Agata Handley – författare

The author analyzes the multi-layered and multidimensional theme of identity construction recurring in Tony Harrison’s work from the seventies onwards looking at the way it evolved throughout the years. The book examines identity in the frame of the sociological and philosophical thoughts of such thinkers as Emmanuel Levinas and Zygmunt Bauman and in reference to the systematization proposed by Zbigniew Bokszański: identity as a state or process, identity as a continuity or change, and identity as a consequence of conformity or revolt.

This publication is a collection of articles which summarise results of investigations into archival materials concerning wartime stories of various nations involved in the Great War. The objective of the authors was to analyse the wartime experience of individuals and local communities as well as whole nations. They further tried to present a closer, more personal overview of wartime drama. As a result the book portrays the impact of the Great War on the lives of multicultural communities, re-constructs individual war narratives and studies consequences of the conflict. The use of various types of historical materials from state archives and from other sources enabled the authors to create a multifaceted portrayal of the war seen from local and international perspectives.

When, in 1948, Tony Harrison entered Leeds Grammar School as a scholarship boy, he found himself, as Richard Hoggart saw, “at the friction point of two cultures”. His schooling introduced him to the “classics”; but it also deprived him of a clear identification with the place where he grew up. His work reflects and explores this tension; and it may be seen, in some ways, as a form of “identity construction.”The book examines key texts such as v. and the School of Eloquence sequence, where this “construction” takes different forms—oscillating between identity as a state, or a process; as continuity, or change; or as the outcome of conformity, or revolt.This second edition has been extensively revised and includes a new chapter on Harrison’s Elegies.

This open access book illustrates how intertextuality in music videos can be used to create new aesthetic patterns and develop a political agenda.In an age when most people are immersed in popular culture, music videos often bridge the gap between readily accessible and more demanding artistic forms. Music videos can sensitize the audience to various eminent themes, motifs, and artistic conventions by means of transferring them into a familiar medium. The efficacy of this process is enhanced through the use of intertextual references to other culture products, whereby meanings are conveyed in a highly condensed form. At the same time, intertexts connected with particular art forms can undergo significant revisions through the cultural context in which a new music video is produced: the amalgam of word, sound and image initiates innovative readings of familiar motifs, and transforms the understanding of literature, music, film, and fine arts. Located at the intersection of different semiotic systems, music videos can juxtapose notions from contrasting areas – folk culture, myth, politics, psychology, aesthetics – in unconventional ways. Authored by a group of international scholars, implementing various conceptual approaches, and analyzing an original selection of artists, this collection of essays examines music videos as an innovative transmedial practice which employs intertextuality both to create new aesthetic patterns and to develop a political agenda. The book views creative intertextuality as a token of the hybrid nature of present-day audio-visual popular culture and contemporary (post)human subjectivity in general.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.

This open access book illustrates how intertextuality in music videos can be used to create new aesthetic patterns and develop a political agenda.In an age when most people are immersed in popular culture, music videos often bridge the gap between readily accessible and more demanding artistic forms. Music videos can sensitize the audience to various eminent themes, motifs, and artistic conventions by means of transferring them into a familiar medium. The efficacy of this process is enhanced through the use of intertextual references to other culture products, whereby meanings are conveyed in a highly condensed form. At the same time, intertexts connected with particular art forms can undergo significant revisions through the cultural context in which a new music video is produced: the amalgam of word, sound and image initiates innovative readings of familiar motifs, and transforms the understanding of literature, music, film, and fine arts. Located at the intersection of different semiotic systems, music videos can juxtapose notions from contrasting areas – folk culture, myth, politics, psychology, aesthetics – in unconventional ways. Authored by a group of international scholars, implementing various conceptual approaches, and analyzing an original selection of artists, this collection of essays examines music videos as an innovative transmedial practice which employs intertextuality both to create new aesthetic patterns and to develop a political agenda. The book views creative intertextuality as a token of the hybrid nature of present-day audio-visual popular culture and contemporary (post)human subjectivity in general.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.