An unfolding signifier: London's Baltic Exchange in Tallinn

In the summer of 2007 an unusual cargo arrived at Muuga and Paldiski harbors outside Tallinn. It consisted of nearly 50 containers holding over 1,000 tons of building material ranging from marble columns, staircases and fireplaces, to sculpted allegorical figures, wooden paneling and old-fashioned telephone booths. They were once part of the Baltic Exchange in the City of London. Soon they will become facets of the landscape of Tallinn. The following article charts this remarkable story and deploys this fragmented monument to analyze three issues relating to the Estonian capital: the relocation of the ‘Bronze Soldier’, the demolition of the Sakala Culture Center, and Tallinn’s future role as European Cultural Capital in 2011

‘Stick that knife in me’: Shane Meadows’ children

This article brings Shane Meadows’ Dead Man's Shoes (2004) into dialogue with the history of the depiction of the child on film. Exploring Meadows’ work for its complex investment in the figure of the child on screen, it traces the limits of the liberal ideology of the child in his cinema and the structures of feeling mobilised by its uses – at once aesthetic and sociological – of technologies of vision

Unravelling social constructionism

Social constructionist research is an area of rapidly expanding influence that has brought together theorists from a range of different disciplines. At the same time, however, it has fuelled the development of a new set of divisions. There would appear to be an increasing uneasiness about the implications of a thoroughgoing constructionism, with some regarding it as both theoretically parasitic and politically paralysing. In this paper I review these debates and clarify some of the issues involved. My main argument is that social constructionism is not best understood as a unitary paradigm and that one very important difference is between what Edwards (1997) calls its ontological and epistemic forms. I argue that an appreciation of this distinction not only exhausts many of the disputes that currently divide the constructionist community, but also takes away from the apparent radicalism of much of this work

Photography, care and the visual economy of Gambian transatlantic kinship relations

This article examines transnational kinship relations between Gambian parents in the United Kingdom and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the U.K. take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children, as they travel between the U.K. and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides insight into the representational politics, values and aesthetics of Gambian transatlantic kinship relations. Further, the concept of the moral economy supports a hermeneutics of Gambian family photographic practice and develops our understanding of the visual economy of transnational kinship relations in a number of ways: it draws attention to the way in which the value attributed to a photograph is rooted in shared moral and cultural codes of care within transnational relations of inequality and power; it helps us to interpret Gambian’s responses to and treatment of family photographs; and it highlights the importance attributed to portrait photography and the staging, setting and aesthetics of photographic content within a Gambian imaginary

“some kind of thing it aint us but yet its in us”: David Mitchell, Russell Hoban, and metafiction after the millennium

This article appraises the debt that David Mitchell’s Cloud Atlas owes to the novels of Russell Hoban, including, but not limited to, Riddley Walker. After clearly mapping a history of Hoban’s philosophical perspectives and Mitchell’s inter-textual genre-impersonation practice, the article assesses the degree to which Mitchell’s metatextual methods indicate a nostalgia for by-gone radical aesthetics rather than reaching for new modes of its own. The article not only proposes several new backdrops against which Mitchell’s novel can be read but also conducts the first in-depth appraisal of Mitchell’s formal linguistic replication of Riddley Walker

Jockeying for position: the construction of masculine identities

In this paper we examine the construction of masculine identities within a real-life social situation. Using data from an extensive series of interviews with small groups of sixth-form (17-18-year-old) students attending a UK-based, single-sex independent school, the analysis looks at the action orientation of different constructions of identity. More specifically, it focuses upon how the identity talk of one particular group of students were oriented towards managing their subordinate status within the school. In a number of instances the identity of the `new man' was adopted as a strategy of resistance. However, it was found that the more common strategy involved buying back into values embodied within a more traditional definition of masculinity

Photography as an act of collaboration

The camera is usually considered to be a passive tool under the control of the operator. This definition implicitly constrains how we use the medium, as well as how we look at – and what we see in – its interpretations of scenes, objects, events and ‘moments’. This text will suggest another way of thinking about – and using – the photographic medium. Based on the evidence of photographic practice (mine and others’), I will suggest that, as a result of the ways in which the medium interprets, juxtaposes and renders the elements in front of the lens, the camera is capable of depicting scenes, events and moments that did not exist and could not have existed until brought into being by the act of photographing them. Accordingly, I will propose that the affective power of many photographs is inseparable from their ‘photographicness’ – and that the photographic medium should therefore be considered as an active collaborator in the creation of uniquely photographic images

The authorial delusion: counting lady Macbeth’s children

In 1933, literary critic L. C. Knights published a caustic essay against the notion cultivated by certain of his colleagues, predominantly A. C. Bradley, that Shakespeare is a ‘great creator of characters’. Knights (1973) regarded the examination of isolated particles such as ‘character’ as disorientating, alleging that an analysis of this sort obscures the greater merit of language. Knight’s polemic essentially stands in the threshold of the dissention between formalists and realists: the former consider the examination of the fictional narrative as anything but a textual construct a scholarly faux pas; the latter regard the referential relationship between text and the world as a foundation for the creation of fiction. This is a pseudo-dilemma. The notion that literature is denuded of its artistic merit once it is defined by its constituent artefacts is disorienting, for it completely bypasses the dynamics of its creation. Put differently, a post-event analysis can exist as a standalone act, albeit it cannot challenge or dismiss the foundational principles of the event’s creation process