Category Archives: Authors

Museum and Heritage publishing in 2015 – a few highlights

Managing cultural heritageIn the areas of museum policy we are pleased to publish two new titles this year, Managing Cultural Heritage by Luca Zan and colleagues and Copyrighting Creativity edited by Helle Porsdam, which explores the relationship between intellectual property, creativity and cultural heritage institutions.  In Kali Tzortzi’s excellent Museum Space she highlights the importance of museum architecture and display in shaping visitors’ experiences.

museums migration and identity in europeWe’re also publishing two more titles resulting from the MeLA project, Museums, Migration and Identity in Europe edited by Chris Whitehead and colleagues, and Cultural Networks in Migrating Heritage by Perla Innocenti. 9781472448132.PPC_PPCIn the area of education we’re delighted that Helen Chatterjee has returned to publish her next book with us, a collection with Leonie Hannan on Engaging the Senses: Object-Based Learning in Higher Education and in another collection From Museum Critique to the Critical Museum the authors discuss the ways in which the museum could use its collections, cultural authority and resources to give voice to the underprivileged, and take an active part in contemporary and controversial issues.

From museum critique to the critical museumOur 2015 museum and heritage studies catalogue is available to view on our website.   The catalogue showcases the breadth and depth of the Ashgate lists in museum theory and practice, collecting and museum history, art business and cultural management, and heritage studies more broadly.

There are many more titles to explore on the website with our history of material culture list growing in size and stature along with a clutch of new key titles in our Heritage, Culture and Identity series.

Whatever your professional job or academic discipline we hope that there will be many recent and new books to interest you.  If you are thinking of writing a book and have a proposal you’d like to discuss with us, even if at an early stage, please feel free to contact us.

A fresh view of religion and society in the Diocese of St Davids since the Reformation

This is a guest post from Professor William Gibson, Oxford Brookes University, editor of Religion and Society in the Diocese of St Davids 1485–2011

**

The post-Reformation diocese of St Davids may not at first sight seem a particularly prepossessing topic for a collection of essays. The city of St Davids, with a population of just 1,600 today, lies over seventy miles west of Swansea in beautiful but remote countryside. The diocese of which it is the capital spread over much of south Wales until it was divided in the 1920s. But however remote and distant from the metropolitan centres of England and Wales it was, the diocese was a religious crucible in the post-Reformation centuries. Despite being the place from which Henry Tudor invaded the country in 1485, and in which some Tudor ancestors were buried, St Davids did not avoid the turbulence of the Reformation. Robert Ferrar, bishop in 1555, was burnt in Carmarthen for his stubborn Protestantism. In the following century the diocese was the home of the translation into Welsh of the Prayerbook, for five years it was part of William Laud’s high church ‘laboratory’ as bishop and the source of Rhys Pritchard’s highly influential hymns, Cannwyll y Cymry.

Perhaps more astonishing is how the diocese became the home for three major religious movements: the Welsh Puritan movement of the seventeenth century, the evangelical ‘revival’ of the eighteenth century which made Wales the stronghold of Calvinistic Methodism for two centuries and (in addition to a string of minor revivals in the nineteenth century), the 1904-5 Evan Roberts revival. The reason why the people of South Wales became so committed to revival is unclear but the enthusiasm for them and the effect they had on the lives of the poor has perhaps been underestimated. Equally underestimated is the interest that ordinary people in Wales took in theology and theological differences. Even today many Welsh villages have three, four or five chapels of different denominations; in the past this meant that tradition, teaching, family and other ties drew the past one chapel to worship at another. It is one of the condescensions of history to assume that, in the past, matters of theology and religious ideas were ‘beyond’ the reach of most people. In fact the diocese was home to a long succession of distinguished theologians (Jeremy Taylor, George Bull, Daniel Rowland, Howell Harris, Connop Thirwall, Rowland Williams ). It also housed a series of significant theological institutions: Trefecca College, the United Theological College at Aberystwyth, the Carmarthen Academy, the Memorial College at Brecon and St David’s College, Lampeter. It probably offered more theological educational opportunities than any area in the rest of Britain.

One of the ways in which Welshmen and women identified with their religious and political traditions was through the celebration of St Davids Day and in the nineteenth century, as mass participation in public events grew, the day and the saint were appropriated by all sorts of religious and political groups keen to demonstrate their popularity and association with Wales through celebration of St Davids Day. So groups of all political, social and religious complexion wrapped themselves in the black and yellow flag of St Davids.

In such an environment, disestablishment of the Anglican Church became a ‘project’ of the Nonconformist churches and the Liberal Party. Like other aspects of Welsh history it has become the source of many myths. One of which is to overlook that, despite other claims, the true architect of the new Church in Wales was Bishop John Owen of St Davids –who even came up with the name ‘Church in Wales.’

Religion and society in St DavidsAll these themes, and more, are the subject of essays in Religion and Society of the Diocese of St Davids 1485-2011, edited by John Morgan-Guy and me. And the story is brought up to date with a final essay on the diocese since 1926, surveying the bishops and the principal changes in the area in the last century.

Professor William Gibson, Oxford Brookes University

**

The Ashgate Research Companion to Experimental Music: The Interviews

Posted by Maxine Cook, Marketing Assistant

This week, James Saunders has uploaded his interview with Alvin Lucier.

**

Interview with Alvin Lucier:

I initially met Alvin Lucier in Ostrava at the first New Music Days, organized by Peter Kotik. His work had fascinated me for some time, so it was a great opportunity to find out more in person. Lucier has been central to developments in experimental electronic music since the 1960s, with a focus on acoustic phenomena as the material and subject matter for much of his earlier work. From pieces like I am sitting in a room (1969) in which the continual playback and recording of a text in the same space reinforces the room’s overtones to create a throbbing harmonic drone, to Still Lives (2003), which sets piano notes against slow sliding sine tones to create variable beating patterns, their audibility is framed by his compositional approach. Subsequent work has tended to draw on these techniques and instrumentalize them to various degrees, such as with Diamonds (1999) for three orchestras where the violins replace the sine waves. Whilst in Lucier’s work processes are articulated with extreme clarity, it is music which constantly confounds expectations. It is of course possible to read his scores and gain an understanding of the principles involved, but it is only through the acoustic reality of the sounding result that the music emerges. One of the questions posed by the work of all the interviewees here is a consideration of how we listen, and this is in many ways most clearly exemplified by Lucier.

The interview took place at Dartington College of Arts on 14 November 2007.

Read the full interview here.

**

The Ashgate Research Companion to Experimental MusicAll the interviews from James Saunders can be found in The Ashgate Research Companion to Experimental Music.

Space, Knowledge and Power – Guest Podcast by Jeremy Crampton and Stuart Elden

Space Knowledge and PowerPosted by Emily Ferro, Marketing Coordinator

Space, Knowledge and Power: Foucault and Geography by Jeremy Crampton and Stuart Elden has been chosen by our editors as having played a significant part in the building and reputation of our Geography list. In the years since publication, the authors have had a chance to reflect on their work and the process of publishing.

This book takes a close look at the work of Michel Foucault, featuring contributions by key figures such as David Harvey, Chris Philo, Sara Mills, Nigel Thrift, John Agnew, Thomas Flynn and Matthew Hannah. In the podcast below, recorded in Chicago, at the Swissôtel, the editors of this influential book discuss their experiences and motivations in publishing their work. They also reflect on the impact their research has had, and look to future endeavors.

To hear about the authors’ experiences, you can listen to the podcast here:

For more information about Space, Knowledge and Power, please visit www.ashgate.com/isbn/9780754646556. Here, you will find information, reviews, contents, and a chance to look inside the book’s pages.

CFP: Allusion, Indirection, Enigma: Flirting with Early Modern Uncertainty

Posted by Bret Rothstein

Call for papers: Allusion, Indirection, Enigma: Flirting with Early Modern Uncertainty

Renaissance Society of America (Boston, March 31–April 2, 2016) #RSA16

Session organized by Bret Rothstein, Indiana University – Bloomington

Please send an abstract (up to 150 words) and a 300-word vita by May 31, 2015 to brothste@indiana.edu

Augustine may have believed in validity in interpretation, but the history of early modern Europe is thick with texts, objects, and ideas that seem to move in a very different direction. A striking number of images, texts, behaviors, musical scores, buildings, and even naturally-occurring objects seem designed, in a sense, to send the mind in any direction but the supposedly “right” one. (The matter becomes especially interesting with respect to “jokes of nature,” which might speak to a kind of divine mischief.) But why might this be the case? What was the value of getting things – very loosely conceived – wrong? In an attempt to begin answering such questions, this session is dedicated to the study of interpretive challenges, from theatrical productions to mathematical treatises, and from art works to naturally occurring objects. Its purpose is to promote conversation among scholars from across a range of disciplines about the social and cultural value of interpretation’s ugly stepchildren (confusion, misperception, ambivalence, and incomprehension, among others).

**

Bret Rothstein teaches in the Department of the History of Art at Indiana University, Bloomington, and is the editor for Ashgate’s Cultures of Play series.

Science and the Arts since 1750 – a new series

Ashgate seeks book proposals for a new series Science and the Arts since 1750 edited by Barbara Larson, University of West Florida, USA.

The series explores the arts – painting and sculpture, drama, dance, architecture, design, photography, popular culture materials – as they intersect with emergent scientific theories, agendas, and technologies, from any geographical area from 1750 to now. It welcomes studies on the aesthetic conditioning of scientists as well as those that explore the influence of technologies, medicine, and science on visual culture either in a specific cultural or social context or through webs of influence that cross national, political, or imperial boundaries. Projects additionally might address philosophies of mind, brain, and body that changed the way visuality and aesthetic theory were understood or how new theories can be used to reinterpret the past.

For more information about the series, including submission guidelines, please send an email enquiry to Margaret Michniewicz, at mmichniewicz@ashgate.com.

The Ashgate Research Companion to Experimental Music: The Interviews

Posted by Maxine Cook, Marketing Assistant

This week, James Saunders has uploaded his interview with Tim Parkinson.

**

Interview with Tim Parkinson:

My first contact with Tim Parkinson, through Bryn Harrison, was via his work as a performer, notably at the series of concerts he programmed at the BMIC in its former Stratford Place home from 1997-2000. His industry in presenting music from composers who were new to me at the time, alongside my own pieces, was a galvanizing force. The associations we made through those events have led to many subsequent projects, including this book. Although I came to know his music well at this time, it was the later experience of working with Tim as a performer which led me to a clearer understanding of his work as a composer. We began playing together as a duo, Parkinson Saunders, in 2003, working on mostly indeterminate repertoire which uses any sound-producing means, seated at two tables. The kinds of strategies he uses to realise the music we find interesting reflects his tendencies as a composer: there is a meandering mix of randomness and extreme control, with one often subverting the other with surprising results. The multiplicity that appears in so much of his music confronts our notion of compatibility as a defining factor in a piece’s identity. There is an indirect connection between elements which only becomes apparent through our experience of them, and the way we make the links ourselves as listeners. So whilst found or pre-fabricated material is at the heart of his music, part of a need to look outside of himself to begin work, it is the often bare presentation of these tightly crafted moments which allows their natural beauty to project.

The interview was conducted by email between 3 November – 9 December 2003.

Read the full interview here.

**

The Ashgate Research Companion to Experimental MusicAll the interviews from James Saunders can be found in The Ashgate Research Companion to Experimental Music.