'Love me or kill me’: Sarah Kane & the theatre of extremes

Monograph on the playwright Sarah Kane

Becoming poverty focused: implications for health actors

The article explores the relationship between health sector interventions and poverty analysis. It is suggested that a dynamic asset approach to poverty and health provides a framework for intervention that recognizes the complex strategies adopted by poor individuals, households and communities. The linked nature of the asset approach leads to an inter-sectoral focus and provides extra stimulation to engage with diverse partners who may be slow to own poverty reduction and health policies.

Conceptualizing design

Companies are becoming increasingly dependent on the productivity of their knowledge workers in comparison to manual workers (Ramírez and Nembhard 2004, p.602). Practitioners, researchers or commentators do not consistently conceptualize design (Love 2000, p.295; Pugh 1990, p.65). There is a need to not only rethink design processes and practices but also to re-consider design conceptualization that underpins processes and practices. The aim is to develop a clear understanding of design as conceptualized in the literatures from construction design, design management, design productivity, design practices and the process of design. The objective is to review how researchers have conceptualized design.

The drowned and the saved: shipwrecks and the 'cursus' of Latin love elegy

Throughout the corpus of Latin love elegy, the imaginary tombs envisaged by the elegists for their own personae and for other inhabitants of their poetic world display a striking tendency to take on the characteristic attributes and personalities of those interred within. The final resting-place of Propertius, for instance, that self-proclaimed acolyte of Callimachean miniaturism and exclusivity, is to be sequestered from the degrading attentions of the passing populace (Prop. 3.16.25–30) and crowned with the poet's laurel (2.13.33–4). What remains of his meagre form will rest in a ‘tiny little urn’ (paruula testa, 2.13.32) beneath a monument declaring the lover's slavery to a single passion (2.13.35–6), and the grave is to be attended, or so he hopes, by the object of that passion herself (3.16.23–4), or occasionally (though he is not so confident of this) by his patron Maecenas (2.1.71–8). Likewise the memorial designed by Ovid for Corinna's pet parrot - an imitatrix ales endowed with the most distinctive foibles of the elegiac tradition - in Amores 2.6, comprising a burial mound pro corpore magnus (2.6.59) topped with a tombstone described as exiguus (‘tiny’, 2.6.60; cf. Prop. 2.1.72, 2.13.33), exhibits an elegiac emphasis worthy of the parrot's human counterparts among Ovid's poetic predecessors.

Object-love at the Science Museum: cultural geographies of museum storerooms

The field of museum geography is taking on new significance as geographers and museum-studies scholars make sense of the spatial relations between the people, things, practices and buildings that make and remake museums. In order to strengthen this spatial interest in museums, this paper makes important connections between recent work in cultural geography and museum studies on love, materiality and the museum effect. This paper marks a departure from the preoccupation with the public spaces of museums to go behind the scenes of the Science Museum in London to explore its rarely visited, but nonetheless lively, small-to-medium-sized object storerooms at Blythe House. Incorporating field diary entries and interview extracts from two research projects based upon the museum storerooms at Blythe House, this paper brings to life the social interactions that take place between museum curators and conservators and the objects they care for. This focus on object-love enables scholars to consider anew what museums are and what they are for, the life of the museum object in the storeroom, and the emotional practices of professional curatorship and conservation. This journey into the storeroom at Blythe House makes explicit how object-love shapes museum space.