The first book-length study of the contributions that women writers made to the social, cultural and philosophical milieux of seventeenth-century English republicanism. Drawing on the works of six women writers of the period, the book examines their writings and explores the key themes and concepts that they build upon.

This searing critique of participatory art—from its development to its political ambitions—is “an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, ‘Now that’s art!’ or ‘That’s art?’” (Library Journal) Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling, and bolder forms of participatory art and criticism.

Committee Serial No. 14.

Diane Sane, an eighteen-year-old female from Venice, Italy, discovering appalling recordings on surveillance cameras, which were hidden in her parent's household. As a disturbed, homeless person, she runs from home, then suffers from a strange reaction of bleeding from her flesh near a cathedral. A stranger, (Evelyn) meets and informs her that they are test subjects by cruel, highly intelligent scientists. Thus, Diane discovers that she is not the only person with knowledge beyond scientists. Also, she discovers that she can kill people with a single glance or stare. Every six hours, she has the urge to murder her next victim.

THE IRISH BESTSELLER 'Ferriter has richly earned his reputation as one of Ireland's leading historians' Irish Independent 'Absorbing ... A fascinating exploration of the Civil War and its impact on Ireland and Irish politics' Irish Times In June 1922, just seven months after Sinn Féin negotiators signed a compromise treaty with representatives of the British government to create the Irish Free State, Ireland collapsed into civil war. While the body count suggests it was far less devastating than other European civil wars, it had a harrowing impact on the country and cast a long shadow, socially, economically and politically, which included both public rows and recriminations and deep, often private traumas. Drawing on many previously unpublished sources and newly released archival material, one of Ireland's most renowned historians lays bare the course and impact of the war and how this tragedy shaped modern Ireland.