Arthurian topics feature in medieval mural painting and sculpture in architecture from the early twelfth century onwards. The ‘spatial’ aspects of these art forms were ideal for medieval patrons to represent and promote themselves to others. They competed through monumental art – be it in their own residence, a town hall, or a church – to show their identity and status. This chapter traces the main trends, iconographical topics, and influences, with consideration of the social and political function of the representation of Arthur and his knights in medieval monumental art.

William James has a complex and intriguing relationship to aesthetics. Although he is the classical pragmatist who had the deepest relationship to the arts, James never devoted a book or an academic article to aesthetic theory. He intentionally refrained from this not only because of his disappointments in reading the texts of philosophical aesthetics but also because of what he perceived as the inherent limits of aesthetic theory. Notwithstanding these severe reservations, James gave aesthetic principles a pervasive and important place in his philosophy. This paper examines both James’s reservations about aesthetic theory and the various significant roles he grants to aesthetic principles in his theories of knowledge, action, ethics, and affective life. One of the key problems James saw in aesthetic theory results from the way it inevitably comes up against the generality and limits of language. This is particularly true with respect to the language of theory. This chapter provides a detailed examination of this issue and its consequences.

This chapter examines various ways in which Arthur and Arthurian legend have been visualised between 1500 and 1800; not confined to manuscripts, it offers a cross-medium account of the legend’s visual representation, including physical installations, engravings, antiquarian juvenilia, as well as architecture and applied art. It examines the ways in which these visualisations present their narratives and how the figures are defined. This chapter also explores how Arthurian figures are identified and located within history, notably by devices including heraldry and architecture, and how these devices are employed to afford various senses of the antique, status and significance.

In this chapter, Angela Duckworth, Elisa New, and Ross Weissman reflect on William James’s ongoing influence on their work in the fields of psychology, literature, and education. This dialogue presents James not only as a subject of historical interest, but as a thinker relevant for a contemporary audience and their questions – whether a graduate student, professor, or educational leader. As such, Duckworth, New, and Weissman discuss how James’s writings have informed different stages of their own careers and their approaches to classroom pedagogy, scholarship, work beyond the academy, and much more. Central to this chapter is Talks to Teachers and how James’s psychological insights remain relevant, informing their engagement with students in the twenty-first century. In Talks, Duckworth, New, and Weissman find a model for teaching, interdisciplinarity, and the importance and means of reaching wider audiences.

This conversation draws on an online discussion ‘Casa Adentro (Inside the House): Anti-Racist Art Practices’ (21 May 2021) held with the Afro-Colombian dance company Sankofa Danzafro and the Afro-Colombian art collective Colectivo Aguaturbia. The participants explore the concerns and creative processes that reflect on the durability of racialised social orders and the way racism is manifest in various areas of the lives of Afro-descendant men and women in Colombia. The artists reflect on these issues on the basis of their anti-racist artistic practices.

This chapter explores the theoretical themes of the book: art, politics and anti-racism; emotion and affect in art and politics; Latin American racial formations. It outlines the research project on which the book is based: Cultures of Anti-Racism in Latin America (CARLA).

The chapter analyses how racialised differences have been represented in artistic practice in Colombia, and the relationship between negatively racialised artists and the art world. The first two sections cover from the colonial period to the first half of the twentieth century and address the representation and participation of Black and Indigenous people, using examples from visual arts, literature, music and dance. White and mixed-race artists tended to represent racialised subalterns in primitivist and paternalist ways, although some displayed socialist sympathies in depictions of social inequality, without racism coming into clear view. By the 1930s and 40s, Black artists were critiquing social inequalities and explicitly identifying racism. We then analyse the increasing politicisation of Black art practice, which was linked to international currents such as Négritude and Black Power. Also important was the Black social movement in the country, which began in the 1960s and gathered strength with Colombia’s 1991 constitutional multiculturalist reform. The fourth section explores the work of the Colombian artists – mostly but not exclusively Black – who collaborated with us in CARLA to show how their diverse art practices have addressed racism in increasingly direct ways.

This chapter reflects on possibilities for anti-racism in artistic practice. Drawing on the work of the diverse artists we have collaborated with in the project Cultures of Anti-Racism in Latin America (CARLA), I focus on two types of intervention that I believe help us to think about various ways of doing anti-racism through art. The two types are challenging stereotypes and working with communities, and I explore how various artworks engage with these modes of artistic action and how they create emotional traction and affective intensity. The aim of the exercise is to be productive and helpful in the struggle against racism by providing some tools that artists and organisations can use to think strategically about anti-racism as a practice and reflect on the opportunities and risks that attach to different interventions.

Argentina has a tradition of disavowed racism, with dominant narratives of the nation as racially homogenous due to mass European migration and the supposed disappearance of Indigenous, Black and mixed-race peoples. We argue that the arts have enabled critiques of the subtle ways that race is written into national identity. We analyse race and cultural production in Argentina from the late nineteenth century to the twenty-first, when critiques emerged of discourses of nationality articulated mainly around Europeanness. There are explicitly anti-racist expressions by Afro-descendant and Indigenous creators, but, because of Argentina’s specific racial formation, we focus on cultural products by working-class artists (mostly mixed-race people subject to an elusive yet systematic racism) and their white middle-class allies, who together have fostered strategies that, despite not being explicitly anti-racist, have contributed to addressing structural racism. These multiple forms of artistic expression illustrate the shifting valences of race in Argentina in which racial diversity at times goes from invisibility to a hypervisibility that mobilises, among the white middle and upper classes, paranoid fears about the Other that justify repression, but which also allow affective alliances in the face of racism.

This section present some final reflections from three artists and groups of artists who offer some thoughts on art and anti-racism and on their experiences with the CARLA project. There are contributions from Arissana Pataxó, an Indigenous Brazilian artist; Miriam Álvarez, Lorena Cañuqueo and Alejandra Egido, Mapuche and Afro-Cuban actors and directors behind the Argentine theatre companies Grupo de Teatro ‘El Katango’ and Teatro en Sepia; and Wilson Borja, an Afro-Colombian graphic artist.

The conversation is curated from an online event, Anti-Racist Art in the UK and Latin America: A Conversation (11 November 2020), with Daiara Tukano, Liliana Angulo, SuAndi, and Ekua Bayunu. The line-up was designed in order to explore differences and similarities between experiences of and ideas about racism in Latin America and the UK from the perspectives of Black and Indigenous artists.

Based on conversations between the authors, two of them directors of theatre companies, one Afro and the other Mapuche, in Argentina, we examine the construction of theatrical poetics, which question colonial criteria of creativity and build alternative spaces for drama production in Argentina. We discuss the development of anti-racist staging practices, which go beyond recognition politics, centring the stage as a point of reconnection of subalternised social trajectories and presenting the lives of Mapuches and Afro-descendants in all their complexity. We focus on four axes: a) theatrical poetics as a way to move and generate community via affective interventions; b) theatre as a method of research into Afro and Mapuche histories and lives in their multiplicity and which can generate dramaturgies that challenge ideologies of a European nation; c) procedures that seek to decolonise the bodies of actresses and audiences, using gestures and embodied memories, and to challenge stereotypes about racialised women; and d) a reconceptualisation of the notion of body-territory to analyse how, using the stage, forms of life are reconstructed in all their heterogeneity. Both companies challenge the project of a white-colonial Argentina and bring politics to art.

The long-lasting impact of Pheidias, antiquity’s master of religious art, especially his Zeus at Olympia, is considered in the context of the theme of personal religion. The chapter adopts a broad chronological perspective and explores how the great master was perceived during the centuries following his lifetime, with a focus on his chryselephantine masterpiece, which he completed in the later decades of the fifth century BCE. It considers how later generations have conceived of his personal religious life, its relation to his famed artwork, and the position his figure has come to occupy within broader cult practices and devotional experiences. Close analysis of Pausanias’ Description of Greece alongside other evidentiary materials shows that by the second century CE, Pheidias was a figure of religious significance in his own right. Greco-Roman authors ascribed to him the qualities of a visionary endowed with unparallel access to Zeus. He left his detectable trademarks in his masterpiece, and his presence was felt in communal cult practices. Centuries after his departure from Olympia, his artmaking has come to be understood as a form of devotional practice.