New Approaches to Design History, volume 8 of Writing Visual Culture

The TVAD Research Group hosts an online open access double-blind peer reviewed journal, Writing Visual Culture (WVC). We are proud to launch volume 8 of the journal today, entitled 'New Approaches to Design History'. It celebrates 40 years of the Design History Society, and the 30th annual volume of the Journal of Design History, both anniversaries being celebrated in 2017. The articles are developed from papers presented in a special anniversary strand convened by WVC Series Editor Prof Grace Lees-Maffei at the Design History Society annual conference, 'Making and Unmaking the Environment', hosted by TVAD Visiting Researcher Prof Kjetil Fallan at the University of Oslo in September this year. Another TVAD Visiting Researcher, Dr Javier Gimeno Martínez, is one of the article co-authors. Read the new issue here: http://www.herts.ac.uk/research/centres-and-groups/tvad-theorising-visual-art-and-design/writing-visual-culture/volume-8

Celebrating the Design History Society at 40, and the Journal of Design History at 30

In 2017, the Design History Society (DHS) is celebrating its 40^th anniversary. At the same time, the Society’s journal, the Journal of Design History, is in its 30^th annual volume. Rather than reflecting on these landmarks with reference to canonical or well-known work from the past, the DHS agreed to mark these occasions through a call for new work which examines design history, past, present and future. This work was presented in a dedicated anniversary strand at the Society’s annual conference, Making and Unmaking the Environment, which took place from 7^th-9^th September at the University of Oslo in Norway. The conference was convened by Prof Kjetil Fallan who, among his many activities, was one of our annual TVAD Visiting Researchers. TVAD researcher Claire Jamieson attended the conference to give a paper about her research into NATØ. The anniversary strand comprised three panels, each with three presentations.

Making and Unmaking the Environment Conference brochure.  Photograph: Kjetil Fallan.

The first panel, ‘New Approaches to Design History’, began with Professor Ben Highmore (University of Sussex) recuperating connoisseurship for design history in his paper ‘Design History and Cultural Studies: Conjunctures, Tensions and Potentials’. Connoisseurship has been associated with art history and the decorative arts, but it has a function within contemporary design history, Highmore argued. Søren Rosenbak, a student at Umeå University, followed this with a short report on his project Design Research Failures, and asked what design historians might have to contribute to this work. Rosenbak assumes that design research has failed as a field, but the audience in Oslo were keen to recommend reflection on its successes as well.

The strand attendees. Photo: DHS Ambassadors, twitter.

The final paper in this first panel ‘The Environment as “Context” in Design Historiography’ saw Joana Meroz, of the Vrije Universiteit Amsterdam, seek to move design history beyond regarding politics as a human affair, to capture the workings of a broader notion of politics and its sites including, especially, the political agency of materials and things. She explained how the inherent qualities of objects may determine the histories we share about them. For example, heavy machinery which cannot physically fit into galleries exhibiting examples of Dutch design may be erased from the history of Dutch design as a result of such exhibitions. This panel offered three quite different presentations which contribute in different ways to how we think about design history now. As the panel progressed, each paper appeared to engage around points of tension. For Highmore, the distinction between criticism and connoisseurship was key. Rosenbak’s talk engaged distinctions between success and failure and design research and design history. For Meroz, the relationships between people and things, and things natural and man-made, were salient.

Our second panel explored the ‘Places and Spaces of Design History’. Trond Klevgaard (Royal College of Art) shared some of his doctoral research in a presentation entitled ‘On Writing about New Typography from the Margins: Problems and Approaches’. He looked at how modernism in design resonates differently in different regions, and how it has been negotiated and adapted. Next, Dr Fredie Floré (University of Leuven) and Dr Javier Gimeno Martínez (Vrije Universiteit Amsterdam) presented jointly their call for ‘Making Room for Design History in Belgium’. Javier was a TVAD Visiting Researcher when he was preparing his book Design and National Identity (Bloomsbury 2016). His paper with Fredie Floré shared many parallels with the following one, ‘Learning from History – but how? Design History in Swiss Design Education’ by Meret Ernst (Hochschule für Gestaltung und Kunst, Basel). Both were concerned about the lack of a strong and distributed national base for design history, in Belgium and Switzerland respectively, and how this might impact on the development of design history in those nations. 

Sorcha O'Brien introducing her work on Irish design history. Photo: Grace Lees-Maffei.

The strand’s last panel, ‘Making and Unmaking National Identity: Design “In”, “Of” and "From" Ireland’ continued and increased the focus of the examination of national design histories with a trio of presentations. ‘Made in Ireland’? National Narratives and Global Networks in Irish Design History’ by Dr Sorcha O’Brien (Kingston University) explored the ways in which one lamp has been presented as part of the canons of both Irish and Scandinavian design, and what that might tell us about the importance of mediation in ascribing national identity in design. Dr Lisa Godson (National College of Art and Design, Dublin) shared her project work on ‘Irish Design in Africa: Practices of the Transnational National’, with a case study of churches built in Africa to Irish designs and specifications. Godson countered the idea that Ireland has simply absorbed external notions of modernity with a case study of a design dialogue between Ireland and Nigeria. These churches contribute to the histories of architecture in Ireland and Nigeria at once. The final presentation in this panel, and the strand, was ‘Putting the “Irish” into Irish Design 1950-2015’ by Mary Ann Bolger (Dublin Institute of Technology). Bolger examined the ways in which Irish design and manufacturing have been promoted overseas. For example, she outlined the decision-making process to name the butter known as Kerrygold and its associated imagery.

Mary Ann Bolger discussing Irish stamps. Photo: Grace Lees-Maffei.

The strand as a whole told us that the geography of design history remains critically important as a focus for the development of the field. It was a privilege to chair such a rich strand at the Design History Society’s 2017 conference. The audience were engaged and contributed many useful questions and comments for developing the research we heard still further. This anniversary strand showed that design history’s future is bright.

Prof Grace Lees-Maffei, University of Hertfordshire, UK.

Unity by design: why the EU needs a stronger visual identity

Grace Lees-Maffei, University of Hertfordshire

The UK’s referendum on EU membership is upon us, and British people are weighing up a wide range of social, economic and political arguments as they go to the polls. But facts and figures wont be the only thing on voters’ minds. How voters feel – and specifically, how European they feel – will play a significant role in their decision.

One of the ways citizens understand and express their identity and sense of belonging is through design. Designed goods and spaces – from slogan t-shirts, to government buildings, to the ballot papers on which votes are cast – make statements about who we are and how we see ourselves. Because of this, design is a political tool, which can communicate a great deal about national and regional identities.

Influential scholars tell us that nations are imagined communities, formed by the invention of tradition. Both state-sponsored and everyday design have a powerful role to play in the formation of national identities.

With the possibility of a Brexit looming, it is timely to ask how effectively design has been used to promote the idea of a united Europe, and whether EU citizens are really able to express their European identities in this way.

 

Bland brand

The EU and its predecessors have been consciously designed. The circle of stars on the EU flag symbolises different states coming together. The European parliament in Brussels forms a familiar backdrop to countless newscasts reporting on the policies that shape our lives. And the euro is replete with symbols of European identity; from the architecture featured on banknotes, to the maps of Europe and the national symbols on coins.

Uninspiring. claireonline/Flickr, CC BY-NC

But while these designs clearly promote the ideals of European collaboration and governance, they are often criticised for being bland, and have failed to achieve anything like the popularity of the member states' unique visual identities.

With a few exceptions, Europe is largely missing a distinctive “design identity” – a coherent visual message, with which people can identify. Just as cars are branded in ways that make them attractive to consumers, so nation branding can persuade people to take pride in their national identity. Europe’s struggle for a design identity may stem from the fact that the continent is home to some of the strongest national design identities in the world.

 

National pride

Germany is renowned for the calibre of its engineering and its design education system, demonstrated most notably at the Bauhaus (1919-33) and at the Hochschule für Gestaltung, Ulm (1953-68). These initiatives underpin successful design education around the world.

The Bauhaus Building in Dessau, Germany. Christian Stock/Flickr, CC BY

And while Italy industrialised relatively late, it has since entered the premier league of design, attracting the most talented designers from around the world to work in its creative hothouses of fashion, industrial and automotive design, among others.

Today, the UK exists principally as a service economy. But it still enjoys a world leading industrial heritage. The strength of the UK’s design identity is demonstrated in its museums and trade fairs, in the international success of the UK’s design graduates, as well as through the Design Council, which works to persuade businesses of the value of design. The economic strength of the creative industries – which include design – is measured by the Department for Culture, Media and Sport: in 2014, they accounted for 5.2% of the UK economy.

De Stijl: Mondrian meets YSL (1966) Nationaal Archief/Wikimedia commons, CC BY-NC

Other European countries are less certain of the value of their design heritage. The Netherlands has a tradition of excellence from De Stijl to Droog (to name just two highlights). But we need more rigorous analyses of its design history. Similarly, design historians in Switzerland and Portugal are working on new national histories of design.

 

Design for Europe

This brief snapshot of the national design identities of some European countries highlights how little has been achieved in terms of a cohesive European identity. And although the EU has highlighted design as a critically important research topic, and is developing its own museum, these top down initiatives are no substitute for the widespread adoption by European citizens of designed goods which communicate European identity.

Clearly, national identities do not preclude European ones. Being British can be compatible with feeling European. Indeed, national design identities necessarily co-exist with local, regional and international identities in today’s globalised design industry; for instance, Disney World draws on a wide range of European stories and settings and relocates them in radically different cultures around the globe.

The Little Mermaid: from Denmark to Disney World. Brett Kiger/Flickr, CC BY-NC-ND

As long as citizens turn to national symbols for expressions of their sense of belonging, European identity will take second place. A stronger sense of design heritage for Europe would help to bring these different identities together, and to picture what a European design identity should look like. This would be useful for the common market, and the common good.

Grace Lees-Maffei, Reader in Design History, University of Hertfordshire
This article was originally published on The Conversation. Read the original article.

Return visit for TVAD Visiting Researcher 2014-5, Dr Javier Gimeno-Martínez!

Javier Gimeno-Martínez is Assistant Professor at the VU University Amsterdam. He holds a MA-degree in Industrial Design from the Universidad Cardenal Herrera, Valencia (Spain) and an MA-degree on Art History from the Universidad de Valencia. He got his PhD in 2006 from the KULeuven with the dissertation “The Role of the Creative Industries in the Construction of Regional/European Identities (1975-2002): Design and Fashion in Belgium and Spain.” He was a visiting scholar in the department of Design History at the Royal College of Art (London, UK) for the year 2009-2010. Dr Gimeno-Martínez’s research interests encompass design and fashion as related with consumption, gender and national identity. He has been conducting research on the shifting cultural status of industrial design and craft from the 1950s up to today with Belgium as case study, funded by the Research Foundation – Flanders from 2007 to 2010. The culmination of the first three years of this research project was the seventh ICDHS conference “Design and Craft: A History of Convergences and Divergences”, organized in collaboration with Dr. Fredie Floré, which provided the opportunity for an international discussion on regional specificities as well as the impact of global processes of industrialisation. If, until now, design history has been largely dominated by the Western narratives of industrialization, then moving the focus towards non- industrial design practice might bring non-Western scholars to the forefront. Moreover, previously marginalized design histories in industrialized countries can finally get a voice. Dr Gimeno-Martínez was an Editor of the Journal of Design History from 2008-2013 and he is currently co-editing a special issue on Dutch design for that journal.

·        PROGRAMME

     THURSDAY 19^th MARCH 2015

10 am to 12 pm - Reading Group – Gallery Café

Session with TVAD and School research staff and PG students. Texts have been tabled for discussion from Dr Javier Gimeno-Martínez, Dr Barbara Brownie, Dr Steven Adams and Dr Pat Simpson. They are available to participants on request from Dr Grace Lees-Maffei g.lees-maffei@herts.ac.uk

  

1 pm to 3 pm - National Army Museum Project discussion, JGM, BB and SA.

  

3 pm to 4 pm, AB132 – Design Talk: ‘Design and National Identity’, Dr Javier Gimeno-Martínez

What are we talking about when we talk about British design? Or Dutch design? What is produced in the country or what is consumed in the country? Both positions are substantiated by different theoretical approaches. We must be however aware of the implications when using one or another. This talk will elaborate on these theoretical frameworks and how they can contribute to a better understanding of national design.

      FRIDAY 20^th MARCH 2015

11 AM – 4 PM TVAD SYMPOSIUM ‘Design and National Identity’ convened by Dr Grace Lees-Maffei – Room 1A161

11 am – Coffee, Welcome and ‘Introduction: Designing Worlds: National Design Histories in an Age of Globalization’, Dr Grace Lees-Maffei, Reader in Design History, School of Creative Arts, University of Hertfordshire.

Contemporary design is global. Along with international developments in higher education, the influence of post-colonial theory, and intellectual endeavours like ‘world history’, design historians are now writing Global Design History (to use the title of a 2011 edited collection). While the nation state is no longer the only socio-cultural or political-economic unit forming our identities and experiences—if it ever were—this paper examines the value of national frameworks in writing design history and asks whether moves to discard them are premature. Are national histories of design dependent upon outmoded generalisations and stereotypes? Or do they demonstrate cogent frameworks for the discussion of common socio-economic and cultural conditions and shared identities? Globalizing design history involves writing new histories of neglected regions and nations and revisionist histories informed by the findings and methods of new comparative and global histories, of celebrated industrial nations.

11.30 am - What can we learn about research methodology from the sacking of the Bastille: 2-4 pm. Tuesday 14th July 1789? Dr Steven Adams, Associate Dean Research, School of Creative Arts & Head of Research Degrees (Social Sciences Arts and Humanities Research Institute), University of Hertfordshire.

In this brief talk, I want to look at some of the methodological problems encountered in the examination of an historical event, the fall of the Bastille that marked the start of the French Revolution. In an attempt to a raft of set secondary sources on the subject to one side, I turn instead to a range of primary material - textual and material - generated in the weeks after the Bastille's fall, texts and artefacts that defy easy categorisation and perhaps test the boundaries of some normative forms of academic history, art history and design history. We are left, I suggest, with things and writing about things made and written  by citizens struggling to keep pace with the events unfolding around them. In an attempt to begin find a place for myself in these events, I turn to a set of methodological strategies from codicology and cultural studies, to existentialism, 'chronographie' and the study of necrophilia. In a nutshell, the talk attempts to bring some historical and textual fragments into the light in the same way that those who sacked the Bastille, laid its contents out for the comment and inspection of their peers in the days after the 14th of July

12.15 am – Modern Wife, Modern Life: Expectations of the 1960s Irish Housewife, Dr Ciara Meehan, Senior Lecturer in History & Associate Programme Tutor for Humanities, School of Humanities, University of Hertfordshire.

The Modern Wife, Modern Life exhibition opens at the National Print Museum of Ireland.  It explores representations and expectations of Irish housewives as seen in the pages of women’s magazines from the 1960s. The exhibition has been supplemented with domestic objects crowd-sourced from the Irish public. While the objects themselves are not particularly unusual, many of them had fascinating and revealing backstories. These objects are being used to construct a picture of how everyday life was experienced and understood by ‘ordinary’ women in the 1960s.

1 pm to 1.45 pm – Lunch, Provided

1.45 pm - A Special Relationship: The Transatlantic Domestic Dialogue, Dr Grace Lees-Maffei, Reader in Design History, School of Creative Arts, University of Hertfordshire.

Design History has been bounded by national borders, and yet design is local, regional, international, intranational, and global as well as national. In this presentation, I call for transnational design history, using the case study of domestic advice literature, a mediating genre which contains a wealth of information about real ideals of the consumption of design in the home. Just as manners are markers of national identity (in that the people of different countries display different behaviours) so advice literature has been a tool in the formation of national identity. For example, Sarah A. Leavitt (2002) has discussed the role of homemaking literature in the process of Americanization, turning immigrants into American citizens. But while domestic advice books have a normalizing function—a white middle class ideal is published for white middle class readers to follow—mainstream examples have largely failed to recognise the ethnic diversity of US, and UK, society. Furthermore, an insistence on national borders as borders for understanding domestic advice literature has led to erroneous chronologies based on the relatively recent introduction of domestic advice literature into US publishing when compared with its long roots in the European literary tradition. And directly after World War II, historian Arthur Schlesinger regarded etiquette literature as a channel for the maintenance of world peace, in that it could help people from different countries to understand and show respect for one another. Informal manners have been presented as an American national trait, not only in British domestic advice literature with its implied fear of Americanization, but also through claims in US-produced titles of the forging of American manners. The pre-eminent American advice writer, Emily Post. continually adapted her advice to keep pace with the informalization of American society, and yet she was ridiculed by authors of ‘the new hospitality’, Mary and Russel Wright, who saw her not as the arbiter of American etiquette, but rather as a proselytiser for English manners at odds with the needs of mid-century Americans. To understand the importance of domestic advice literature in mediating national identities, we must also recognise the transatlantic development of the genre in a ‘domestic dialogue’ between the UK and the US of several centuries standing.

2.30 pm – ‘A graphic negotiation with the past, present and future. Political devolution and the symbols of the Spanish regions (1977–1991)’, Dr Javier Gimeno-Martínez, VU University, Amsterdam, the Netherlands.

Political devolution results in administrative institutions that are generally created anew. However, these new institutions try to conceal the brevity of their existence by reusing communal symbols from the past, such as flags or coats of arms. Even when these symbols might objectively carry certain polemical connotations, the weight of tradition can become an opportune tool for legitimating institutions, so that the past is somehow forced to conform to the present. Properly analysing this instrumentalization of historical iconography can pose quite a challenge for both historians and designers. Indeed, it is present-mindedness rather than historical perspective that drives these legitimating processes. This talk analyses the negotiation of signs by the governmental bodies that resulted from Spanish political devolution and their negotiation with both their past under Franco's dictatorship and their future in democratic Spain.  

3.15 pm – ‘Re-packing the nation: The Analysis of Ideological Symbolism in Tourist Advertising for Poland’, Dr Marta Rabikowska, Principal Lecturer in Creative Industries, Leader in Creative Employability, School of Creative Arts, University of Hertfordshire.

Dr Marta Rabikowska will present preliminary findings from her research on tourist advertising campaigns for Poland, issued after 2004 (the date of Poland’s accession to the EU). Rabikowska has published on the history of Polish advertising and the representation of gender stereotypes in Polish advertising before (2003) Rabikowska, M., ‘Female representation and dominant ideologies in Polish advertising’, East Central Europe. Vol. 30, 2, p. 39-61), which research provided the foundation to her analysis of ideological symbolism in tourist advertising affected by the intense migration movement from Poland to the EU countries in the last decade.  In this presentation, she will look into the stereotypical articulations of ‘national pride’ and ‘national treasures’ as examples of establishing a ‘new global identity’ for a nation strongly connected with the past on the one hand, and affected by contemporary migration movement and cultural exchange on the other hand.  An encounter of values and discourses, which takes place in the advertising campaign commissioned by the Polish Tourist Board (2010-2015), will be contrasted with the results of Rabikowska’s research on identity-making processes among Polish migrants living in the UK  (2009) Rabikowska, M.  & K. Burrell, 'The Material Worlds of Recent Polish Migrants: Transnationalism, Food, Shops and Home', in Kathy Burrell (ed.) Polish Migration to the UK in the 'New' European Union: After 2004,Aldershot: Ashgate, pp.211-232; Rabikowska,M.( 2010) ‘The Ritualisation of Food, Home and National Identity among Polish Migrants in London’, Social Identities: Journal for the Study of Race, Nation and Culture.  Special Issue. Ed. by Marta Rabikowska (2010) 16(3), May: 377–398), and other relevant literature on national symbolism and representation of Polish migrants in the Western media. The underlying thesis to this argument is grounded in the concept of re-appropriation of national identity in a changing historical context and in the arbitrariness of representation.

4 pm - Discussion of next steps and farewell.

For more information, contact the TVAD Research Group Leader, Dr Grace Lees-Maffei g.lees-maffei@herts.ac.uk

Dr Javier Gimeno-Martínez - TVAD Visiting Researcher gives TVAD Talk

As we were proud to announce TVAD's Visiting Researcher for 2014/15 is Dr Javier Gimeno-Martínez from VU University in Amsterdam (where Dr Grace Lees-Maffei is a Visiting Professor). Dr Gimeno-Martínez joined us for his first visit on 24th and 25th November, and the highlights of his work with us included a session introducing theories of national identity and design for the MA Students in the School of Creative Arts, a reading group session for staff to share work in progress, and on Monday November 24^th 2014, Dr Javier Gimeno-Martínez gave his TVAD Talk entitled ‘A graphic negotiation with the past, present and future. Political devolution and the symbols of the Belgian regions (1970–1998)’. Here is the abstract and below it is the link to the film of Javier's talk.

Political devolution results in administrative institutions that are generally created anew. However, these new institutions try to conceal the brevity of their existence by reusing communal symbols from the past, such as flags or coats of arms. Even when these symbols might objectively carry certain polemical connotations, the weight of tradition can become an opportune tool for legitimating institutions, so that the past is somehow forced to conform to the present. Properly analysing this instrumentalization of historical iconography can pose quite a challenge for both historians and designers. Indeed, it is present-mindedness rather than historical perspective that drives these legitimating processes.

This talk analyses the negotiation of signs by the governmental bodies that resulted from Belgian federalization. Along with the conflict between past and present, the Belgian case addressed the future, too. Belgian political devolution evolved in parallel with the Maastricht Treaty (signed in 1992), through which regions attained prominent roles in Europe. Did the need to create competitive regions invalidate the suitability of ancient symbols for legitimizing public institutions? It does not seem to be the case. On the contrary, institutional emblems coupled the necessity for appearing established with the urge to project European regions as competitive entities.

We look forward to welcoming Javier back to the School in spring next year.

TVAD Visiting Researcher 2014-5 Dr Javier Gimeno-Martínez

Javier Gimeno-Martínez is Assistant Professor at the VU University Amsterdam. He holds a MA-degree in Industrial Design from the Universidad Cardenal Herrera, Valencia (Spain) and an MA-degree on Art History from the Universidad de Valencia. He got his PhD in 2006 from the KULeuven with the dissertation “The Role of the Creative Industries in the Construction of Regional/European Identities (1975-2002): Design and Fashion in Belgium and Spain.” He was a visiting scholar in the department of Design History at the Royal College of Art (London, UK) for the year 2009-2010. Dr Gimeno-Martínez’s research interests encompass design and fashion as related with consumption, gender and national identity. He has been conducting research on the shifting cultural status of industrial design and craft from the 1950s up to today with Belgium as case study, funded by the Research Foundation – Flanders from 2007 to 2010. The culmination of the first three years of this research project was the seventh ICDHS conference “Design and Craft: A History of Convergences and Divergences”, organized in collaboration with Dr. Fredie Floré, which provided the opportunity for an international discussion on regional specificities as well as the impact of global processes of industrialisation. If, until now, design history has been largely dominated by the Western narratives of industrialization, then moving the focus towards non- industrial design practice might bring non-Western scholars to the forefront. Moreover, previously marginalized design histories in industrialized countries can finally get a voice. Dr Gimeno-Martínez was an Editor of the Journal of Design History from 2008-2013 and he is currently co-editing a special issue on Dutch design for that journal.

MON 24^TH NOVEMBER 2014 F390 Wright Building

10 am to 12 pm – Session with PG, MA and research students, led by Dr Gimeno-Martínez on national identity in design

12.45 to 3 pm – TVAD Talk ‘A graphic negotiation with the past, present and future. Political devolution and the symbols of the Belgian regions (1970–1998)’ LUNCH PROVIDED

Political devolution results in administrative institutions that are generally created anew. However, these new institutions try to conceal the brevity of their existence by reusing communal symbols from the past, such as flags or coats of arms. Even when these symbols might objectively carry certain polemical connotations, the weight of tradition can become an opportune tool for legitimating institutions, so that the past is somehow forced to conform to the present. Properly analysing this instrumentalization of historical iconography can pose quite a challenge for both historians and designers. Indeed, it is present-mindedness rather than historical perspective that drives these legitimating processes.

This talk analyses the negotiation of signs by the governmental bodies that resulted from Belgian federalization. Along with the conflict between past and present, the Belgian case addressed the future, too. Belgian political devolution evolved in parallel with the Maastricht Treaty (signed in 1992), through which regions attained prominent roles in Europe. Did the need to create competitive regions invalidate the suitability of ancient symbols for legitimizing public institutions? It does not seem to be the case. On the contrary, institutional emblems coupled the necessity for appearing established with the urge to project European regions as competitive entities.

3.30 to 5 pm - Student presentations about their work (follows on from morning session).

TUES 25^TH NOVEMBER 2014 F302 Wright Building

11.30 am to 12.30 pm – Planning for next visit, all staff invited to input.

1.30 pm – 3 pm – Reading Group session with TVAD and School research staff and PG students. Staff and research students are invited to circulate a piece of their writing in progress in advance to Dr Grace Lees-Maffei, g.lees-maffei@herts.ac.uk for discussion at the reading group round table.

For more information, contact Dr Grace Lees-Maffei g.lees-maffei@herts.ac.uk  Blog  http://tvad-uh.blogspot.co.uk/