conceptual practice. The 70s administration of CSAD repelled this self conscious overturn of the traditional material/author-centric regime. This unyielding stand, common through regional art schools at that time, created a network of opposing force which became part of the wider counter culture of the decade.
The symposium will look at the significant role that regional art schools played in the art education narrative and examine how, if at all, the art education institution can function as a site of self-organisation, agitation and change. It will be held at the Herbert and free to attend.
http://neilmulholland.blogspot.com/2010/10/dave-rushton-lgp-coventry-18th-november.html
Slides to accompany a Stage 3 School of Art lecture at eca based on my 'Reel 2 Real Cacophony' chapter in 'Scottish Cinema Now', Edited by Jonathan Murray, Fidelma Farley and Rod Stoneman, Cambridge Scholars Publishing, 2009.
Presentation for CAA 2010 Conference in Chicago
http://conference.collegeart.org/2010/
Historians of British Art British Art: Survey and Field in the Context of Glocalization
Chair: Colette Crossman, independent scholar, Arlington, Virginia
The recent three-volume History of British Art published by the Yale Center for British Art and Tate Britain invites reflection on how art historical surveys situate British art in political, economic, social, and cultural processes that affirm, vex, and otherwise relate “glocally,” integrating global, regional, and local contexts. What is “glocal” in the
historiography, narratives, and methodologies of British art surveys and the ways they lend coherence to a field, blur its boundaries, or position its subject in the mainstream or margins of art history? How
do they treat subjects and subjectivities—citizen, immigrant, emigrant, diasporian, tourist—that bridge local and global through lineage, heritage, memory, and travel? To what effects do they distinguish what is non-British or serve readers outside Britain? In what ways do British
art surveys or British art in world art surveys advance nonart glocal political, economic, or social relationships?
------------------------
Neomedieval Art after Britain
Neil Mulholland, Edinburgh College of Art
Discourses of “British art” are suspended in a geopolitical vacuum that is blind to constitutional changes that have taken place in the United Kingdom since the fin de siècle devolution settlements. These discourses share the common fallacy of assuming that “Britain”—as a
euphemism for a state and as a cultural imaginary—continues to exist as locus of meaningful cultural debate. In fact, since the mid-1960s, the
Keynesian bureaucracy designed to promote the imaginaries of British art has been gradually dismantled, replaced by new European, national,
regional, and transurban cultural technocracies. This is a symptom of neomedievalism—overlapping microgeographies supplanting unilateral
colonial narratives such as “Britishness.” To understand and envisage the cultural implications of the “Balkanization of Britain,” this paper
critically compares the 2009 Venice Pavilions of Britain, Scotland, Wales, Ulster, and the English Regions, foregrounding a neomedieval
self-reflectiveness as the basis of a post-British alterity.
Slides for:
‘The Centre Is Here’: Wales’ Artists Resource Programme
7th April 2009 - Swansea, Cymru
G39's Wales Artists Resource Programme and Chapter Arts Gallery are holding a series of travelling symposiums to focus attention on the professional development of artists in Wales.
The programme offers artists the opportunity to hear first-hand a range of arts professionals from the UK discuss different aspects related to 'professional art practice', as well as encourage critical reflection on artist activity.
This session will concentrate on developing a discourse within Wales and beyond and will look at the level of critical discourse in Wales and how it can be extended. What are the issues that nullify critical discourse and how, if there are any, can these be overcome?
Lecture slides for MA Contemporary Art Theory and for MFA Visual Culture students at Edinburgh College of Art.
http://www.eca.ac.uk/pdf/getCourse.php?id=88
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
How to Create Map Views in the Odoo 17 ERPCeline George
The map views are useful for providing a geographical representation of data. They allow users to visualize and analyze the data in a more intuitive manner.
2. We are looking backwards We are running backwards Running through time into the past Taking retro to its logical conclusion The Mighty Boosh, Series 3, Episode 3, BBC 3
3. Travels of Sir John Mandeville (1357 – 1371?)In one of these isles be folk of great stature, as giants. And they be hideous for to look upon. And they have but one eye, and that is in the middle of the front. And they eat nothing but raw flesh and raw fish.And in another isle toward the south dwell folk of foul stature and of cursed kind that have no heads. And their eyen be in their shoulders.And in another isle be folk that have the face all flat, all plain, without nose and without mouth. But they have two small holes, all round, instead of their eyes, and their mouth is plat also without lips.And in another isle be folk of foul fashion and shape that have the lip above the mouth so great, that when they sleep in the sun they cover all the face with that lip.And in another isle be folk that go upon their hands and their feet as beasts. And they be all skinned and feathered, and they will leap as lightly into trees, and from tree to tree, as it were squirrels or apes.
4. Mappa Mundi ca. 1300. Currently on display in Hereford Cathedral in Hereford, England. Northwest Southwest
5. Images scanned from the Nuremberg Chronicle (1493). One of the best documented early printed books.
6. and the Bonnaconin ‘Asia’ which is looking back over its shoulder at its own explosion of diarrhoea, which, according to the adjacent legend, sprayed a distance of three acres and scalded anything it hit.
7. The relentless association, from the Renaissance onwards, of the Middle Ages with the ‘hypereconomy’ of the gift, with whatever exceeds calculation or rationality, for good or for ill, has made the Middle Ages a marker of fantasy and excess, even of excessive privation, and it continues to have a vast cultural address in the contemporary U.S. precisely as a figure of the unnecessary and the extraordinary.
17. Neomedievalism Umberto Eco, "Dreaming the Middle Ages," in Travels in Hyperreality (1973). "..we are at present witnessing, both in Europe and America, a period of renewed interest in the Middle Ages, with a curious oscillation between fantastic neomedievalism and responsible philological examination..." Luke Collins Cee Face (2005)
19. Olivia Plender The Folly of Man Exposed or the World Upside Down, 2006, Details 35 Warrender Park Road
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21. Spartacus Chetwynd Mime Troupe (left) Spartacus Chetwynd Mime Troupe Feminism, Little Tales of Misogyny. Sequences, Reykjavik, November 2009
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28. Alex Pollard Robin Hood Vortex (2008) Oil on Canvas Alex Pollard and Claire Stephenson – Four Fatrasies, Pump House Gallery, Battersea Park, London 20 January - 14 March 2010
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30. "If the reader will suspend his disbelief and exercise his imagination upon it even for a few minutes, I think he will become aware of the vast re-adjustment involved in a perceptive reading of the old poets. He will find his whole attitude to the universe inverted. In modern, that is, in evolutionary, thought Man stands at the top of a stair whose foot is lost in obscurity; in this, he stands at the bottom of a stair whose top is invisible with light." C.S. Lewis 'The Discarded Image'.
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33. Plastique Fantastique Ribbon Dance Ritual to call forth the Pre-Industrial Modern part of The Event in Birmingham in April 2007
The neo-feudalism generated in this contemporary narrative is one that fuses neatly with current Western geopolitical analyses of globalisation. Of course, the fascination with the Other has to extend beyond ‘British’ and European cultural history. It also has to engage with concepts of simultaneity – with the fact that there are many moderns and thus many pre-moderns and post-moderns. We need to look in all directions. Neomediaevalism, is a lens through which UK-based artists identify and justify the present in the past, and through which they narrate this past in terms of how they imagine their futures. It has no logical conclusion.
As the international art world globalises, it does so as the UK state is becoming increasingly Balkanised into fiefs, city-states and overlapping territories.
In this, it resembles what Hedley Bull prophesised as a New Mediaevalism: a “system of overlapping authority and multiple loyalty.”The devolved UK state is one in which there are competing legitimate organising principles for the cultural arena and in which individuals are legal members of a transnational community while also having legal responsibilities to the local territory in which they reside. In art as in politics, the discourses of Britishness continue to surface in resistance to the realities of neo-medievalism, but they do so in very confused ways! For example, the federal structure and thus the national imaginaries of the Arts Councils in the UK is not well understood:
Northern Ireland, Scotland and Wales are also there.
Sheffield have a Pavlion – this tours to other major expos such as Documenta and Muenster – it’s more ambitious than the UK’s national Venice Pavilions. The fact that Sheffield trades in many expos is testimony to the collapse of ‘British-ness’ as a unitary currency in the artworld. Perhaps Sheffield is a better brand than ‘Britain’?Manchester has a Pavillon – This is put together by two artists. It doesn’t require a complex infrastructure to support it. The artists simply claim the right to represent their peers from the city they live in.Peckhamhas aPavillion in the form of Hannah Barry’s Gallery (operated by Hannah Barry and Sven Mündner) – two private individualsmasquarading as a burgh state.
What impact might this have upon the UK’s cultural ecology?
Two types of neomedieval Cultural Economy operate simultaneously in the UK.Pre-industrial (dominant in the artworld) – (left - BLUE) e.g. British and Scottish Pavilions at VenicePost-industrial (emergent) {right - ORANGE} e.g. PeckhamInternationale and Manchester PavilionThese fields of cultural production overlap, for example…………
the mercantile economy finds its stock and skilled labour in the prosumer economy.{left – BLUE} The value of objects in the mercantile art market is linked to their cultural capital. {right – ORANGE} Cultural capital is generated in the long tail, in the grassroots wherein experiences and community are valued rather than ‘objects’. Objects are meaningful here only as nodes in a socially-oriented gift economy.
What does this look like: {Left– Blue} As in the High Medieval period, many artisans in the ‘Naughtieshave been participating in a reinvigorated pre-industrial economy wherein objects are valued more highly than experiences. Such artists have different dealers and patrons in different states – they serve different lords simultaneously.As more wealth concentrated in the hands of fewer people in ‘NaughtiesBritain, vassalage has been responsible for the circulation of new holy relics and for the widespread retreat into cultural monasticism. This is thanks to the snowballing dealer-collector system that was encouraged by the de-regulated London finance sector. Curatorial celebrations of cultural supranationalism that we find at Biennials such as Venice not only serve to mask such centrifugal forces of vassalage that have dominated the art world in the ‘Naughties; theyare a product of vassalage.------{Right – Orange} There are, of course, alternatives to this. This is what I now want to turn to….
In what way is a neomedievalcultural ecology of the commons manifested in practice in the UK?
In Dreaming the Middle Ages Umberto Eco said that "..we are at witnessinga period of renewed interest in the Middle Ages, with a curious oscillation between fantastic neomedievalism and responsible philological examination...”
Tate Britain’s Altermodern - at the turn of last year -flirted with Eco’s neomedieval, featuring a range of works that related to shamanism (Marcus Coates)Spartiatism and carnivàle (Spartacus Chetwynd).
Eco’s sense of a tension between a scholarly and a fantasy approach is much evident in Olivia Plender’s work.Plender is interested in the ways in that neomedievalism is manifest in our culture, for example: in the return of guild systems among the voluntary simplicity movement, in neo-paganism, in ‘greenwashing’, and in paeleoconservatism. Such ideas, which involve invocations of ambient or unseen terrors and hidden cultural phantasms, are spreading like The Plague.
Geopolitical neomedievalism inthe form of Balkanisation is simply not an explicit point of reference for these dark age fantasists who are more familiar with contemporary Goth mores such as shoe-gazing than they are with Beowulf. Among artists schooled in the histories of modernisms, there’s a high degree of self-awareness that retreat into irrationalism and fantasy is expected to emerge at points of crisis in modernity in the UK. The Long Dark explicitly relates this to John Ruskin and the neo-Gothic of late 19th Century industrial England, The Dark Monarch to its neo-romantic progeny. Neomediaevalism therefore is as much a product of modernity as it is a response to modernity.Equally, neomediaevalism is the symptom of a longer running tension between the supporters of rationalism and irrationalism– this competitionis a product of the medieval period.So, when it manifests itself in cultural production, neomedievalismrepresentscompetition for power in our society right now.
They represent a proxy battle between a homogenising technocracy and an emancipatory folk culture. The culture of re-enactment - is the storyteller. The ‘liveness’ or performative allows the folk-tale to be both liberated and retold repeatedly.Role play, as a form of escapism, has the potential to suppress the habitual response, which in turn may allow space for a playful creative approach, a different way of visualising, or a genuine synthesis to emerge. Crucially, this aspect of neomediaevalism reintroduces the principle of subsid - iarythat the mercantileart world sorely lacks.
Alex Pollard and Claire Stephenson’s current show – Four Fatrasies, Pump House Gallery, Battersea Park, London.
So, culturally speaking, neomedievalism might allow us to engage with the modern via its other. AsPlastiqueFantastiquedemonstrate,it can be way of understanding the shift from a postindustrial to a ‘transformation’ economy (folkseconomy) using philosophies that involve highly speculative approaches (e.g. ‘Hauntology). It would be easy to castigate these disparate artists and projects as being united in the ‘new irrationalism’, an anti-Enlightenment mash-up of old and ‘new’ 19th century religions. This isn’t what they are concerned with. Neomediaeval art is allusive. It’s no accident that one of its favoured forms is role-play. These scenarios aren’t really concerned with the past; they are about the present.
Torsten Lauschmann’s solo show The Darker Ages (Mary Mary, Glasgow).