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(Public Pack)Agenda Document for Monthly Council Meeting, 08/01
To the Lord Mayor and Report No. 01/2018 Members of Dublin City Council FÓGRA FREASTAIL DO CHRUINNIÚ MÍOSÚIL NA COMHAIRLE I SEOMRA NA COMHAIRLE, HALLA NA CATHRACH, CNOC CHORCAÍ, DÉ LUAIN, AR 8 EANÁIR 2018 AG 6.15 I.N. NOTIFICATION TO ATTEND MONTHLY COUNCIL MEETING TO BE HELD IN THE COUNCIL CHAMBER, CITY HALL, DAME STREET, DUBLIN 2., ON MONDAY 8 JANUARY 2018 AT 6.15 PM Do Gach Ball den Chomhairle. A Chara, Iarrtar ort a bheith I láthair ag an Cruinniú Míosúil de Chomhairle Cathrach Bhaile Átha Cliath a thionólfar i Seomra na Comhairle, Halla na Cathrach, Cnoc Chorcaí, ar 8 Eanáir 2018 ag 6.15 i.n. chun an ghnó seo leanas a phlé agus gach is gá i dtaca leis a dhéanamh, nó a chur a dhéanamh, nó a ordú a dhéanamh:- Silent Prayer/Reflection PAGE PART I - INTRODUCTORY 1 Lord Mayor's Business 2 Ceisteanna fé Bhuan Ordú Úimhir 16 5 - 16 3 LETTERS (a) Letter dated 14th December 2017 from Clare County Council - Calling on the 17 - 18 Minister for Agriculture to put a plan in place to help Clare farmers through an imminent fodder crisis next year (b) Letter dated 12th December 2017 from Galway City Council - Calling on the 19 - 20 Department of the Environment re request for the preparation of legislation for the disposal of paint under the Producer Responsibility Initiative PART II - GOVERNANCE ISSUES 4 To confirm the minutes of the Monthly Council Meeting 4th December and the 21 - 88 13th December 2017 5 Report No. 6/2018 of the Head of Finance (K. -
Resource What Is Modern and Contemporary Art
WHAT IS– – Modern and Contemporary Art ––– – –––– – – – – – – – – – – – – – – – – – – – – – – – – – – ––– – – – – ? www.imma.ie T. 00 353 1 612 9900 F. 00 353 1 612 9999 E. [email protected] Royal Hospital, Military Rd, Kilmainham, Dublin 8 Ireland Education and Community Programmes, Irish Museum of Modern Art, IMMA THE WHAT IS– – IMMA Talks Series – – – – – – – – – – – – – – – – – – – – – ? There is a growing interest in Contemporary Art, yet the ideas and theo- retical frameworks which inform its practice can be complex and difficult to access. By focusing on a number of key headings, such as Conceptual Art, Installation Art and Performance Art, this series of talks is intended to provide a broad overview of some of the central themes and directions in Modern and Contemporary Art. This series represents a response to a number of challenges. Firstly, the 03 inherent problems and contradictions that arise when attempting to outline or summarise the wide-ranging, constantly changing and contested spheres of both art theory and practice, and secondly, the use of summary terms to describe a range of practices, many of which emerged in opposition to such totalising tendencies. CONTENTS Taking these challenges into account, this talks series offers a range of perspectives, drawing on expertise and experience from lecturers, artists, curators and critical writers and is neither definitive nor exhaustive. The inten- What is __? talks series page 03 tion is to provide background and contextual information about the art and Introduction: Modern and Contemporary Art page 04 artists featured in IMMA’s exhibitions and collection in particular, and about How soon was now? What is Modern and Contemporary Art? Contemporary Art in general, to promote information sharing, and to encourage -Francis Halsall & Declan Long page 08 critical thinking, debate and discussion about art and artists. -
Curated by Michael Dempsey Sara Reisman Introduction
Curated by Michael Dempsey Sara Reisman Introduction SELECT AN ARTIST t Lieven De Boeck Elaine Byrne John Byrne Tony Cokes Chto Delat Dor Guez Lawrence Abu Hamdan Dragana Juriši´c Ari Marcopoulos Raqs Media Collective Dermot Seymour Mark Wallinger “In the year 2000 there was a total of fifteen fortified border walls and fences between sovereign nations. Today, physical barriers at sixty-three borders divide nations across four continents.” — Lawrence Abu Hamdan, 2018 Introduction Historically, borders tend to be the location of international trouble spots. Prior to the global lockdown, there was a utopian vision of open borders, alongside the reality of a populist push towards border fortification. This dichotomy has now been eclipsed by a pandemic that doesn’t respect borders. Politicisation of the pandemic, displacement of people, and contagion, as well as the drive towards an ever-increasing economic globalisation, have created further complex contradictions. The curatorial idea for the exhibition Worlds Without End (WWE) was first conceived a year ago as a research-based collaboration between Sara Reisman, Executive and Artistic Director of the Shelley & Donald Rubin Foundation, New York and Michael Dempsey, Head of Exhibitions, Hugh Lane Gallery, who are the co-curators of WWE. WWE is a visual dialogue on the impact of borders on individuals and communities. The twelve participating artists are drawn from different regional traditions and challenge our perceptions of national identities, envisioning utopian possibilities for understanding the place of borders, their proliferation and seeming obsolescence, in contemporary society. These artists reveal their deep interest in current geo-political positions and social conditions with works that interrogate power structures, positions of privilege and human rights issues. -
Bloom Griffith
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Toyama Repository ȸξςΏȜΒȹ͈ಎ͈ႤঃठબȇBloom ͂ Grif¿th ȸξςΏȜΒȹ͈ಎ͈Ⴄঃठબȇ Bloom ͂ *ULI¿WK ႝȁ࿐ȁࢣȁ A homerule sun rising up in the northwest from the laneway behind the bank of Ireland (U 4.101-3) എۼȁȸξςΏȜΒȹ͉IJĺıĵාķIJķ͈ΘήςϋȪήσȜθΒΟͼȫ̞̠͂Ȅ౷ၑഎȄশ ࡠ̯ͦȄ̷̱̥͈͜শത͈́Θήςϋ২ٛͬȄषͅంह̱̹૽ͬκΟσ̱͂Ȅषͅͅ ຝ̥̞ͦ̀ͥȃ̷͈̭͉͂൚ட͈̭̱͂͂̀Ⴄঃഎম͈બ̧̱ͬ̀ͅົئ̲̹ြমͬ ̹ͦ֗̽͘උ৪ͅါݥ̳̭ͥ͂͂̈́ͥȃ̷͈ैުͬ́ٸඋ৪ͅȄඅͅࢃଲͅͺͼσρϋΡ͈ ਹ͇ͥ͂Ȅैಎ͉̞̩͈̾͜ͅͺ·υΣΒθഎြম̦ழ͙ࣺ̞̹ͦ̀ͤ͘Ȅম̳͂ ࢋ̞֑͞ېȃ̷͉ͦͣঊळͅ൦̳ͥ͂ΐοͼΑ͈̩̿ܨຝ̥̞̹̳̭̦̭ͦ̀ͤͥ͂͂ͥͅ ̞̠͉ͤ͂ͤ͢ȄΐοͼΑ̷̦͈̠̈́͢ါளͬփഎͅै̻ࣺ͚̭͂́ͅȄນ࿂ષ̫৾ ୪എͅຝ̧̱̞͈̺̥̀ͥ͂ͥȃ̷͈̠̈́͢ম႕͈֚̾ۼͬޙ࿂͉֑̹͂̽ેͥͦͣ ൦̳ͥలIJijொდ͈ΩήBarney Kiernan’s̤̞̀ͅȄͺͼσρϋΡඊၛ൲ͬ̽ͅئȄո̦ Blooḿ̜̹̦͈̹̱̽͂ރSinn Féin͈ই৪Arthur Grif¿thͅȄ̷͈आۚഎͺͼΟͺ̹ͬ ̜́ͥȃ࿔აBloom͉൚শ͈ΘήςϋͅκΟσ̹̞ͬ̈́ഴા૽Ȅ৽૽̜̥̯́ͥͥͦ ߗ̜͈͉̞̠̞́ͥ́̈́͘͜ȃ̱̥̱ࢃͅમ̳̠ͥ͢ͅȄ̶̈́ႤঃഎطḘ͈̏মুఘ̦ͣ ͺ·υΣΑΞͻΛ·̈́ম̱̞̥͇̞͂̈́̽̀̈́ͬ͘Ȅै̰̻ࣺ̫ͩ͂̈́ͦ͊͘ͅͅ ̞̫̥̹͈̥͉̈́̽Ȅમळͅ൦̳ͥຈါ̦̜ͥȃ ̥̱̾ۜވુRichard Ellmann͈ഥܱഎٜ৷ͅਲ̞ȄGrif¿th͈ଽহૄ͉̱̀ͅ۾ȁ̭ͦͅ ̦Dublinersๅ࿚ఴ͈षͅা̱̹Joyce͈͒ࢡփͅ༭̞̹ͥ͛ͅȄΧϋ΄ςȜࠏξΘμ૽͈ ́زঊః̞̠͂Bloom͈ুͬ၌ဥ̱̀Bloom͈ଽহ൲͈ࠊͬैͤષ̬̀Ȅ൚শ͈ଽহ Joyce͉Stanislaus̥ͅͅږȄGrif¿thͬഴા̵̯̹͈̺̯̞͂ͦ̀ͥ(James Joyce 335n)ȃ֚ զ̹̀υȜζশయ͈ঞ͈ಎ́ȄGrif¿th̢͈݈ͥٛ৽݅എ൲აͬ൚࿂͈ခ༷࢘̈́ॐ͂ Πρͅۼ̱̞̀ͥȪLetters II 167,187ȫȃDublinersๅ࿚ఴ́ๅ৪George Roberts͈̱͂̀ ۰ͬJoyce͈ါབͅ؊̢̀ࠇश̱̩̹̀ͦ૧২͉ȄΘήςϋٳήσ̦̲̹षȄࢯ݈͈ Grif¿th͈Sinn Féinঞ͈͙̜̹̱́̽(Letters II 291f1)Ȅ̷͈ࢃ͈੩ႁͬݥ͛̀ང࿚̱͉̀́ ̞ͥ͜ȃ̱̥̱ȄJoyce͈Sinn Féiń͉̜̩͘ၣ༗ັ̧͈֚শഎ͈̜̈́́ͤ͜Ȅ̷͈ࢃ ̱̞̀ͥ͜(James Joyce 237, 334:Consciousness 55, 86-90)ȃै͈୭ͬ࿂എͅഥܱഎম － 139 － ါܮ໐ڠ૽ڠ५ఱີ ߸ͬैͅ۾ۼෝ̳ٜ͂ͥ৷͉ͅȄ̢̹͂ΐοͼΑ̦ࡢ૽എ̈́૽خၛ̭̾͂́̀̽ܙ͙͈ͅͅ ׳ࢡ̩̜̱ͥ͂̀͜Ȅ༊̦̜̞̠͉ͤͥ͂྾ͦං̞̈́ȃഥܱഎম̵̦̭̯ͬ͂ͥד ဥ̱̾̾͜Ȅഥܱഎ۷ത̥͈͙͈ͣඋ̴͙ࣺ͙ͣ͢ͅȄैুఘ͈ুၙ͈ಎ́͜ȄBloom̦ -
Homage to Fra Angelico (1928) Oil on Canvas, 183 X 152.5Cms (72 X 60’’)
38 31 Mainie Jellett (1897-1944) Homage to Fra Angelico (1928) Oil on canvas, 183 x 152.5cms (72 x 60’’) Provenance: From the Collection of Dr. Eileen MacCarvill, Fitzwilliam Square, Dublin Exhibited: Mainie Jellett Exhibition, Dublin Painters Gallery 1928 Irish Exhibition of Living Art, 1944, Cat. No. 91 An Tostal-Irish Painting 1903-1953, The Hugh Lane Municipal Gallery, Dublin 1953 Mainie Jellett Retrospective 1962, Hugh Lane Gallery Cat. No. 38 Irish Art 1900-1950, Cork ROSC 1975, The Crawford Gallery, Cork, 1975, Cat. No. 65 The Irish Renaissance, Pyms Gallery, London, 1986, Cat. No. 39 Mainie Jellett Retrospective 1991/92, Irish Museum of Modern Art Cat. No. 89 The National Gallery of Ireland, New Millennium Wing, Opening Exhibition of 20th Century Irish Paintings, January 2002-December 2003 The Collectors’ Eye, The Model Arts & Niland Gallery, Sligo, January-February 2004, Cat. No. 12; The Hunt Museum, Limerick, March-April 2004 A Celebration of Irish Art & Modernism, The Ava Gallery, Clandeboye, June- September 2011, Cat. No 21 Analysing Cubism Exhibition Irish Museum of Modern Art Feb/May 2013, The Crawford Gallery Cork June / August 2014 and The FE Mc William Museum September/November 2013 Irish Women Artists 1870 - 1970 Summer loan exhibition Adams Dublin July 2014 and The Ava Gallery , Clandeboye Estate August/September Cat. No. 70. Literature: The Irish Statesman, 16th June 1928 Stella Frost, A Tribute to Evie Hone & Mainie Jellett, Dublin 1957, pp19-20 Kenneth McConkey, A Free Spirit-Irish Art 1860-1960, 1990, fig 58 p75 Dr. S.B. Kennedy, Irish Art & Modernism, 1991, p37 Bruce Arnold, Mainie Jellett and the Modern Movement in Ireland, 1991, full page illustration p120 Mainie Jellett, IMMA Cat, No. -
Hugh Lane Gallery Update Report
Report to Arts, Culture, Leisure and Recreation SPC 29th June 2020 Item No. 8 HUGH LANE GALLERY Online Programmes and Social Media Engagement In response to the Covid 19 Pandemic and the restrictions that have been put in place, the Hugh Lane Gallery has created a series of new and highly dynamic online programmes which are updated weekly. The response has been excellent with our line audience growing exponentially. Our Twitter engagements reached 282k by the end of May. We aim to reach 10,000 followers on Instagram by mid-July and our Facebook followers are growing steadily. Our first online Sunday@Noon concert took place on the 31st March with over 3,000 people + listening through Facebook. All of the gallery’s programmes can be accessed through our website and on Hugh Lane Gallery YouTube channel and Hugh Lane Gallery Soundcloud. Our programmes are a mixture of talks, mini podcasts, sketching and drawing classes, Artists Takeover, Curators Choice, # museumfromhome and # Flashback Fridays (see www.hughlane.ie). The Gallery Newsletter goes out weekly via email and I hope every Councillor is receiving it. We currently have a subscription of over 3,600.and we have approximately 1200 active readers. According the Constant Contact’s statistics page, the 30% open rate is 18% higher than the Industry Average which is normally 12%. INSTAGRAM FOLLOWER GROWTH 10000 9000 8000 7000 6000 5000 4000 3000 2000 1000 0 JANUARY FEBRUARY MARCH APRIL MAY Currently at 9264, we project to hit 10,000 followers by mid-July FACEBOOK REACH 50000 45000 40000 35000 30000 25000 20000 15000 10000 5000 0 JANUARY FEBRUARY MARCH APRIL Facebook Reach Facebook Reach is the number of unique people viewing our content through following, sharing or liking our content. -
WILLIE DOHERTY B
WILLIE DOHERTY b. 1959, Derry, Northern Ireland Lives and works in Derry EDUCATION 1978-81 BA Hons Degree in Sculpture, Ulster Polytechnic, York Street 1977-78 Foundation Course, Ulster Polytechnic, Jordanstown FORTHCOMING & CURRENT EXHIBITIONS 2020 ENDLESS, Kerlin Gallery, online viewing room, (27 May - 16 June 2020), (solo) SOLO EXHIBITIONS 2018 Remains, Regional Cultural Centre, Letterkenny, Ireland Inquieta, Galeria Moises Perez de Albeniz, Madrid, Spain 2017 Galerie Peter Kilchmann, Zurich, Switzerland Remains, Art Sonje Center, Seoul, South Korea No Return, Alexander and Bonin, New York, USA Loose Ends, Matt’s Gallery, London, UK 2016 Passage, Alexander and Bonin, New York Lydney Park Estate, Gloucestershire, presented by Matt’s Gallery + BLACKROCK Loose Ends, Regional Centre, Letterkenny; Kerlin Gallery, Dublin, Ireland Home, Villa Merkel, Germany 2015 Again and Again, Fundaçao Calouste Gulbenkian, CAM, Lisbon Panopticon, Utah Museum of Contemporary Art (UMOCA), Salt Lake City 2014 The Amnesiac and other recent video and photographic works, Alexander and Bonin, New York, USA UNSEEN, Museum De Pont, Tilburg The Amnesiac, Galería Moisés Pérez de Albéniz, Madrid REMAINS, Kerlin Gallery, Dublin 2013 UNSEEN, City Factory Gallery, Derry Secretion, Neue Galerie, Museumslandschaft Hessen Kassel Secretion, The Annex, IMMA, Dublin Without Trace, Galerie Peter Kilchmann, Zurich 2012 Secretion, Statens Museum for Kunst, National Gallery of Denmark, Copenhagen LAPSE, Kerlin Gallery, Dublin Photo/text/85/92, Matts Gallery, London One Place Twice, -
Dorothy Cross Dorothy Cross B
Kerlin Gallery Dorothy Cross Dorothy Cross b. 1956, Cork, Ireland Like many of Dorothy Cross’ sculptures, Family (2005) and Right Ball and Left Ball (2007) sees the artist work with found objects, transforming them with characteristic wit and sophistication. Right Ball and Left Ball (2007) presents a pair of deflated footballs, no longer of use, their past buoyancy now anchored in bronze. Emerging from each is a cast of the artist’s hands, index finger extended upwards in a pointed gesture suggesting optimism or aspiration. In Family (2005) we see the artist’s undeniable craft and humour come together. Three spider crabs were found, dead for some time but still together. The intricacies of their form and the oddness of their sideways maneuvres forever cast in bronze. The ‘father’ adorned with an improbable appendage also pointing upwards and away. --- Working in sculpture, film and photography, Dorothy Cross examines the relationship between living beings and the natural world. Living in Connemara, a rural area on Ireland’s west coast, the artist sees the body and nature as sites of constant change, creation and destruction, new and old. This flux emerges as strange and unexpected encounters. Many of Cross’ works incorporate items found on the shore, including animals that die of natural causes. During the 1990s, the artist produced a series of works using cow udders, which drew on the animals' rich store of symbolic associations across cultures to investigate the construction of sexuality Dorothy Cross Right Ball and Left Ball 2007 cast bronze, unique 34 x 20 x 19 cm / 13.4 x 7.9 x 7.5 in 37 x 19 x 17 cm / 14.6 x 7.5 x 6.7 in DC20407A Dorothy Cross Family 2005 cast bronze edition of 2/4 dimensions variable element 1: 38 x 19 x 20 cm / 15 x 7.5 x 7.9 in element 2: 25 x 24 x 13 cm / 9.8 x 9.4 x 5.1 in element 3: 16 x 15 x 13 cm / 6.3 x 5.9 x 5.1 in DC17405-2/4 Dorothy Cross b. -
Stephen Dedalus and Nationalism Without Nationalism
Stephen Dedalus and Nationalism without Nationalism Aleksandar Stević King’s College, Cambridge While recent critics have often downplayed the significance of Joyce’s attack on the Gaelic Revival in A Portrait of the Artist as a Young Man, the novel actually enacts nothing less than a systematic repudiation of nationalist tropes from the position of liberal cosmopolitanism. As a detailed comparison of Joyce’s text with the turn of the century revivalists discourse shows, A Portrait undermines each of the key revivalist preoccupations (including both linguistic nationalism and ethnic essentialism), finally deconstructing the project of nation building in toto. This radical critique of nationalism suggests that, after twenty years in which Joyce studies have been dominated by attempts to displace the once dominant vision of Joyce as an apolitical and internationalist aesthete with a version of Joyce as, above all, a colonial Irish intellectual, it is time to once again take his commitment to aestheticism and cosmopolitanism seriously. Keywords: James Joyce / A Portrait of the Artist as a Young Man / nationalism / cosmopolitanism / aestheticism / Gaelic revival The outcome of A Portrait of the Artist as a Young Man stands suspended between the rejection of nationalism and a firm, though perhaps idiosyncratic, commitment to nation-building. Such, at least, is the conclusion that follows from the seemingly contradictory pronouncements of its hero, Stephen Dedalus. “I will not serve,” he famously tells Cranly, “that in which I no longer believe, whether it call itself my home, my fatherland, or my church” (Joyce, Portrait 268). And yet, Stephen’s determination to reject the nets of “ nationality, language, and religion” (220) appears to be thoroughly contradicted by the penultimate entry in his diary in which he promises to “forge the uncreated conscience of myrace” (275– 276). -
1. Introduction to Ireland (3 Credits) Instructor: Professor Kevin Whelan
1. Introduction to Ireland (3 credits) Instructor: Professor Kevin Whelan HIST 34430; ANTH 34320; IRST 24208; SOC 34123 Satisfies the University History Requirement Course description The History of Ireland 1798-2010 Evolution of Irish culture from the eighteenth century to the contemporary period; It aims to give students a foundational understanding of the cultural inheritance of the island. While organized in broadly chronological terms, it will also examine crucial thematic concerns—landscape, history, languages, economy, society, politics and government, literature, music, sport. This course explores the broad political, cultural, economic and social history of the island of Ireland from the eighteenth to the twentieth-first century. It also explores the nature of contemporary Irish culture. Themes covered include the 1798 Rebellion, Catholic Emancipation, the Great Irish Famine, emigration, the 1916 Rising and the Northern Ireland Troubles. The lectures will be supported by field trips, museum and theatre visits, and interviews with distinguished modern Irish citizens. Lectures (TBC) 1. Three revolutions (1688, 1776, 1789) and a failure 2. The 1798 Rebellion Act of Union 3. Daniel O‟Connell 4. The Great Famine 5. Post-Famine Ireland 6. The Irish Diaspora in America 7. 1916, the Civil War and Partition: North and South 8. The reciprocity of tears: The Northern Troubles 9. The Celtic Tiger: The contemporary economy 10. Politics and political parties in Ireland 11. Society and culture in contemporary Ireland 12. Understanding James Joyce 13. Sport in modern Ireland 14. Northern Ireland: The peace process 15. The Irish language now 16. History and memory in Ireland 17. From Uilleann pipes to U2: Understanding Irish music 18. -
Isabel Nolan
Kerlin Gallery Isabel Nolan Isabel Nolan Stelliferous to Degenerate 2020 water based oil on canvas 70 x 90 x 3 cm / 27.6 x 35.4 x 1.2 in 72.5 x 92.5 x 4.5 cm / 28.5 x 36.4 x 1.8 in framed IN46720 The extravagantly, even preposterously titled 'Stelliferous to degenerate' refers to a time in the extremely far future when the universe will no longer produce stars. Using familiar materials (paint or colouring pencil) Nolan’s work consistently picks away at the coherence of our human perspective as applied to the wildness and strangeness of nature. Rendering cosmic forms at a wholly domestic human scale, the artist similarly makes the cosmic into something relatively cosy. Heat death 2020 coloured pencil on paper 29.7 x 42 cm / 11.7 x 16.5 in unframed IN46420 hot dense and smooth 2020 coloured pencil on paper 42 x 59.2 cm / 16.5 x 23.3 in unframed IN45720 we forget everthing 2020 coloured pencil on paper 42 x 59.4 cm / 16.5 x 23.4 in unframed IN45920 Seven fingered wish 2020 coloured pencil on paper 41.7 x 29.6 cm 16.4 x 11.7 in unframed IN46020 View (back turned) 2020 waterbased oil on canvas, hand-gilded 24 carat gold and painted clay frame 60 x 80 cm / 23.6 x 31.5 in 62.5 x 82.5 x 4.9 cm / 24.6 x 32.5 x 1.9 in framed IN45020 Isabel Nolan b. 1974, Dublin Lives and works in Dublin Isabel Nolan has an expansive practice that incorporates sculptures, paintings, textile works, photographs, writing and works on paper. -
Coffey & Chenevix Trench
Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 153 Coffey & Chenevix Trench Papers (MSS 46,290 – 46,337) (Accession No. 6669) Papers relating to the Coffey and Chenevix Trench families, 1868 – 2007. Includes correspondence, diaries, notebooks, pamphlets, leaflets, writings, personal papers, photographs, and some papers relating to the Trench family. Compiled by Avice-Claire McGovern, October 2009 1. TABLE OF CONTENTS Introduction....................................................................................................................... 4 I. Coffey Family............................................................................................................... 16 I.i. Papers of George Coffey........................................................................................... 16 I.i.1 Personal correspondence ....................................................................................... 16 I.i.1.A. Letters to Jane Coffey (née L’Estrange)....................................................... 16 I.i.1.B. Other correspondence ................................................................................... 17 I.i.2. Academia & career............................................................................................... 18 I.i.3 Politics ................................................................................................................... 22 I.i.3.A. Correspondence ...........................................................................................