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The article discusses the annual IASIL Bibliography, an overview of recent research in Irish literary studies, primarily focusing on Anglophone writing but also covering works in other languages. Topics include the continued prominence of major Irish writers such as Beckett, Joyce, and Yeats, the increasing scholarly attention to lesser-known Irish writers, and recent publications on specific genres and periods, such as Irish women writers, Irish Gothic, and Irish drama.

The article discusses the Curran-Laird Collection, acquired by Special Collections in UCD in 1972. Topics include the diverse backgrounds and contributions of Curran and Laird in fields like art, politics, and literature, their involvement in the Irish Literary Revival and Irish modernism, and the significance of the collection in understanding the cultural dynamics of early 20th-century Dublin.

The article focuses on the architectural complexity of Jean Renaudie's work, especially in relation to social housing and its theoretical implications. Topics include the contrast between modernist and post-modern urban planning in France, the influence of dissident Marxism on Renaudie's designs, and the challenges posed by the Grand Pari(s) initiative in addressing urban identity and representation.

AbstractThis study examines the ceramic works of a Nigerian artist, Ozioma Onuzulike, which vividly illustrate dress as an agency of power. His oeuvre features among other things the agbada, an extra-large clothing style prevalent in contemporary Nigeria, especially in elitist socio-political and cultural contexts. Over 25 years of Onuzulike’s ceramic art practice have consistently showcased modernist works that challenged conventional ceramic art and socio-political norms. His innovative use of clay and palm kernels to depict power dynamics in Nigeria has attracted some scholarly attention. This study employs compositional interpretation and contextual analysis to explore the visual, sociocultural, and political impact of Onuzulike’s hybrid ceramic art that depicts agbada. An iconological approach reveals the formal elements, historical, political, and social nuances embedded in the works. The concept of dress of power is used to unravel the multifaceted political significance of Onuzulike’s representations. Unpacking the visual vocabulary and metaphor of power in the works provides insights into the agbada as a status symbol in modern Nigeria. This artistic representation typifies a trend in contemporary African and diasporic art, where textile materials, forms, and ideas are central. [ABSTRACT FROM AUTHOR]

Revisiting the remarkable experimental work of the pioneering early twentieth‐century psychologist Mary Cheves West Perky (1875–1940), this article argues for the historiographical significance of her counterintuitive findings concerning the human imagination and the phenomenon of "reverse hallucination." By means of an exhaustive and forensic archival inquiry, this article reconstructs Perky's heretofore (essentially) unknown biography, providing new insights into the context and broader importance of her research, both with respect to the history of the human sciences and in relation to the history of American artistic modernism. At the same time, these pages recursively deploy her distinctive perspective on the way the perceptual experiences of reality inosculate with projective fantasy, activating her findings as a component of a nontraditional disciplinary practice. [ABSTRACT FROM AUTHOR]

A central theme of this article is the developing tension between art specialists and non-specialists as a function of complex, differentiated figurations. Bourdieu's sociology of symbolic revolutions is allied to Elias's model of the relative autonomy of the artistic figurations within lengthening relations of interdependencies and shifting cognitive-emotional tension balances of feeling and reasoning and spontaneity and self-restraint. Within the sociology of art, the field positionings, power, interdependencies, language and habitus of art critics remain a relatively underdeveloped area of enquiry. Art critics function as 'professional explicators' in Bourdieu's terms or 'specialists in verbalisation' in Elias's to communicate standard-setting models of value and taste of specialists to non-specialists. Clement Greenberg emerged as a socially mobile oblate from a position of artworld outsider to hegemonic dominance as the leading notable of Modernist art criticism. The article examines the social conditions of possibility for Greenberg's standard-setting codes as they came to be established and sustained by particular figurations of people (a self-conscious avant-garde) at particular times (late 1930s–1970s) and places (New York). [ABSTRACT FROM AUTHOR]

The artice presents the discussion on peaceful scene of "Father Biart" engrossed in a book, as depicted by Henry van de Velde. Topics include highlighting the artist's transition from Neo-Impressionism to applied arts and architecture; and van de Velde's meticulous painting style, his shift to Art Nouveau and modernism, and his comprehensive design approach at Villa Bloemenwerf.

The article offers information on Anthony Vidler's career as a pivotal figure in American architectural theory from the 1970s to the 2000s. It discusses Vidler's influential essays, notably "The Third Typology," which initially outlined distinctions between modern and postmodern architecture but later questioned its own conceptual framework.

The target article discusses the definition of "esotericism" within the study of Western esotericism. The authors argue that previous definitions have been rigid and propose fluid definitions that can be applied with flexibility and complementarity. They briefly mention global approaches but do not engage with them extensively. The article also explores the role of agency and prototypes in defining esotericism, with a focus on Islamic esotericism or al-bāṭiniyya. The authors' approach is criticized for sidelining non-European agency and for taking a normative view of Western esotericism. The article concludes by discussing the author's own research on al-bāṭiniyya as an Islamic prototype of esotericism and proposing four principles of Islamic esotericism. [Extracted from the article]

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