Search results for ""University of Exeter Press""

This is a study of the nine prose fiction works of Christiane Rochefort written between 1958 and 1988. Despite establishment recognition and a popular mass-market following, Christiane Rochefort has hitherto received little critical attention. Her fiction forms an approachable learning tool for all students of post-war French politics and culture; the bestseller "Les Petits Enfants du Siecle" is a set text in schools and universities in the UK and the USA. This novel of growing up in the working class high-rises of Paris, written in the language of the streets, provides a child-centred view of a youngs girl's social, political and sexual awakening. The study looks at each novel in turn and applies close attention to the narrative sophistication and political subversion of the books. Certain contemporary themes run through her work - the status of children, language as an instrument of oppression and subversion, homosexuality, incest and child abuse. Each chapter of this book provides cultural and socio-political background material.

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From Paul Valéry to Julia Kristeva, the work of Stéphane Mallarmé has had a lasting impact on twentieth-century French culture. His texts have served as emblem and inspiration for successive generations of cultural theorists and practitioners. In Meetings with Mallarmé, top scholars from the UK and USA have been specially commissioned to explore the significance of Mallarmé's influence on some of the major players in French psychoanalysis, music, poetry, philosophy and literary theory. By re-staging these textual encounters, the book demonstrates how the ghostly presence of Stéphane Mallarmé profoundly informed the projects of such key figures as Valéry, Lacan, Sartre, Derrida, Boulez, de Man, Bonnefoy, Kristeva, Blanchot and the Oulipo group. All quotations are translated.

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Once notorious but now largely forgotten, the political idealist and radical John Baxter Langley was typical of the well-educated and ethical Victorians who struggled to create a fairer, more equal society. Through a long and wide-ranging career of political agitation he was a journalist, editor and owner of several newspapers, was prominent in the call for franchise reform, and opposed religious legislation that prevented Sunday entertainment and education for working men and women. Langley was also integral to the founding of a trade union, campaigned for an end to public executions and built affordable housing in Battersea. Internationally, he condemned the Second Opium War, exposed British brutality in India and worked covertly for Lincoln’s administration. He was a fellow-traveller for many other key radicals of the day, while his founding of the ‘Church of the Future’ garnered the support of Charles Darwin, James Martineau and John Stuart Mill. Through a chronological narrative of Langley's activities, this book provides an overview of many of the most significant political causes of the mid- to late nineteenth century. These include electoral reform, feminism, slavery, racism, trade unionism, workers' rights, the free press, leisure, prostitution, foreign relations and espionage. A neglected but important figure in the history of nineteenth-century radicalism, this work gives John Baxter Langley the attention he deserves and reveals the breadth of his legacy.

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This is the second volume in a new paperback edition of Steve Nicholson’s well-reviewed four-volume analysis of British theatre censorship from 1900-1968, based on previously undocumented material in the Lord Chamberlain's Correspondence Archives in the British Library and the Royal Archives at Windsor. It covers the period from 1933 to 1952, and focuses on theatre censorship during the period before the outbreak of the Second World War, during the war itself, and in the immediate post-war period. The focus is primarily on political and moral censorship. The book documents and analyses the control exercised by the Lord Chamberlain. It also reviews the pressures exerted on him and on the theatre by the government, the monarch, the Church, foreign embassies and by influential public figures and organisations. This new edition includes a contextualising timeline for those readers who are unfamiliar with the period, and a new preface. DOI: https://doi.org/10.47788/SGLU9228

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This book “decodes” 1930s Hollywood movies and explains why they looked and behaved in the way they did. Organized through a series of related case studies, the book exposes Classical Hollywood movies to a detailed analysis of their historical, industrial and cultural contexts. In the process it utilizes industry data, aesthetic analysis and the insights of New Cinema History to explain why and how these movies assumed their familiar forms. The book represents the summation of Richard Maltby’s four decades of scholarship in the field of Hollywood cinema. The essays presented here share an assumption that has increasingly informed the author’s critical method over the years: that any historical understanding of the films of this period requires a deep contextualization in the social circumstances surrounding both their production and consumption. In this way, the book introduces an innovative, overarching research methodology that synthesizes branches of research that are typically employed in isolation, including production, distribution, reception, film aesthetics, and cultural and historical context. Of the book’s nine chapters, three are presented here for the first time, and four have been substantially revised and extended from their original publication.

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The profound turbulence in global politics is the result of digital information technologies changing the structure and makeup of world order. As these changes unfold, authoritarian leaders have taken advantage of the lack of legitimacy in global governance and exploited electronic media capabilities to become digital Caesars.

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Describing in detail one of the most inventive periods in the history of English cinema, the volumes in this celebrated series are already established as classics in their field and represent a major contribution to international film studies. Each volume details the highlights of a single cinematic year, including details of production, manufacturers of equipment, dealers and exhibitors. This is augmented by numerous carefully chosen illustrations and a comprehensive filmography of English films, fiction and non-fiction, for the year. Particular attention is also paid to the ways in which the cinema of other countries affected the English industry. Volume 5 documents the emergence of Cecil M. Hepworth as one of England’s major film producers in 1900. The work of England’s two premier pioneers in the field of cinematography, Robert W. Paul and Birt Acres, is also examined. The conflict in South Africa against the Boers and the uprising of the Boxers in China proved popular subjects for new films and fictional representations. Forgotten pioneers of film are rescued from oblivion in this volume through the attention paid to their roles in English cinema. Volume 5 is introduced and edited by Richard Maltby. The long-awaited fifth and final volume in the series is published for the first time by UEP, and edited and introduced by Richard Maltby, Professor of Screen Studies, Flinders University, Australia. Describing in detail one of the most inventive periods in the history of English cinema, this series represents a major contribution to international film studies. Each illustrated volume details a single cinematic year, including details of production, manufacturers of equipment, dealers and exhibitors, as well as a comprehensive filmography of English films, fiction and non-fiction, for the year. The previous volumes are aready established as classics in their field and have recently been re-jacketed and re-issued by University of Exeter Press.The fifth and final volume documents the year 1900, when the conflict in South Africa against the Boers and the Boxer uprising in China proved popular subjects for news films and fictional representations. It includes a full Introduction by Richard Maltby which places Victorian cinema in its cultural, social and historical context

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Translating Apollinaire delves into Apollinaire’s poetry and poetics through the challenges and invitations it offers to the process of translation. Besides providing a new appraisal of Apollinaire, the most significant French poet of WWI, Translating Apollinaire aims to put the ordinary reader at the centre of the translational project. It proposes that translation’s primary task is to capture the responses of the reader to the poetic text, and to find ways of writing those responses into the act of translation. Every reader is invited to translate, and to translate with a creativity appropriate to the complexity of their own reading experiences. Throughout, Scott himself consistently uses the creative resource of photography, and more particularly photographic fragments, as a cross-media language used to help capture the activity of the reading consciousness.

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The ‘coming of age’ edition of this acclaimed paperback series discusses contemporary Cornish Studies, as well the Cornish language, medieval and early modern Cornwall, the Duchy of Cornwall, the establishment of the Cornish diocese, Cornish folklore, Cornish wrestling and the Great Emigration, and the writers Arthur Quiller-Couch, Daphne du Maurier, and Jack Clemo, together with an overview of Cornish nationalism and a postscript on John Betjeman and Cornwall. ‘The twenty-first issue of Cornish Studies, the last under the editorship of Philip Payton, is a testament to the directions in which he has taken the series during twenty years at the helm. This ‘coming of age’ edition brings together essays by scholars from Australia, Ireland and Italy as well as the UK and continues Philip Payton’s on-going concern with Cornwall’s place in an international context. The contributions here speak to the genuinely interdisciplinary identity of a series which remains the definitive site for scholarship and debate about Cornish history, culture, politics and identities’. Rachel Moseley, Associate Professor in Film and Television Studies, University of Warwick

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The nineteenth volume in the acclaimed paperback series . . . the only county series that can legitimately claim to represent the past and present of a nation. ‘Cornish Studies’ has consistently - and successfully - sought to investigate and understand the complex nature of Cornish identity, as well as to discuss its implications for society and governance in contemporary Cornwall. The latest volume in this internationally acclaimed paperback series, Cornish Studies: Nineteen examines the Duchy of Cornwall in the medieval period and discusses the Cornish language (including its significance as an icon of contemporary Cornish identity), as well as critically evaluating the early Cornish-language revivalists and analysing the experiences of Cornish women in Cornwall’s nineteenth-century ‘Great Emigration’. There is also a review of recent books on Californian mining towns in the 1930s and the ‘Anglican imagination’ of John Betjeman.

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The birth of cinema coincided with the heyday of the short story. This book studies the relationship between popular magazine short stories and the very early British films. It pairs eight intriguing short stories on cinema with eight new essays unveiling the rich documentary value of the original fiction and using the stories as touchstones for a discussion of the popular culture of the period during which cinema first developed. The short stories are by authors ranging from the notable (Rudyard Kipling and Sax Rohmer) to the unknown (Raymond Rayne and Mrs. H.J. Bickle); their endearing tributes to the new cinematograph chart its development from unintentional witness to entertainment institution.

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Cornwall is quintessentially a maritime region. Almost an island, nowhere in it is further than 25 miles from the sea. Cornwall’s often distinctive history has been moulded by this omnipresent maritime environment, while its strategic position at the western approaches—jutting out into the Atlantic—has given this history a global impact. It is perhaps surprising then, that, despite the central place of the sea in Cornwall’s history, there has not yet been a full maritime history of Cornwall. The Maritime History of Cornwall sets out to fill this gap, exploring the rich and complex maritime inheritance of this unique peninsula. In a beautifully illustrated volume, individually commissioned contributions from distinguished historians elaborate on the importance of different periods, from the Middle Ages to the twentieth century. The Maritime History of Cornwall is a significant addition to the literature of international maritime history and is indispensable to those with an interest in Cornwall past and present. Winner of the Holyer an Gof Non-Fiction Award 2015.

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The book includes a complimentary DVD providing an album of rare and previously unpublished items from private collections: historical documents, programmes, designs, photographs, and clips from recordings of rehearsals and productions. British South Asian companies have formed one of the most significant features of theatre throughout the world in the last thirty years. Drawing on archive material and an extensive series of personal interviews, this exciting new book reverses the neglect of this vital element in the history of contemporary theatre – the vibrant presence of South Asians in theatre in Britain. British South Asian Theatre provides a detailed picture of the activity of twelve remarkable theatre companies and one major arts centre, including Tara Arts, Tamasha, Kali, Rasa and Rifco, making use of a wide range of new interviews with the practitioners involved and extensive research in the archives of those companies, it also contains a survey of British based South Asian language theatres by Chandrika Patel. This is a major contribution to the understanding of diasporic arts through one of the most impressive movements of its kind in the world.

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The book includes a complimentary DVD providing an album of rare and previously unpublished items from private collections: historical documents, programmes, designs, photographs, and clips from recordings of rehearsals and productions. British South Asian companies have formed one of the most significant features of theatre throughout the world in the last thirty years. Drawing on archive material and an extensive series of personal interviews, this exciting new book reverses the neglect of this vital element in the history of contemporary theatre – the vibrant presence of South Asians in theatre in Britain. British South Asian Theatre provides a detailed picture of the activity of twelve remarkable theatre companies and one major arts centre, including Tara Arts, Tamasha, Kali, Rasa and Rifco, making use of a wide range of new interviews with the practitioners involved and extensive research in the archives of those companies, it also contains a survey of British based South Asian language theatres by Chandrika Patel. This is a major contribution to the understanding of diasporic arts through one of the most impressive movements of its kind in the world.

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In this innovative study of early film exhibition, Joe Kember demonstrates that prior to the emergence of a specific discipline of screen acting and the arrival of picture personalities, the early cinema inherited its human dimensions from diverse earlier traditions of performance, from the magic lantern lecture to the fairground and variety theatre. Uncovering new sources, including previously neglected films, industrial documentation, memoirs, trade and popular periodicals, the book reveals a rich landscape of popular entertainments during the mid to late nineteenth and early twentieth centuries, and charts the development of film institutions in relation to this complex industrial context. Marketing Modernity re-evaluates the relationship between early film and the broader cultural conditions of industrial modernity. Investigating such diverse topics as performance practices in music hall and magic theatre, the celebrity of adventurer-cameramen, and the exhibition of everyday life on screen, Kember argues that early film shows offered new opportunities to recover a sense of intimacy – a quality that was popularly considered to be under threat in the rapidly modernising world of the 1890s and 1900s.

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British Cinema and Middlebrow Culture in the Interwar Years offers an understanding of British Cinema between 1928 and 1939 through an analysis of the relationship between the British film industry and other ‘culture industries’ such as the radio, music recording, publishing and early television. This relationship has been seen as a weakness of the British film-making tradition, but Lawrence Napper stages a re-appraisal of that tradition, arguing that it is part of a specific strategy of differentiation from Hollywood cinema, designed to appeal to the ‘middlebrow’ aesthetic of the most rapidly expanding audience of the period—the lower middle class. Lawrence Napper argues that the ‘middlebrow’ reputation for aesthetic conservatism masks an audience and popular culture marked by dynamism. ‘Middlebrow’ texts addressed a British audience on the move, physically (into the new suburbs), socially (as upwardly mobile consumers), economically (employed in new and developing industries, and involved in new modes of living), and culturally (embracing new forms of mass cultural consumption, such as the cinema, the wireless and the best-selling novel). The ability of these audiences to adapt cultures of the past to the media of modern life (through stage or screen adaptations) ensured their negative reputation amongst Modernist commentators and intellectual elites.

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Winner of the Adult Non-Fiction section of the Holyer an Gof Awards 2006, and Overall Winner of the Holyer an Gof Trophy, this gripping biographical study, published here for the first time in paperback, explores the immensely complicated relationship that existed between A.L. Rowse and his native Cornwall. Rowse’s books, A Cornish Childhood and Tudor Cornwall, remain in strong demand and are essential reading for the general reader and historian alike, and for all those who know and love Cornwall. By shedding new light on this complex character, Payton invites a greater understanding of the broader issues of Cornish identity as well as assessing Rowse’s highly original contribution to the writing of British and Cornish history.

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‘In Comes I’ explores performance and land, biography and locality, memory and place. The book reflects on performances past and present, taking the form of a series of excursions into the agricultural landscape of eastern England, and drawing from archaeology, geomorphology, folklore, and local and family history. Mike Pearson, a leading theatre artist and solo-performer, returns to the landscape of his childhood – off the beaten track in Lincolnshire – and uses it as a mnemonic to reflect widely upon performance theory and practice. Rather than focusing on author, period and genre as is conventional in the study of drama, the book takes region as its optic, acknowledging the affective ties between people and place. Offering new approaches to the study of performance, he integrates intensely personal narrative with analytical reflection, juxtaposing anecdote with theoretical insight, dramatic text with interdisciplinary perception. The performances, ranging from folk drama to contemporary site-specific work, are seen in the light of their relationship to their cultural and physical environment.

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Multimedia Histories: From the Magic Lantern to the Internet is the first book to explore in detail the vital connections between today’s digital culture and an absorbing history of screen entertainments and technologies. Its range of coverage moves from the magic lantern, the stereoscope and early film to the DVD and the internet. By reaching back into the innovative media practices of the nineteenth century, Multimedia Histories outlines many of the revealing continuities between nineteenth, twentieth, and twenty-first century multimedia culture. Comprising some of the most important new work on multimedia culture and history by key writers in this growing field, Multimedia Histories will be an indispensable new sourcebook for the discipline. It will be an important intervention in rethinking the boundaries of Anglo-American film and media history.

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Poems to Lisi is presented here as an undergraduate student text with parallel-text English verse translations This edition of Quevedo’s Poems to Lisi is a successor to the same editor’s original text in Exeter Hispanic Texts, which only contained the Spanish text of the poems (published in 1988). Rather than reprint that edition, the editor has chosen to make the text more widely available by setting his own English verse translations alongside the Spanish originals. It is intended to provide undergraduates in Hispanic Studies with an accessible edition of a key work of the Spanish Golden Age. The translations are close enough to the originals to be of value to those who have an adequate knowledge of Spanish, while the rendering of the poems into English verse (mainly blank verse sonnets) will enable those lacking such a knowledge to read them as poems in their own right.

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John McGrath's plays are compulsory reading and viewing for students of drama, film and television courses in many University and Further Education departments and yet despite recognition of the central importance of McGrath's work, very little has been written about him. This is the first full-length study of his work. This book illuminates the importance of John McGrath's role in the development of theatre, film and television in the last four decades of the twentieth century. Through play and script-writing, through directing, producing and co-ordinating work, and through his critical, political and philosophical reflections, McGrath exerted a powerful influence over developments and innovations in all three art forms. The contributors include film and television directors, actors, designers, writers, university researchers and journalists, many of whom worked with McGrath. Questions of day-to-day working practice are addressed alongside broader political and aesthetic concerns, and the question of McGrath's relationship to and influence on the arts in Scotland receives careful consideration.

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Grégoire Le Roy was at school in Ghent with Maeterlinck and Van Leberghe, and grew up in the same atmosphere of intellectual ferment. His first collection of published verse just pre-dates Maeterlinck’s Serres chaudes. His fin-de-siècle poetry was highly considered at the time of its first appearance, and was widely published in reviews. He treats all the major themes of the period, with special emphasis on a melancholy tone, half-tint landscapes, overt musicality, and (almost obsessively) the destructive nature of time. This is the first edition since their original publication in 1889 and 1907 of the three collections of poems by a significant member of the Belgian Symbolist school. Republishing Le Roy’s early work is an important step in recreating an accurate intellectual portrait of an important and influential movement.

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The Big Show looks at the role played by cinema in British cultural life during World War One. In writing the definitive account of film exhibition and reception in Britain in the years 1914 to 1918, Michael Hammond shows how the British film industry and British audiences responded to the traumatic effects of the Great War. The author contends that the War’s significant effect was to expedite the cultural acceptance of cinema into the fabric of British social life. As a result, by 1918, cinema had emerged as the predominant leisure form in British social life. Through a consideration of the films, the audience, the industry and the various regulating and censoring bodies, the book explores the impact of the war on the newly established cinema culture. It also studies the contribution of the new medium to the public’s perception of the war.

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The poems in Rythmes pittoresques, first published in 1890, present not only a poet searching for a voice, but also a female poet searching for a voice while breaking down rules of both versification and gender-determined source of expression. They went straight to the heart of the male-dominated poetry of the time and effectively threatened its existence. Of the group of poets who were the first to write free-verse poetry in French – Marie Krysinska, Arthur Rimbaud, Jules Laforgue, Gustave Kahn – only Marie Krysinska (1857-1908) has not received critical recognition. Although it was quickly dismissed by critics simply because it was written by a female poet, Krysinska’s poetry gives insight into the creation of a new form of feminine expression as well as the persecution of the female artist viewed by her largely male peers, readership and competitors.

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This is the second volume in a new paperback edition of Steve Nicholson’s well-reviewed four-volume analysis of British theatre censorship from 1900-1968, based on previously undocumented material in the Lord Chamberlain's Correspondence Archives in the British Library and the Royal Archives at Windsor. It covers the period from 1933 to 1952, and focuses on theatre censorship during the period before the outbreak of the Second World War, during the war itself, and in the immediate post-war period. The focus is primarily on political and moral censorship. The book documents and analyses the control exercised by the Lord Chamberlain. It also reviews the pressures exerted on him and on the theatre by the government, the monarch, the Church, foreign embassies and by influential public figures and organisations. This new edition includes a contextualising timeline for those readers who are unfamiliar with the period, and a new preface. DOI: https://doi.org/10.47788/SGLU9228

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The eighth volume in the acclaimed paperback series . . . the only county series that can legitimately claim to represent the past and present of a nation.

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One of the most widely circulated items of wisdom literature during the Middle Ages, the Vita Secundi is a Greek text of the second century AD. The substantial introduction to the edition deals with the motives for the work’s translation into Spanish, tracks the extent of its diffusion in Spain, and analyses in detail the textual history of the Spanish version.

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Between Totem and Taboo picks its way judiciously through a minefield of prejudice, myth and stereotypes. It is the first book to explore the literary representation by authors black and white, male and female, of interracial relations between France and her former territories in West Africa through the special nexus of the white woman and the black man. Presented as a text-based chronological exploration of the relationship from 1740 to the present day, it reveals how racism distorted such relations for a quarter of a millennium. It will fascinate anyone seriously interested in Black studies, Women's studies and Postcolonial studies, who will find in it not only many unknown or unconsidered texts but a new angle of approach to their research. All quotations are in French and English.

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The book integrates theoretical discussion and textual analysis with primary source historical research, particularly into film reception. The case studies question received understandings of European film history, and offer new insights into canonical films already familiar to many readers. It is the first book length study of the subject and includes new insights into Fritz Lang's Metropolis, Eisenstein's October and the Griersonian Documentary as well as 'forgotten' films of the period. It is a useful teaching aid, with detailed analyses of films taught on most film studies courses

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Pierre de Lavirey was born in the east of France in 1541 and died in 1619 in Troyes. Little is known about him or his life, but, in addition to his translations of various Italian books, he has left behind him adaptations into French of nine Italian plays which make him one of the most prolific writers of comedy in the sixteenth century. These adaptations are a valuable source for the study of the language of the theatre and of the techniques of creative translation in the period. Les Tromperies formed part of the second collection of adaptations written by Lavirey. It was first published in Troyes in 1611 by Pierre Chevillot. Its source is Nicolò Secco’s Gl’Inganni, first performed in Milan in 1548. This title is Volume 100 in the series Exeter French Texts/Textes littéraires. It includes an introduction, select bibliography and essential notes, all in French.

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These three tales, hailed by Diderot among others, but unpublished for over a century (and in one case for nearly two centuries), are a fictional exploration of Otherness and the intercultural set in the New World, either among native Americans (Abenakis, Iroquois) or runaway slaves in Jamaica befriended by Quakers. They argue powerfully for a reassessment of the philosophe Saint-Lambert, since they represent a significant contribution to the anti-slavery debate of the time and to a consideration of cultural relativity, revitalised by recent postcolonial discourses. This title is Volume 99 in the series Exeter French Texts/Textes littéraires. It includes an introduction, select bibliography and essential notes, all in French.

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Long out of print and now published together for the first time, these three volumes of autobiography of the Cornish author and schoolteacher Anne Treneer cover the period from her birth at Gorran in 1891 to her retirement from teaching in 1948. The first volume, School House in the Wind, covers her early childhood in Cornwall until 1906. Cornish Years takes her to Truro, Exmouth and Exeter, and from there to Camborne, Liverpool and Lady Margaret Hall, Oxford. A Stranger in the Midlands covers the years between 1931 and 1947, when she taught at King Edwards High School for Girls in Birmingham. As well as a substantial introduction, the book includes a short biography of Anne Treneer, continuing her story to her death in 1966, and a descriptive bibliography of her writings.

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This book reprints a wide variety of articles and speeches for the first time since they appeared in Spanish and foreign journals and in clandestine broadsheets from France. Some censored material has been restored.

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Central to the Enlightenment is the ideal of the Secular City, in militant reply to the Civitas Dei of St Augustine. The essays in this volume, all by distinguished eighteenth century specialists, illustrate the elaboration of that vision, both in the planning and depiction of actual cities and in the speculation on social justice to which Voltaire in particular devoted himself. Yet even in him, secularization is never total, and the persistence of a displaced religious, even messianic strain in the Enlightenment is also illustrated in a variety of writers, culminating in the contradictions of the French Revolution.

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This book is an easy to read book which gives clear and non-technical information about childlessness caused by male infertility, and about how this childlessness can be resolved by the use of donor insemination (DI). The book is written in a question and answer form and covers the issues raised by those seeking or undergoing DI treatment. It draws on the experience of couples whose own children were conceived by donor insemination and makes the knowledge gained by their experiences available to other childless couples. The questions answered include: What is DI? How common is DI treatment? How successful is DI? How much does DI cost? What happens at the time of treatment? Who is responsible if the baby is handicapped at birth? Does keeping DI hidden cause any problems? How do family and friends react when told about DI? What rights does the child have concerning knowledge of DI? Will the same donor be used for a second baby? Does the donor have any legal rights concerning the child? How many times is a donor used? What records are kept of treatment?

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El ritmo is a collection of letters from Salvador Rueda to the Catalonian critic Jose Yxart, first published in Madrid in 1894. El ritmo sets out, in a sometimes ironical tone, a panorama of the state of poetry in Spanish at the end of the nineteenth century.

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A selection of poems from a poet writing at the turn of the twentieth century.

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These Studies in Eighteenth-Century French Literature presented to Robert Niklaus were written by former students and colleagues and by his friends, to mark his retirement in 1975. The articles all relate to the French Enlightenment, Professor Niklaus's main academic interest, but vay in approach and subject. Six articles deal with aspects of the works of Diderot: his philosophy, aesthetics, narrative art and style. There are articles on Voltaire - his social, political and philosophical attitudes - and on Montesquieu, among others. The book as a whole is evidence of the continuing vitality of the Enlightenment and makes a fitting complement to Professor Niklaus's own important and lively contribution to eighteenth-century studies.

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This book explores the history of Cornwall‘s picturing on screen, from the earliest days of the moving image to the recent BBC adaptation of Winston Graham’s Poldark books. Drawing on art history to illuminate the construction of Cornwall in films and television programmes, the book looks at amateur film, newsreels and contemporary film practice as well as drama. It argues that Cornwall‘s screen identity has been dominated by the romantic coastal edge, leaving the regional interior absent from representation. In turn, the emphasis on the coast in Cornwall‘s screen history has had a significant and ongoing economic impact on the area.New research with an innovative approach, looking at amateur film and newsreels alongside mainstream film and television. Will appeal to both the academic and the more general reader.

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Honourable mention for The American Folklore Society's Wayland D. Hand Prize for outstanding book combining historical and folkloristic methods and materials. Runner up for The Folklore Society's 2022 Katherine Briggs Award for most distinguished contribution to folklore studies. The little-studied and once much-feared boggart is a supernatural being from the north of England. Against the odds it survives today, both in place-names and in fantasy literature—not least the Harry Potter universe. This book pioneers two methods for collecting boggart folklore: first, the use of hundreds of thousands of words on the boggart from newly digitized ephemera; second, about 1,100 contemporary boggart memories from social media surveys and personal interviews relating to the interwar and postwar years. Combining this new data with an interdisciplinary approach involving dialectology, folklore, Victorian history, supernatural history, oral history, place-name studies and sociology, it is possible to reconstruct boggart beliefs, experiences and tales. The boggart was not, as we have been led to believe, a ‘goblin’. Rather, ‘boggart’ was a much more general term encompassing all solitary supernatural beings, from killer mermaids to headless phantoms, from black dogs to shape-changing ghouls. The author shows how in the same period that such beliefs were dying out, folklorists continually misrepresented the boggart, and explores how the modern fantasy boggart was born of these misrepresentations. As well as offering a fresh reading of associated traditions, The Boggart demonstrates some of the ways in which recent advances in digitization can offer rich rewards.

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Described as the most widely read and influential serious writer of the twentieth century, George Orwell remains relevant in our own era of contested media. He continues to attract a large readership. This book is about Orwell’s post-war cultural moment c. 1948. Taking his Diaries of the time as inspiration, together with his famous final novel, 1984 (published 1949), and treating them as contiguous texts, Brian May considers the gaps, equivocations, and contradictions in Orwell's message and asks what Orwell would have written next. But 1948 is more than a work of literary criticism: rather, it balances critical discussion with creative intervention, being one-half literary-critical commentary, and one-half fictional departure – a novella titled “From the Archives of Oceania,” which quotes, parodies and pastiches Orwell's Diaries, offering a possible prequel. Together these elements offer a resource for the reader to interrogate anew such difficult issues as Orwell's sexism and anti-Semitism; to explore the tensions between various intertwining strands of thought that cast Orwell as both realist and idealist, Puritan and individualist; and to better understand Orwell's curious affection for the natural world. 1948 will appeal to all readers and critics of Orwell, but also to students of dystopian fiction, "revisionary" fiction and "reception study," which highlights the audience’s contribution to an artwork's meaning.

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The extraordinary global success of Turkish drama serials is a significant development in contemporary popular culture. This book presents comparative audience data from three different regions to explore its ramifications across the Global South. We learn how this phenomenon has transformed Turkey—a Muslim-majority country—into the world’s second-largest producer of scripted television serials, enticing audiences from all over the world. The book takes an audience-centred approach, investigating the reasons for the allure of Turkish dramas to Arab, Latin American, and Israeli audiences. In tandem, it explores Turkey's changing foreign policy, economic, and trade relationships since the turn of the millennium, which have coincided with the enormous success of the country's television output. It also analyses the role and importance of Turkish dramas as a soft-power tool by scrutinizing how they have influenced viewers' perceptions of Turkey, its people, and its culture. This volume will appeal to those working in various disciplines—from media and communication, international relations, public diplomacy, sociology, and Middle Eastern studies. The material will also be of great relevance to upper-level undergraduates, postgraduate students, academics, scholars and researchers.

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Eating disorders remain little understood by the public, and sensationalist stories in the media have done little to dispel simplistic and reductionist perspectives. This edited volume uses a range of language-centred approaches to provide much needed critical in-depth analysis and interdisciplinary synthesis. The book brings together researchers from a variety of disciplinary backgrounds – including communication and information studies, journalism, linguistics, mental health, nursing, psychology and public health – in a collective endeavour to explore the complex relationship between eating disorders, public discourse and lived experiences. Topics tackled include the use of stigmatising narrative frames, stereotypes and metaphors; identity construction in online spaces; the ways in which individuals affected by eating disorders interpret media representations; and how parents write about their experiences of caring for children with eating disorders. The volume synthesises evidence from a range of data types, including UK and international newspapers, social media, online communities, blogs and forums, apps and in-depth interviews, and reflects a variety of cultural perspectives, including those held in the United States, the UK, Spain and Turkey. It will be of interest to academics, practitioners, students, mental health advocates, and anyone interested in how we make sense of eating disorders.

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Women with fish tails are among the oldest and still most popular of mythological creatures, possessing a powerful allure and compelling ambiguity. They dwell right in the uncanniest valley of the sea: so similar to humans, yet profoundly other. Mermaids: Art, Symbolism and Mythology presents a comprehensive, interdisciplinary and beautifully illustrated study of mermaids and their influence on Western culture. The roots of mermaid mythology and its metamorphosis through the centuries are discussed with examples from visual art, literature, music and architecture—from 600 BCE right up to the present day. Our story starts in Mesopotamia, source of the earliest preserved illustrations of half-human, half-fish creatures. The myths and legends of the Mesopotamians were incorporated and adopted by ancient Greek, Etruscan and Roman cultures. Then, during the early medieval period, ancient mythological creatures such as mermaids were confused, transformed and reinterpreted by Christian tradition to begin a new strand in mermaid lore. Along the way, all manner of stunning—and sometimes bizarre or unsettling—depictions of mermaids emerged. Written in an accessible and entertaining style, this book challenges conventional views of mermaid mythology, discusses mermaids in the light of evolutionary theory and aims to inspire future studies of these most curious of imaginary creatures.

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From the authors of the successful Grand-Guignol and London’s Grand Guignol - also published by UEP – this book includes translations of a further eleven plays, adding significantly to the repertoire of Grand-Guignol plays available in the English language. The emphasis in the translation and adaptation of these plays is once again to foreground the performability of the scripts within a modern context – making Performing Grand-Guignol an ideal acting guide. Hand and Wilson have acquired extremely rare acting copies of plays which have never been published and scripts that were published in the early years of the twentieth century but have not been published since – even in French. Includes plays written by, or adapted from, such notable writers as Octave Mirbeau, Gaston Leroux and St John Ervine as well as examples by Grand-Guignol stalwarts René Berton and André de Lorde. Also included is the 1920s London translation of Blind Man’s Buff written by Charles Hellem and Pol d’Estoc and banned by the Lord Chamberlain. A brief history of the Parisian theatre is also included, for the benefit of readers who have not read the previous books.

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From its earliest days, the cinema has enjoyed a special kinship with the railroad, a mutual attraction based on similar ways of handling speed, visual perception, and the promise of a journey. PARALLEL TRACKS is the first book to explore and explain this relationship in both historical and theoretical terms, blending film scholarship with railroad history. This highly original work reveals the profound impact that the railroad and the cinema have had on Western society and modern urban industrial culture. It will be eagerly received by those involved in film studies, American studies, feminist theory and the cultural study of modernity. It will also have appeal to general readers interested in silent films or in the history of the railroad.

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The British cinema has drawn extensively on our national landscapes. Filmmakers have explored the entrenched myth of an idyllic rural tradition, intimately bound up with a popular definition of national heritage. Conversely, within a documentary-realist framework, they have looked at the contemporary urban aesthetic, derived partly from a Victorian tradition of social investigation. The fifth in a series of volumes from the annual British Silent Cinema Festival held in Nottingham (and the first to be published by Exeter), this collective study offers an original treatment of the relationship between pre-1930 cinema and landscape. The Nottingham festival from which this collection derives brought together a group of leading specialists – practitioners, academics and individual researchers – who between them provide a detailed investigation into the national cinema before the sound era.

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The tenth volume in the acclaimed paperback series . . . the only county series that can legitimately claim to represent the past and present of a nation.

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