Should sight trump the other four senses when experiencing and evaluating art? Art, History and the Senses: 1830 to the Present questions whether the authority of the visual in 'visual culture' should be deconstructed, and focuses on the roles of touch, taste, smell, and sound in the materiality of works of art. From the nineteenth century onward, notions of synaesthesia and the multi-sensorial were important to a series of art movements from Symbolism to Futurism and Installations. The essays in this collection evaluate works of art at specific moments in their history, and consider how senses other than the visual have (or have not) affected the works' meaning. The result is a re-evaluation of sensory knowledge and experience in the arts, encouraging a new level of engagement with ideas of style and form.

Should sight trump the other four senses when experiencing and evaluating art? Art, History and the Senses: 1830 to the Present questions whether the authority of the visual in 'visual culture' should be deconstructed, and focuses on the roles of touch, taste, smell, and sound in the materiality of works of art. From the nineteenth century onward, notions of synaesthesia and the multi-sensorial were important to a series of art movements from Symbolism to Futurism and Installations. The essays in this collection evaluate works of art at specific moments in their history, and consider how senses other than the visual have (or have not) affected the works' meaning. The result is a re-evaluation of sensory knowledge and experience in the arts, encouraging a new level of engagement with ideas of style and form.

With its specific focus on British representations of masculinity in relation to the trauma of the First World War and notions of national identity, class and sexuality, this book provides a much needed addition to the historiography of visual culture during the period. The study interrogates the complications arising out of issues of trauma, cultural expressions of sexuality and affect, as well as the ways in which these are encoded in diverse forms in visual culture and commemorative objects. Concentrating on masculinity and cultural memory, it investigates the ways in which these and the web of power relations that they entail worked during the interwar years in order to reconstruct the post-First World War British society. In the course of the narrative, the author looks at Bolshevism and the Returning Ex-Servicemen, the 1919 NUR Strike, the Central Labour College in conjunction with banners and revolution, as well as the Imperial War Graves, the Cenotaph, the London and North Western Railway memorial, the Machine Gun Corps Memorial and the establishment of the Imperial War Museum. He also excavates new archival material, particularly case studies of shell shock sufferers and film footage of male hysteria.

With its specific focus on British representations of masculinity in relation to the trauma of the First World War and notions of national identity, class and sexuality, this book provides a much needed addition to the historiography of visual culture during the period. The study interrogates the complications arising out of issues of trauma, cultural expressions of sexuality and affect, as well as the ways in which these are encoded in diverse forms in visual culture and commemorative objects. Concentrating on masculinity and cultural memory, it investigates the ways in which these and the web of power relations that they entail worked during the interwar years in order to reconstruct the post-First World War British society. In the course of the narrative, the author looks at Bolshevism and the Returning Ex-Servicemen, the 1919 NUR Strike, the Central Labour College in conjunction with banners and revolution, as well as the Imperial War Graves, the Cenotaph, the London and North Western Railway memorial, the Machine Gun Corps Memorial and the establishment of the Imperial War Museum. He also excavates new archival material, particularly case studies of shell shock sufferers and film footage of male hysteria.

Terrorism has a variety of contexts, histories and forms which have all been the focus of intense scrutiny in recent years, whilst cultural representations of the terrorist have received much less attention, which is odd when we consider that terrorism by its very nature is spectacle. Dissident organisations create images of terrorists as martyrs, heroes or avengers and international counter terrorist agencies visualise them to provide the threat with a recognisable persona. Osama bin Laden for example was variously portrayed as effeminate and sexually depraved and pictures of his dead body were banned from publication by the United States government. Terrorist Transgressions examines images of the terrorist and discusses in what way they challenge societal norms, particularly those surrounding gender. Despite the traditional alliance between terrorism and masculinity, women have been active in terrorist organisations and through tactics such as suicide bombing have used their very bodies as weapons. Such attacks have subverted cultural constructions of masculinity and femininity and have had profound repercussions for both the gendering of violence and the terrorist profile. This book explores how the terrorist is represented and the processes through which they have subsumed so many popular cultural myths. It discusses how a terrorist's capacity for destruction can be linked to their appropriation or rejection of gender stereotypes and includes essays on masculinities in post-conflict Northern Ireland, gendered insurgency, the colonial state of exception, Oedipal rivalries, the German Red Army Faction, masculinity in Fox television saga 24 and Anders Behring Breivik's sartorial code. In addition to essays that debate the broad imagery that surrounds terrorism's visual cultures it includes pages by artists who question the role of censorship and the physiognomy of evil.

To what extent does locality influence contemporary art? Can any particular artistic practices be defined as uniquely Cypriot? And does art from Cyprus transcend Western boundaries once it enters the global art scene? This volume uses Cyprus as a case study for the exploration of notions of identity, regionalism, and the global and local in contemporary art practice; it is not, therefore, a complete historiography of contemporary Cypriot art. Rather, this critical text provides a theoretical and historical framework that frames and contextualizes art practices from Cyprus, while always relating these back to the international art world. Numerous current and pressing issues—all relevant beyond Cyprus—are investigated in this book including, but not limited to, art as capital, the emergence of the “periphery”, the importance of thriving localities, issues of memory and memorialization, archaeology, artists’ identities, conflict and politics, social engagement, gender politics, and such curatorial alternatives as artist-run spaces. In doing all of this, Contemporary Art from Cyprus not only bears on current and future art practices in this region but highlights the importance of Cypriot art in a global context too.