Search results for ""Liverpool University Press""

Since the turn of the 21st century, there have been several genres birthed from or nurtured in Black Britain: funky & tribal House, Afrobeats, Grime, Afro Swing, UK Drill, Road Rap, Trap etc. This pioneering book brings together diverse diasporan sounds in conversation. A valuable resource for those interested in the study of 21st century Black music and related cultures in Britain, this book goes incorporates the significant Black Atlantean, global interactions within Black music across time and space. It examines and proposes theoretical approaches, contributing to building a holistic appreciation of 21st century Black British music and its multidimensional nature. This book proffers an academically curated, rigorous, holistic view of Black British music in the 21st century. Drawing from pioneering academics in the emerging field and industry professionals, the book will serve academic theory, as well as the views, debates and experiences of industry professionals in a complementary style that shows the synergies between diasporas and interdisciplinary conversations. The book is interdisciplinary. It draws from sociology, musicology and the emerging digital humanities fields, to make its arguments and develop a multi-disciplinary perspective about Black British music in the 21st century.

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The Financial Markets of Roman Egypt analyses some 4,367 financial transactions, leases, sales and loans, recorded on papyri in Roman Egypt in the period AD 1 to 350. The analysis of this remarkable body of information, the ancient equivalent of modern-day ‘Big Data’, helps us understand how ordinary people thought about some of the most important decisions they would make in their life: buying a house, lending their savings or renting land. Using innovative theories and techniques inspired by classics, mathematics and the financial markets, it brings out the differences and similarities of behaviours with modern and historical comparators. The book looks at risk and return for both asset holders - the landlords and lenders - and those dependent on the use of those assets - the tenants and borrowers. In particular it quantifies the risks facing families, including climate variability. Issues such as wealth concentration, social mobility and the role of the aged and women in the financial markets are addressed. The analysis presented expands our knowledge of the nature of the financial markets, and from that examination a sharper insight into the nature of the economy of the Roman world is gained, making it clear that there was no single “market” economy, but different sectors, some of which were driven by reciprocity/redistribution and others by financially rational judgements.

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In his Essay of 1815, Wordsworth asserts that ‘a pure and refined scheme of harmony’ must prevail in all ‘higher poetry’. This idea of a structured and complex form of ‘harmony’ was similarly noted earlier in The Prelude (1805), where Wordsworth famously claimed that the human mind is ‘framed even like the breath / And harmony of music’.Musical Wordsworth presents an original understanding of Wordsworthian harmony by examining an organised but dynamic sense of musicality that shapes his poetic theory and practice. This book is the first study to draw on music psychology and aesthetics to interpret the function and mechanism of Wordsworth’s aural structure and movement. Engaging with scholarship from the fields of literature and music, it defines Wordsworth’s poetry and the imagination through musical conceptions, and establishes various modes and forms of poetic listening as experiences of musical performance and appreciation. Each chapter explores a pair of musical abstractions – Lyricism and Musicality; Breath and Harmony; Repetition and Resonance; Expectation and Surprise; Rhythm and Dynamics; Rest and Silence. Musical Wordsworth will be of interest to students and researchers of Romantic poetry, long nineteenth-century literature, and music.

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The Journal of Beatles Studies is the first journal to establish The Beatles as an object of academic research, and will publish original, rigorously researched essays, notes, as well as book and media reviews. The journal aims are; to provide a voice to new and emerging research locating the Beatles in new contexts, groups and communities from within and beyond academic institutions; to inaugurate, innovate, interrogate and challenge narrative, cultural historical and musicological tropes about the Beatles as both subject and object of study; to publish original and critical research from Beatles scholars around the globe and across disciplines. The Journal of Beatles Studies establishes a scholarly focal point for critique, dialogue and exchange on the nature, scope and value of The Beatles as an object of academic enquiry and seeks to examine and assess the continued economic value and cultural values generated by and around The Beatles, for policy makers, creative industries and consumers. The journal also seeks to approach The Beatles as a prism for accessing insight into wider historical, social and cultural issues.

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In this volume, we are particularly interested in approaching theatre and performance as a dynamic and evolving practice of continuous change, regeneration and cultural mobility. Neither the dramatic texts nor their stage versions should be viewed as finished products but as creative processes in the making. Their richness lies in their unfinished and never-ending potential energy and their openness to constant revision, rehearsal, revival, and collective enterprise. This edited collection aims to create a dialogue on the artistic processes implicated in the various ways of working with the play text, the staging practices, the way audiences and critical reception can impact a production, and the many lives of Iberian theatre beyond the page or the stage. That is, its cultural and social legacies.

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Published here for the first time, Maura Laverty’s plays Liffey Lane, Tolka Row and A Tree in the Crescent are rooted in 1950s Dublin, its territories and enclaves. Teeming with the lives of the poor, the ambitious, the trapped and the struggling, the plays are moving, funny and vividly alive. They capture the capital in a state of transformation – reaching for modernisation while still enmired in stagnant class divisions, poor housing and narrow social values. Key to all three plays are questions of home, the lives of women and girls, and the impact of conservative government policies and church attitudes. Already a public figure in Irish life, and an influencer before her time through her fiction, cookery books and broadcasting, Laverty’s plays met with huge success when staged in 1951 and 1952 by Hilton Edwards of the Gate Theatre Company at Dublin’s Gaiety and Gate Theatres and on tour. Laverty’s trilogy is a significant and long-awaited part of the twentieth-century Irish theatrical canon. This volume presents the Trilogy, including a preface by Christopher Fitz-Simon, who knew and worked with Laverty. The editors’ introduction contextualises Laverty’s work and considers the theatrical values of the plays.

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The long eighteenth century is often seen as the age ‘when Europe spoke French’. After all, many of the leading figures of the Enlightenment were French and even a good number of authors in other countries chose this language to reach an audience beyond the borders of their homeland. Latin may have served a similar purpose in the Renaissance, but by the eighteenth century its importance quickly declined. This view is simplistic and misleading and this volume seeks to refute it. The essays presented in this book demonstrate Latin continued to play a highly important role during the long eighteenth century, both within Europe and in interactions between the ‘West’ and the rest of the world. It sheds light on the reasons why Latin remained a key factor in eighteenth-century culture, as well as the contexts in which it was used. In so doing, this volume makes a significant contribution to current debates on the nature of the Enlightenment and its place in global history.

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England is remarkable for the wealth and variety of its archival heritage – the records created and preserved by institutions, organisations and individuals. This is the first book to treat the history of English records creation and record-keeping from the perspective of the archives themselves. Beginning in the early Middle Ages and ending in modern times, it draws on the author’s extensive knowledge and experience as both archivist and historian, and presents the subject in a very readable and lively way. Some archives, notably those of government and the Established Church, have remarkably continuous histories. But all have suffered over time from periods of neglect and decay, and some have come to sudden and violent ends. Among the destructive episodes discussed in the book are the Viking raids of the Anglo-Saxon period, the Norman Conquest, the Peasants’ Revolt, the dissolution of the monasteries and the bombing raids of the Second World War. Archivists and historians have a shared interest in the protection and study of the country’s surviving records. This book has been written for members of both professions, but also for every reader who cares about the preservation of England’s past.

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This volume responds to important questions about the formal properties of literary texts and the agency of form. A central feature of twentieth- and twenty-first century French and Francophone writing has been the exploration of how cultural forms (literary, philosophical and visual) create distinctive semiotic environments and at the same time engage powerfully with external realities. How does form propose a bridge between the environment of the text and the world beyond? What kinds of formal innovations have authors devised in response to the complexity of that world? How do the formal properties of texts inflect our reading of them, and perhaps also our apprehension of the real? In addressing such questions as they apply to a wide corpus of texts, including the novel, life writing, the essay, travel writing, poetry and textual/visual experiments, the chapters in this volume offer new perspectives on a wide range of creative figures including Proust, Picasso, Breton, Bataille, Ponge, Guillevic, Certeau, Camus, Barthes, Perec, Roubaud, Chauvet, Savitzkaya, Eribon, Ernaux, Laurens and Akerman. Collectively, they renew the engagement with form that has been a key feature of French cultural production and of analysis in French studies.

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Ovid’s Fasti is a journey through ancient Rome, using the calendar as a guide. The reader of this poem tours the monuments of the Augustan-era city, witnesses both urban and rustic seasonal festivals, and commemorates the epic events of long-past history. The reader also experiences the passage of the year, as measured by the natural world: the rising and setting of constellations, the migration of birds, and the comforting rhythms of agriculture. Throughout, Ovid enlivens the narrative with myths, including Romulus and Remus, Callisto and Jupiter, Lucretia and Tarquinius, Hercules and Cacus, and many more. In doing so, he evokes the questions of what constitutes justice, or glory, or patriotism. The result is a lively tour of the Roman year—sometimes thoughtful, sometimes tragic, sometimes triumphant or even farcical—that interweaves human customs into the natural world, and gives occasional glimpses of awe-inspiring divinities on the streets of Rome. This volume covers the first half of the Fasti (Books I-III), including the original Latin text and also a new translation in clear, idiomatic prose on facing pages. An introduction on Ovid’s life and Augustan literature, as well as an incisive commentary with up-to-date bibliography, give the reader extensive background to interpret the text.

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Most scholarship on Mary Lambert's Pet Sematary (1989) overarchingly focuses on the Stephen King novel (1983), and tends strongly towards housing the story within the Gothic literary tradition. The film itself is often absent from considerations of North American horror cinema of the 1980s, and from wider horror scholarship in general. This Devil's Advocate stands as a corrective, and provides a holistic analysis – textual, contextual, and industrial – of the film, in order to properly situate it as an important entry into the history of horror cinema. This book joins a growing body of works – both journalistic and academic – that aim to revisit older films in order to call attention to and/or redress the gendered imbalance in our written horror histories. McMurdo charges Pet Sematary with several contributions to the horror genre: as an important entry within the tradition of “grief horror”; as a horror film that both adheres to and defies the generic conventions of its historical context, one both engaged with and respondent to its time of creation; as a film that changed the fortunes of the cinematic Stephen King “brand” on the cusp of a new decade. Pet Sematary is the highest grossing horror film directed by a woman in cinematic history, and it stands as a story that we keep returning to – as seen by the 1992 sequel, the 2019 remake, and a forthcoming prequel. Pet Sematary’s modern relevance and importance to genre history then, is manifold, and this book argues it is past time for its reconsideration as a classic of horror cinema.

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Drawing on critical analysis of film, the horror genre, the Gothic, and Stephen King scholarship, this book considers Andy Muschietti’s IT Chapter One (2017) and IT Chapter Two (2019) on multiple levels: as film (both as individual films and through their interconnected narrative), as adaptation, and as a barometer of the horror film’s popularity among fans. Key points of consideration include the significance of the fictional town of Derry as a traditionally Gothic “bad place,” the role of 1980s nostalgia in these two films, the complex navigation of memory and trauma, gender representation, queer representation, and the return of the repressed. The terrifying figure of Pennywise the clown is central to this analysis, including consideration of performance, costuming, and significance within the larger landscape of the “scary clown” popular culture trope, and through comparison to Tim Curry’s iconic performance in Tommy Lee Wallace’s 1990 miniseries. This Devil's Advocate contextualizes Muschietti’s films within the larger landscape of King’s literary and popular culture influence, as well as the debate surrounding “elevated” horror and the “horror boom” of the late 2010s.

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This is the third volume on the history of the Transport and General Workers' Union (TGWU), covering the period 1945 to 1960, and starting with an extraordinary moment in its history. There were such high hopes with the election of Attlee’s Labour government, committed to a series of radical reforms, establishing the Welfare State and nationalising key sectors of the economy. These reforms seemed to offer unique opportunities to move forwards towards what Nye Bevan, the main architect of the NHS, saw as a ‘new world both at home and abroad’. Or did it? This volume explores the challenges as well as the opportunities for radical reform, as these played out between 1945 and 1960. There was renewed industrial unrest, with disputes in the docks and transport industries, despite the best efforts of the Labour Government to contain them. Much remained to be achieved in terms of equalities, and there were challenges when it came to calls for international solidarity in the Cold War context. But still, there had been major developments in terms of trade union education. The T&G had become a much more democratic organisation, and, overall, was a more powerful, progressive force by the end of this period. This volume explores issues with continuing relevance for the trade union and labour movement.

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Criminal Moves: Modes of Mobility in Crime Fiction offers a major intervention into contemporary theoretical debates about crime fiction. It seeks to overturn the following preconceptions: that the genre does not warrant critical analysis, that genre norms and conventions matter more than textual individuality, and that comparative perspectives are secondary to the study of the British-American canon. Criminal Moves challenges the distinction between literary and popular fiction and proposes that crime fiction be seen as constantly violating its own boundaries. Centred on three axes of mobility, the essays ask how can we imagine a mobile reading practice that realizes the genre’s full textual complexity, without being limited by the authoritative self-interpretations provided by crime narratives; how we can overcome restrictive notions of ‘genre’, ‘formula’ or ‘popular’; and how we can establish transnational perspectives that challenge the centrality of the British-American tradition and recognize that the global history of crime fiction is characterized, not by the existence of parallel national traditions, but rather by processes of appropriation and transculturation. Criminal Moves presents a comprehensive reinterpretation of the history of the genre that also has profound ramifications for how we read individual crime fiction texts.

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This book offers the first in-depth account of the relationship between English and Scottish poets and the international concrete poetry movement of the 1950s to the 1970s. Concrete poetry was a literary and artistic style which reactivated early twentieth-century modernist impulses towards the merging of artistic media, while simultaneously speaking to a gamut of contemporary contexts, from post-1945 reconstruction to cybernetics, mass media and the sixties counter-culture. The terms of its development in England and Scotland suggest new ways of mapping ongoing complexities in the relationship between the two national cultures, and of tracing broader sociological and cultural trends in Britain during the 1960s and 1970s. Focusing especially on the work of Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard and Bob Cobbing, Border Blurs is based on new and extensive archival and primary research, and will fill a vital gap in contemporary understandings of an important but much misunderstood genre: concrete poetry. It will also serve as a vital document for scholars and students of twentieth-century British literature, modern intermedia art and modernism, especially those interested in understanding modernism’s wide geographical spread and late twentieth-century legacies.

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Rank and file soldiers were not ‘the scum of the earth’ but included a cross section of working-class men, who retained their former civilian culture. While they often exhibited pride in regiment and nation, soldiers could also demonstrate a growing class consciousness and support for political radicalism. The book will challenge assumptions that the British army was politically neutral, if privately conservative, by uncovering a rich vein of liberal and radical political thinking among some soldiers, officers and political commentators. This ranges from the Whig ‘militia’ tradition, through radical theories on tactics and army reform, to attempted ultra-radical subversion amongst troops, and the involvement of soldiers in riots and risings. Case studies are given of individual 'military radicals', soldiers or ex-soldiers who were reforming and later socialist activists. Popular anti-French feeling of the Napoleonic Wars is examined, alongside examples of rank and file bravery which fostered widespread loyalty and patriotism. This contributed to soldiers being used successfully in strike breaking, and deployed against rioters or Chartist revolts. By the late Victorian period, popular imperialism was an important part of working-class support for Conservatism. The book explores what impact this had on rank and file soldiers, whilst outlining minority support for socialism.

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An Open Access edition will be available on publication. The murder of George Floyd in 2020, the renewed international take up of the cry Black Lives Matter and the subsequent toppling of a statue commemorating slave-merchant-turned-philanthropist Edward Colston in Bristol provoked urgent questions on memorialisation, white privilege, social justice and repair. Debates on how legacies of colonialism and empire in Britain should be addressed spilled out of the scholarly world into the public discourse. In the immediate wake of the statue toppling this book offers a unique, distinctive and timely contribution to those debates: a series of voices and experiences are offered as critical commentaries and accounts of recent interventions on an official heritage narrative. It sets out to break the dead silence', by bringing together diverse perspectives from academics, artists, activists, heritage professionals and tourist guides. The book offers fresh insights, referencing work attending

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Saudi Arabia and Iraq have a shared history, as both friends and enemies at one and the same time, and their growth as modern nation-states must be understood in that joint context. This book establishes a new narrative and timeline for bilateral relations between the two countries, while examining the work of other Arab and Western scholars, in order to excavate the biases underlying so much previous work on this topic. In doing so, it proposes a new way of looking at state formation and boundaries in the Middle East, by showing how the interactions of regional neighbors left an indelible imprint on the domestic politics of one another. The two different visions for managing the border that Saudi Arabia and Iraq developed in the 1920s generated mistrust on both sides, leading to a gradual process of estrangement that lasted through the 1950s and beyond. Ibn Saud made strenuous efforts to preserve the socio-economic ties that united the communities of southern Iraq with the Najd and, in turn, those efforts helped encourage a wave of Sunni Arab migrants from Iraq who helped build the Saudi state. Iraqi politicians and clerics attempted to use the issue of Ikhwan raids as a rallying cry for promoting their political agendas, thereby contributing to a growing sectarian discourse and undermining the nationalist rhetoric of the 1920 Revolution. The two countries had a remarkable and long-lasting impact on one another, even as they drifted farther and farther apart through mutual fear and suspicion.

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InPart Two, Hughes analyses forms of domination and dressage withreference to Simone Weil's mid-1930s factory journal, Paul Nizan's novel ofclass alienation Antoine Bloyé from the same decade, and Pierre Michon'sVies minuscules [Small Lives] (1984) with its focus on obscure rurallives.

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Ebook available to libraries exclusively as part of the JSTOR Path to Open initiative. This study demonstrates that Britain was afflicted by continual crises from the severe economic, social and political problems of the 1970s to the onset of Brexit in 2016.

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This collection of ten chapters and three original interviews with Québécois filmmakers focuses on the past two decades of Quebec cinema and takes an in-depth look at a (primarily) Montreal-based filmmaking industry whose increasingly diverse productions continue to resist the hegemony of Hollywood and to exist as a visible and successful hub of French-language and ever more multilingual cinema in North America. This volume picks up where Bill Marshall's 2001 Quebec National Cinema ends to investigate the inherently global nature of Quebec's film industry and cinematic output since the beginning of the new millennium. Through their analyses of contemporary films (Une colonie, Avant les rues, Bon cop, bad cop, Les Affamés, Tom à la ferme, Uvanga, among others), directors (including Xavier Dolan, Denis Côté, Sophie Desrape, Chloé Robichaud, Jean-Marc Vallée, and Monia Chokri) and genres (such as the buddy comedy and the zombie film), our authors examine the growing tension between Queb

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Throughout its readings, Digital Culture in Contemporary Fiction traces how each author gestures towards the literary and philosophical hermeneutics of algorithms and, in doing so, defines an emerging tradition of fiction attempting to redefine the novel's relevance within digital culture.

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Ebook available to libraries exclusively as part of the JSTOR Path to Open initiative. The Romans claimed to have invented satireone of the most enduring and certainly one of the most entertaining genres of literature bequeathed to posterity from the ancient world. Modern satire aims generally to puncture pretence and to hurt its targets with withering caricature and bruising irony, but Roman satire was not so easy to characterise. One of the earliest exponents (Lucilius) went in for some personal invective and set the tone for many a 21st-century scribbler keen to wound his enemies with well-chosen words, but later writers in the Roman tradition distanced themselves from the tradition of personal critique and were reluctant to paint themselves as in any sense attack-dogs. If they were inveighing against folly and vice, it was (they claimed) more in a spirit of positive encouragement to us all to live better and happier lives, freed from the shackles of character-flaws and absurd be

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The two romances translated in this volume, the Roman de Thèbes and the Roman d’Eneas, form, along with the Roman de Troie by Benoît de Sainte-Maure, a group of texts that are of considerable importance within French and European literature and culture. Composed between c. 1150 and c. 1165, these romances create a bridge between classical tales (the Thèbes is based on the Thebaid of Statius, the Eneas on the Aeneid of Virgil) and the burgeoning vernacular romances, represented especially by Chrétien de Troyes. As a group, these three works are frequently known as the romances of antiquity (romans d’antiquité) and they introduce into French literature the dominant contemporary themes of chivalry and love. They are set against a feudal and courtly background in which themes such as war, prowess inheritance and the possession of land are crucial. As they adapt their Latin sources, these romances, especially the Eneas, exploit the works of Ovid, especially in the presentation of the theme of love, and they also make use of the principles of rhetorical composition as studied in the schools (both romances contain remarkable examples of descriptions of both people and objects).This is the first volume to contain two complete translations of the three romances of antiquity. The translation of the Roman d’Eneas is the first English translation of this text since that of John A. Yunck in 1974.

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The Council of Constantinople of 869-70 was highly dramatic, with its trial and condemnation of Patriarch Photius, a towering figure in the Byzantium of his day, and the tussle of wills at the council between the papal legates, the imperial representatives and the bishops. It was church politics and personalities rather than issues of doctrine, such as icon veneration, that dominated the debates. Out of all the acts of the great early councils, the acts of this council, of which this edition is the first modern translation, are the nearest to an accurate and complete record. Its protest against secular interference in ecclesiastical elections was taken up later in the West and led to this council’s being accorded full ecumenical status, although it had been repudiated in Byzantium soon after it was held. No early council expresses so vividly the tension between Rome’s claim to supreme authority and the Byzantine reduction of this to a primacy of honour.

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This volume focuses on the migration and acculturation of images in Jewish culture and how that reflects intercultural exchange. Gender aspects of Jewish art are also highlighted, as is the role of images in interreligious encounters. Other topics covered include the history, codicology, and iconography of a Haggadah produced in the late fifteenth century.

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The historiographical concept Enlightenment has for a long time wavered between the idea of a single unified Enlightenment and the notion of multiple competing enlightenments. This volume revisits this seeming contradiction by asserting that the Enlightenment should be understood as a shared process of communication, seeking ways to accommodate and mediate rival ideologies and orient enlightenment projects towards the betterment of humankind. Taking the work of the eminent Enlightenment scholar Hans Erich Bödeker as their point of departure, the different chapters seek to explore this perspective through specific case studies of political communication. Readers are offered a selection of Bödeker's texts never previously translated into English, along with a series of contributions from his former colleagues, students, and collaborators. In doing so the book displays the broad scope of Bödeker's own work, as well as the multiplicity of themes captured within the framework of the Enli

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Decadence is seldom looked at in the context of colonialism, and yet its heyday in the 1880s and 1890s is directly contemporary with the expansion of France’s modern colonial empire. Ever a slippery signifier, Decadence figures alternately as pro-colonial, anticolonial and apolitical. This edited volume gives a sense of the sheer range and diversity of intersections between colonialism and Decadence, from anticolonial anarchist writers to colonial discourse, from nineteenth-century women writers to our contemporary, Michel Houellebecq. Different chapters explore these intersections in the cultural imagination of dance, the novel, travel writing, historiographical theory, and literary networks. Decadence is often seen as an essentially metropolitan, urban movement, but this study identifies key spaces elsewhere, from fin-de-siècle Saigon to India in the heyday of French colonialism, from Byzantium to ancient Persia. Although the colonies were held up by some as an antidote to the threat of French decline, other writings reveal anxiety that the antidote might itself be a form of poison. Colonial contact might exacerbate degeneration, whether through cultural mixing or through the violence of colonial aggression itself. A profound anxiety about French identity and France’s so-called mission civilisatrice is played out through the imagery, the style and the pose of Decadence.

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Why make a joke out of a niche and complex scientific problem? That is the question at the heart of this book, which unearths the rich and surprising history of trying to find longitude at sea in the eighteenth century. Not simply a history on water, this is the story of longitude on paper, of the discussions, satires, diagrams, engravings, novels, plays, poems and social anxieties that shaped how people understood longitude in William Hogarth’s London. We start from a figure in one of Hogarth’s prints – a lunatic incarcerated in the madhouse of A Rake’s Progress in 1735 – to unpick the visual, mental and social concerns which entwined around the national concern to find a solution to longitude. Why does longitude appear in novels, smutty stories, political critiques, copyright cases, religious tracts and dictionaries as much as in government papers? This sheds new light on the first government scientific funding body – the Board of Longitude – established to administer vast reward money for anyone who found a means of accurately measuring longitude at sea. Meet the cast of characters involved in the search for longitude, from famous novelists and artists to almost unknown pamphleteers and inventors, and see how their interactions informed the fate of longitude’s most famous pursuer, the clockmaker John Harrison.

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The historical consciousness of medieval Jewry has engendered lively debate in the scholarly world. The focus in this book is on the historical consciousness of the Jews of Spain and southern France in the late Middle Ages, and specifically on their perceptions of Christianity and Christian history and culture. In his detailed analysis of Jews’ understanding of the history of the communities they lived among, Ram Ben-Shalom shows that in these southern European lands Jews experienced a relatively open society that was sensitive to and knowledgeable about voices from other cultures, and that this had significant consequences for shaping Jewish historical consciousness. Among the topics that receive special attention are what Jews knew of the significance of Rome, of Jesus and the early days of Christianity, of Church history, and of the history of the Iberian monarchies. Ben-Shalom demonstrates that, despite the negative stereotypes of Jewry prevalent in Christian literature and increasing familiarity with that literature, they were more influenced by their interactions with Christian society at the local level. Consequently there was no single stereotype that dominated Jewish thought, and frequently little awareness of the two societies as representing distinct cultures. This book contributes to medieval Jewish intellectual history on many levels, demonstrating that, in Spain and southern France, Jews of the later Middle Ages evinced a genuine interest in history, including the history of non-Jews, and that in some cases they were deeply familiar with Christian and sometimes also classical historiography. In providing a comprehensive survey of the multiple contexts in which historiographical material was embedded and the many uses to which it was put, it enriches our understanding of medieval historiography, polemic, Jewish-Christian relations, and the breadth of interests characterizing Provencal and Spanish Jewish communities.

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Over the last three decades Anthony La Vopa has extended his reach as an Enlightenment historian from Germany to England, Scotland, and France. Enlightenment Past and Present: Essays in a Social History of Ideas provides insights into all four contexts, with a view to understanding the Enlightenment’s contours in spaces that were distinct but nonetheless shared in a European-wide engagement with a cluster of political, social, and cultural issues. The volume explores a wide variety of themes in the formation of modernity, including the construction of a public, the emergence of modern feminism, the problematic legitimacy of sexuality and marriage, the ideal and practice of friendship, patron-client relations, the conversational sociability of politeness, and the evolution of the essay as a genre. La Vopa aims to demonstrate in practice the new interest in restoring the social to intellectual history without falling back into reductionism. He throws a spotlight on a number of key texts in eighteenth-century philosophy. In several essays, La Vopa employs the resources of meaning in rhetorical cultures with thick social contexts to present Enlightenment texts not simply as print records, but as rhetorical performances with specific audiences. He also often intertwines contexts by focusing on biographical experience, using ‘private’ life traces such as diaries and other forms of correspondence, to enhance our understanding of published discourse. While drawing on the history of philosophy, the volume takes a decidedly more historical path through the canon. It includes essay reviews which take stock of developments in Enlightenment studies via critical appraisals of major recent contributions to the field.

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In Enlightenment Europe, a new form of pantomime ballet emerged, through the dual channels of theorization in print and experimentation onstage. Emphasizing eighteenth-century ballet’s construction through print culture, Theories of Ballet in the Age of the Encyclopédie follows two parallel paths—standalone treatises on ballet and dance and encyclopedias—to examine the shifting definition of ballet over the second half of the eighteenth century. Bringing together the Encyclopédie and its Supplément, the Encyclopédie méthodique, and the Encyclopédie d’Yverdon with the works of Jean-Georges Noverre, Louis de Cahusac, and Charles Compan, it traces how the recycling and recombining of discourses about dance, theatre, and movement arts directly affected the process of defining ballet. At the same time, it emphasizes the role of textual borrowing and compilation in disseminating knowledge during the Enlightenment, examining the differences between placing borrowed texts into encyclopedias of various types as well as into journal format, arguing that context has the potential to play a role equally important to content in shaping a reader’s understanding, and that the Encyclopédie méthodique presented ballet in a way that diverged radically from both the Encyclopédie and Noverre’s Lettres sur la danse.

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From its long coastline, with cliffs and islands that bustle with breeding seabirds in the summer, to its open moorland that hold some of the most southerly Curlews and Black Grouse, Wales packs a lot of birds into a small area. It is significant for its populations of Chough, Hawfinch and Pied Flycatcher, and its Manx Shearwaters are of global importance. And it has played an important role in the study of migration, as Skokholm was the first bird observatory in Britain. It is almost 30 years since the first avifauna was published for all of Wales and much has changed. Knowledge of the status of many species has increased thanks to improved monitoring and a greater number of birdwatchers, and we have a better understanding of how humans have affected Wales’ birds, particularly the twin challenges of land-use and climate change. The Birds of Wales synthesises the new information and sets it in context of each species’ history in Wales. It tells the stories of all the birds that have been recorded here, whether common or rare, and looks forward, anticipating what may occur in the coming decades. It will have an essential place on the bookshelf of everyone with an interest in birds in Wales and should be on the desk or in the rucksack of everyone who influences what happens to the nation’s land and seas. It is a once-in-a-generation state of Wales’ birds.

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The Atlantic Ocean not only connected North and South America with Europe through trade but also provided the means for an exchange of knowledge and ideas, including political radicalism. Socialists and anarchists would use this “radical ocean” to escape state prosecution in their home countries and establish radical milieus abroad. However, this was often a rather unorganized development and therefore the connections that existed were quite diverse. The movement of individuals led to the establishment of organizational ties and the import and exchange of political publications between Europe and the Americas. The main aim of this book is to show how the transatlantic networks of political radicalism evolved with regard to socialist and anarchist milieus and in particular to look at the actors within the relevant processes—topics that have so far been neglected in the major histories of transnational political radicalism of the late nineteenth and early twentieth centuries. Individual case studies are examined within a wider context to show how networks were actually created, how they functioned and their impact on the broader history of the radical Atlantic.

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Célèbre pour ses travaux d’économie politique ainsi que pour son activité diplomatique, Ferdinando Galiani (1728-1787) incarne un type singulier de ‘philosophe’, s’attribuant et reniant cette appellation en fonction des contextes. Bien que refusant de construire un système ordonné d’idées, Galiani produit un savoir philosophique qui accompagne et enrichit ses projets politiques. Située au carrefour de l’histoire, de la littérature et de la philosophie, cette monographie étudie ainsi le parcours de Galiani en mesurant la finalité sociale et politique de sa production philosophico-littéraire, et en saisissant son identité de ‘philosophe’ entre Naples et Paris. Quelles influences ces deux milieux socioculturels ont-ils eu sur sa pensée et sur sa carrière? Cette interrogation constitue le cœur d’une analyse souhaitant reconsidérer conjointement les contextes napolitain et parisien, où les termes de ‘philosophe՚ et de ‘filosofo՚ se chargent de significations, de pratiques et d’emplois différenciés. A l’aune des discours, des pratiques et des représentations que cet auteur construit tout au long de sa vie, ce livre inscrit Galiani dans la dimension concrète du travail philosophique, en étudiant sa manière de vivre en philosophe, là où les batailles philosophiques, les succès éditoriaux et la gloire cohabitent sans antagonisme avec des inquiétudes d’ordre matériel, des craintes concernant sa réputation ou encore des échecs. --- Famous for his works on political economy as well as for his diplomatic activity, Ferdinando Galiani (1728-1787) embodies a singular type of 'philosopher', attributing and denying himself this designation according to the context. Although he refused to construct an ordered system of ideas, Galiani produced a philosophical knowledge that accompanied and enriched his political projects. Situated at the crossroads of history, literature and philosophy, this monograph studies Galiani's career by measuring the social and political purpose of his philosophical-literary production, and by establishing his identity as a 'philosopher' between Naples and Paris. What influences did these two socio-cultural milieus have on his thought and his career? This question constitutes the core of an analysis that aims to simultaneously reconsider the Neapolitan and Parisian contexts, where the terms ‘philosophe՚ and ‘filosofo՚ take on different meanings, practices and uses. In the light of the discourses, practices and representations that this author constructed throughout his life, this book places Galiani in the real dimension of philosophical work, studying his way of life as a philosopher, where philosophical battles, editorial successes and fame coexist without conflict with material worries, fears about his reputation or even failures.

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People, young and old, need stars to guide them. They need models to construct their own identity, to build their self-esteem, to change the way they see the world and to overcome their own and others’ prejudice.During my childhood, many stars were pointed out to me. I admired them, dreamt about them: Socrates, Baudelaire, Einstein, Marie Curie, General de Gaulle, Mother Teresa… But nobody ever spoke to me about black stars. The world of my education was white, from the colour of the school walls to the pages of my textbooks. I knew nothing about my own ancestors. Slavery was the only black subject ever mentioned. In this vision, the history of Black people could only ever be a vale of tears and strife.Can you tell me the name of a black scientist?A black explorer?A black philosopher?A black pharaoh?If you don’t know the answer to these questions, then, whatever the colour of your skin, this book is for you. Because the best way to fight racism and intolerance is to educate ourselves and to broaden our imaginations.The portraits of the men and women in this book are a product of my own reading and my interviews with scholars. Starting with Lucy and ending with Barack Obama, and along the way meeting Aesop, Dona Béatrice, Pushkin, Anne Zingha, Aimé Césaire, Martin Luther King and many others. These stars have allowed me to reject the idea that I am a victim, to renew my faith in mankind and, above all, to believe in myself. - Lilian ThuramThis translation of Lilian Thuram’s bestselling 2010 volume, Mes Etoiles Noires, by Laurent Dubois (University of Virginia), finally brings his anti-racism work to the attention of an English-language audience (the book has already been translated into several European languages). At a time when the Black Lives Matter movement has reminded us of the need to tell more complex stories about our shared past, this volume constitutes a timely intervention by a prominent black sporting figure.

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'Created’ by Steven Spielberg yet officially directed by Tobe Hooper, Poltergeist (1982) can be best described as ‘family horror movie’ both in its target audience and in its narrative context, the story of an All-American suburban family, the Freelings, whose home suddenly becomes the site of a spectacular haunting, apparently summoned by their young daughter. The film is somewhat of an anachronism and this Devil's Advocate explores this in both the scope of production and narrative. The book discusses the duality of the text highlighting debates surrounding both Spielberg's somewhat saccharine portrayal of middle-class Americana and his more subversive cinematic endeavours. The duality of the text also will also be discussed in the context of the film's production – with both Spielberg and Hooper on set for much of the time, the result was a movie with the production values, effects and marketing of a high budget mainstream cinema blockbuster apparently directed by a subversive 'grindhouse' cinema auteur. Yet Poltergeist is neither nor both of those things, instead being a unique hybrid of genres and styles taking the best and worst from both aspects of family blockbuster and cult horror film, and as such can be seen as a text that is something unique – a classic modern take on the traditional haunted house story.

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'Created’ by Steven Spielberg yet officially directed by Tobe Hooper, Poltergeist (1982) can be best described as ‘family horror movie’ both in its target audience and in its narrative context, the story of an All-American suburban family, the Freelings, whose home suddenly becomes the site of a spectacular haunting, apparently summoned by their young daughter. The film is somewhat of an anachronism and this Devil's Advocate explores this in both the scope of production and narrative. The book discusses the duality of the text highlighting debates surrounding both Spielberg's somewhat saccharine portrayal of middle-class Americana and his more subversive cinematic endeavours. The duality of the text also will also be discussed in the context of the film's production – with both Spielberg and Hooper on set for much of the time, the result was a movie with the production values, effects and marketing of a high budget mainstream cinema blockbuster apparently directed by a subversive 'grindhouse' cinema auteur. Yet Poltergeist is neither nor both of those things, instead being a unique hybrid of genres and styles taking the best and worst from both aspects of family blockbuster and cult horror film, and as such can be seen as a text that is something unique – a classic modern take on the traditional haunted house story.

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The Council of Constantinople of 869-70 was highly dramatic, with its trial and condemnation of Patriarch Photius, a towering figure in the Byzantium of his day, and the tussle of wills at the council between the papal legates, the imperial representatives and the bishops. It was church politics and personalities rather than issues of doctrine, such as icon veneration, that dominated the debates. Out of all the acts of the great early councils, the acts of this council, of which this edition is the first modern translation, are the nearest to an accurate and complete record. Its protest against secular interference in ecclesiastical elections was taken up later in the West and led to this council’s being accorded full ecumenical status, although it had been repudiated in Byzantium soon after it was held. No early council expresses so vividly the tension between Rome’s claim to supreme authority and the Byzantine reduction of this to a primacy of honour.

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In 1234, four mendicant friars arrived in the Byzantine city of Nicaea to discuss the possibility of a union between the Greek and Roman Churches. The controversy over the specific differences in both doctrine and practice had taken on a new urgency in the thirteenth century. The Fourth Crusade in 1204 placed the Byzantine capital of Constantinople under Latin control, creating an atmosphere of nearly continuous conflict, and yet the two sides agreed to meet in hopes of a peaceful settlement. Presented in translation for the first time, the report of those friars describing the discussions, or disputatio, of 1234 illuminates the full spectrum of motivations and implications surrounding the prospect of church union in the years following the Fourth Crusade. The letters exchanged by Pope Gregory IX and Patriarch Germanos II demonstrate the terms under which both sides entered the negotiations with a notable degree of optimism. Brought together, these sources represent the largest collection of material describing any dialogue between the churches in the thirteenth century. Translation and analysis of these sources call into question the long-held view that attempts to end the schism of the churches were perpetually doomed to fail.

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During the period 1000-1700 major transformations took place in material culture. Quite simply, more objects were manufactured and used than ever before and many objects travelled across geographic, political, religious, linguistic, class and cultural boundaries. By starting with a focus on past objects, this volume brings together essays from art historians, historians, archaeologists, literary scholars and museum curators to reveal the different disciplinary approaches and methods taken to the study of objects and what this can reveal about transformations in material culture 1000-1700. Contributors: Katherine A. Wilson, Leah R. Clark, Alison M. Leonard, Steven P. Ashby, Michael Lewis, Robert Maniura, Sarah Hinds, Christina Antenhofer, Alexandra van Dongen, Bettina Bildhauer, Julie De Groot, Jennifer Hillman, Ruth Whelan, Christopher Donaldson, Thomas Pickles.

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The first revenge drama, the first great female role, the first tragedy set on the cusp between public space and private household, the first part of the only surviving tragic trilogythe foundational status of Aeschylus' monumental Agamemnon cannot be over-estimated. Agamemnon's entry on a chariot, arrogant passage over purple carpets, death in the bath and display as a corpse, along with the inspired prophetess, his war booty Cassandra, make this tragedy visually electrifying; the poetry, especially in Clytemnestra's orations and the choral odes, in magniloquence and vivid imagery surpasses anything in classical literature. This new edition, with Greek text, critical introduction, accessible translation and detailed commentary gives consistent support in construing the ancient Greek and appreciating the aural power of Aeschylus' language and rhythms. It draws on cutting-edge scholarship to provide unprecedented illumination of sociological and performative aspects of his play: the cho

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This book takes as its historical point of departure the radical appearance in 1779 of technically difficult keyboard music in a set of six sonatas (Op. 2) by Muzio Clementi. The difficult passages contained in this opus are unique amongst keyboard music published for a market that was understood at the time to consist almost entirely of female amateur keyboardists. Previously actively discouraged from practicing or improving their skills due to the restrictive ideologies in place, Clementi’s music increasingly affords female pianists a new kind of musical expression. Clementi and the woman at the piano: Virtuosity and the market for music in eighteenth-century London maps the social, musical, and gendered implications of technically difficult music and helps to underline important changes in Enlightenment culture and keyboard practice. Clementi’s activities initiated the now familiar and modern concepts of repetitive musical practice, the work-concept, virtuosity itself, and the division between amateur and professional. Additionally, Clementi promotes a radical new mode of expression for female pianists that is at first highly controversial but slowly gains acceptance due to a widespread promotion of his music, instruments, and methods. Clementi’s career is in many respects a perfect case study for the tensions between Enlightenment thinking and new Romantic ideologies.

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*Shortlisted for the Jhalak Prize 2023 ** Anita Pati’s debut collection, *Hiding to Nothing, explores the destabilising effects of violence, particularly empire’s aftermath, on a psyche. Threaded with internal dialogue, this multi-layered work witnesses how unbelonging can unsettle perceptions of the brown female body within an unwelcoming, even hostile, environment. From ‘exotic’ dodos punished for not being doves to Greenface, on whom blonde girls birth natterjack toads, marginal presences tell their stories. Hiding to Nothing suggests that complex and damaging legacies in all their forms can create shockwaves that reverberate over a lifetime, stopping lives from reaching their full potential. And the trauma experienced through centuries of colonial history continues to be embodied and enacted. These perceptions of body-image and self-worth are picked up in the central documentary sequence, Bloodfruit, which is based on interviews with women. Bloodfruit gives voice to the less heard narratives of infertility and difficult trajectories towards becoming, or not becoming, a ‘mother’. Here, the often-fraught notions of womanhood and motherhood are also shown to feed into ideas on who is able to mother. Pati uses an original, lyrical approach towards the ambiguities and ambivalences that cloud our decisions. Ultimately, ambient aggressions towards our own and other bodies can only be made good by breaking the cycle. Pati unravels compacted pain but those looking for easy answers or redemption will find no compromise here.

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In the fading atmosphere of the New Hollywood era, William Friedkin – the wunderkind director with an Academy Award for his cop drama, The French Connection (1971) who then scored an even bigger success with The Exorcist (1973) – began work on what would prove to be the most controversial film of his career: Cruising (1980). In the process he established a template for a sub-genre, the serial killer thriller, that would thrive long after his film had left theatres, having caused widespread offence among the very audience he'd hoped to appeal to, via a campaign mobilised by the counter-culture press. As such, Cruising can be read as a bitter farewell to the seventies and its cinema and industry. This Devil's Advocate dives deep into the phenomenon that is Cruising, examining its creative context and its protagonists, as well as examining its ongoing popularity as it turns 40 in 2020.

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A ground-breaking volume examining the transnational conditions of the European Enlightenment, Crafting Enlightenment argues that artisans of the long eighteenth-century on four different continents created and disseminated ideas that revolutionized how we understand modern-day craftsmanship, design, labor, and technology. Starting in Europe, this book journeys through France across the Atlantic Ocean to the Americas and then on to Asia and Oceania. Highlighting diverse identities of artisans, the authors trace how these historical actors formed networks at local and global levels to assert their own forms of expertise and experience. These artisans – some anonymous, eminent, and outside the margins – translated European Enlightenment thinking into a number of disciplines and trades including architecture, botany, ceramics, construction, furniture, gardening, horology, interior design, manuscript illustration, and mining. In each thematic section of this illustrated volume, two leading scholars present contrasting case studies of artisans in different geographic contexts. These paired chapters are also followed by shorter commentary that reflects on pertinent themes from both chapters. Emphasizing how and why artisanal histories around the world impacted civic and private life, commerce, cultural engagement, and sense of place, this book introduces new richness and depth to the conversations around the ambivalent and fragmented nature of the Enlightenment.

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Robert Eggers' The Witch (2015) is one of the most critically acclaimed horror films of recent years, praised as a genre film of unusual depth which eschews jump scares in favour of a gradually and steadily building tension. Set in newly colonized New England in the early seventeenth century, the film’s deep historical and mythological background, as well as its complicated and interlocking character arcs, make for a film whose viewers will be well served by this Devil’s Advocate, the first stand-alone critical study of the film. As well as providing the historical and religious background necessary for a fuller appreciation, including an insight into the Puritan movement in New England Brandon Grafius situates the film within a number of horror sub-genres (such as folk horror) as well as its other literary and folkloric influences.

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