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Where Cartesian philosophy distinguishes the perceiving and perceptual mind from the body, phenomenology constitutes the experiential/experiencing body as the subject, giving rise to the affective potential of art. An immersive world of digital connections, smart cities and the Internet of Everything dramatises the centrality of relationship, the intertwining of Self and Other, in the lived environments of human experience. This article addresses the contextual, disciplinary and practical challenges encountered in developing an ambitious interactive public art project embedding SMART technology on the coastal fringes of Cardiff, the capital city of Wales (UK). It examines the processes and problems involved in delivering a stimulating aesthetic experience in and on a complex site, for a complex audience profile. It traces, in particular, the dependence of a multi-disciplinary project team on the theoretical and practical effects of affect in their ongoing effort to produce engaging, provocative, socially inclusive interactive public art, in and through human-centred design techniques.

The authors summarize and comment on scholarship about English literature in the 20th century. Topics include general works, fiction before and after 1945, drama, and poetry before and after 1950.

The article synopsizes publications on the study and analysis of 20th century English literature. Topics covered include poetry from 1900-1950, drama, and fiction. Authors of works studied include Virginia Woolf, Joseph Conrad, D.H. Lawrence, James Joyce, T.S. Eliot, and H.G. Wells.

This article summarizes scholarship published about modern and postmodern English literature. Topics include general studies, fiction published before and after 1945, drama before and after 1950, poetry before and after 1950, and Irish poetry.

Ciaran Carson's writing plays with and renders strange all kinds of literary and generic classifications. The subject of numerous short critical accounts, a monograph and at least one collection of essays, his work, especially the poetry, has attracted a good deal of scholarly attention. 'After Carson' offers a hybridic, 'creative-critical' response to a genre-busting idiom. Focussing on just two of Carson's works, the well-known and much-discussed Belfast Confetti (1989), and the complex but less carefully read prose work The Star Factory (1997), the formal self-consciousness of this treatment is intended to problematise the conceptual and textual bounds of conventional literary scholarship. The intention is to figure, as well as justify, the disruption of conventional linear argument with the help of the subversive energies to be discovered in collision, lapse, detour, ambush, and / or other kinds of discursive misconduct. Informed partly by dissatisfaction with most theories of reading, our critique is particularly interested in how three different kinds of reading can be shown to complicate both their subject and each other. Firstly, it casts the reader's relationship with Carson in the paradoxical, counter-conclusive terms of 'anacoluthon': a rhetorical figure of errant predication (a following which does not follow). Secondly it argues that Carson's work reflexively interrogates the will to distinguish between creative and critical modes, rendering any act of interpretation productively unstable. Finally, in its co-authorship, the account knowingly doubles - at once destabilising and deferring - the authorising singularity of the critical voice, suspending a habitually hegemonic 'I' between our differently contextualised, differently gendered signatures. [ABSTRACT FROM AUTHOR]

This chapter considers how and why deixis, the semantic activity of pointing or positioning, can be complicated in the textual and contextual compass of collaborative poetic practice. The question of cultural positioning is central to Frances Presley's 'Somerset letters' (1999) and Zoe Skoulding's From Here (2008), co-produced with New York artist Simonetta Moro. The reflexive spatialities of each work contest culturally freighted notions about "place" and literary history which intersect in the late twentieth-century female poet. Freed, for generic reasons, of the temporal sequentiality of speech, the poetic construct is more than capable of escaping the constraining "topography of the ideal textual space" (Nöth 1996: 603). Both women gender the aesthetic possibilities of this freedom in the more-or-less site-specific epistolary poem, problematizing the ways in which their texts might be said to "take place" to resist the over-determining of their own cultural-political position. What Rachel Blau DuPlessis calls the "sociality" of the deictic proves crucial to their common project. [ABSTRACT FROM AUTHOR]

This chapter has five sections: 1. General; 2. Pre-1945 Fiction; 3. Post-1945 Drama; 4. Pre-1950 Poetry; 5. Post-1950 Poetry (Pre-1950 Drama and Post-1945 Fiction will be covered in the next volume). Section 1 is by Julian Cowley; sections 2(a)–(c) are by Daniel Lea; section 2(d) is by Paul Poplawski; section 2(e) is by Lynne Hapgood; section 2(f) is by Richard Storer; section 2(g) is by Edward Neill; section 3 is by Malcolm Page; section 4 is by Alice Entwhistle; section 5 is by John Brannigan. [ABSTRACT FROM PUBLISHER]

The article examines the poetic works and precepts of writers and poets Robert Creeley and William Carlos Williams in the book "The New American Poetry 1945-1960," by Donald Allen is presented. It explores the fifteen years of poetic innovation of Allen and the major figures of the influential network and the techniques, subject of individuality, and style of Williams' and Creeley's poems. It also outlines the openness in the aesthetics and poetic idioms of Williams and Creely.