Toledo's bedraggled old Jewish quarter.’ WIKIPEDIA. 2007. Don Quixote. [online]. [Accessed 17th May 2007]. Available from World Wide Web <http://en.wikipedia.org/wiki/Don_Quixote>. 35 See below, p.63. 36 Multiplicity., and Lightness. In: CALVINO, I. 1996. Six Memos for the Next Millennium. London: Vintage. See also below, p.91. 37 See below, pp.94, 105. 38 RENDELL, J. 2004. [Introductory comments to Critical Architecture symposium]. London: Bartlett School of Architecture, 26th November 2004. Comparing architecture-writing to art-criticism, Rendell asks, ‘are these hybrid forms? Can we think of one in terms of the other? …Can writing change architecture? …Is criticism critical? In Writing in Place of Listening. (RENDELL, J. 2002. Sheffield: Sheffield Hallam University / Site Gallery, p.15.) Rendell describes how she quotes and re-appropriates her own ‘old’ work as ‘new’ work. I employ this strategy throughout my thesis. 39 For examples of previous theses at Leeds University following this model see Jane Callow, Judith Tucker and Nichola Bird. This is reinforced by departmental guidelines that list these requirements as distinct categories. 40 ‘It is implicit that the relationship between exhibition, documentation and writing is incontestable and that these are discrete concerns with clearly defined functions.’ TATHAM, J. E. 2004. Heroin Kills: context and meaning in contemporary art practice. PhD thesis, University of Leeds, pp.58-9. 41 School Research Postgraduate handbook 2006-2007. School of Fine Art, History of Art & Cultural Studies. University of Leeds, p.22. Writing as an artwork in itself is not accounted for in Leeds University's guidelines. I discuss these guidelines and the components of the Fine Art practice submission in more detail below.
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