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Le siècle des Lumières constitue un moment important dans l’émergence de la littérature pour la jeunesse en France. La production destinée aux jeunes lecteurs rassemble alors non seulement des ouvrages initialement rédigés pour ce public, mais aussi des réécritures qui lui sont adressées. Éditions adaptées, abrégés, imitations plus libres : ces réécritures s’attachent à des œuvres fort diverses, des classiques de l’Antiquité aux fictions modernes, en passant par les discours historique et scientifique. Elles forment un genre littéraire qui se consolide au XVIIIe et au début du XIXesiècle, en intégrant plusieurs questions qui sont au cœur de la pensée des Lumières, notamment en matière d’éducation. Le présent ouvrage se propose d’explorer cette production peu étudiée jusqu’à ce jour. Les contributions abordent les multiples facettes du genre, en s’intéressant aux réécritures des œuvres de différents auteurs : Cicéron, Plutarque, La Bruyère, Rousseau, Perrault, Villeneuve, Defoe, Cervantès, Fielding, Newton, Raynal, Buffon. En se penchant sur les enjeux liés à l’apparition de la littérature pour le jeune public, elles jettent un regard original sur la culture écrite des Lumières. ---The Age of Enlightenment was an important moment in the emergence of children’s literature in France. Literary output for young readers included not only original works, but also rewrites of existing texts to suit this particularly type of audience. Adapted editions, abridgements, texts based loosely on those from which they draw original inspiration: these rewritings are present across a diverse range of works, from the classics of antiquity to modern fiction, through historical and scientific discourse. They form a literary genre that was consolidated in the eighteenth- and early nineteenth-centuries and address various questions at the heart of Enlightenment thought, particularly in terms of education. The present collection takes an orignal look at the writing culture of the Enlightenment by exploring this neglected set of texts for younger audiences. Contributions address the many facets of the genre, focusing on the rewritings of works by different authors, including Cicéron, Plutarque, La Bruyère, Rousseau, Perrault, Villeneuve, Defoe, Cervantès, Fielding, Newton, Raynal, Buffon.

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In the ancient Mediterranean world, the sea was an essential domain for trade, cultural exchange, communication, exploration, and colonisation. In tandem with the lived reality of this maritime space, a parallel experience of the sea emerged in narrative representations from ancient Greece and Rome, of the sea as a cultural imaginary. This imaginary seems often to oscillate between two extremes: the utopian and the catastrophic; such representations can be found in narratives from ancient history, philosophy, society, and literature, as well as in their post-classical receptions. Utopia can be found in some imaginary island paradise far away and across the distant sea; the sea can hold an unknown, mysterious, divine wealth below its surface; and the sea itself as a powerful watery body can hold a liberating potential. The utopian quality of the sea and seafaring can become a powerful metaphor for articulating political notions of the ideal state or for expressing an individual’s sense of hope and subjectivity. Yet the catastrophic sea balances any perfective imaginings: the sea threatens coastal inhabitants with floods, tsunamis, and earthquakes and sailors with storms and the accompanying monsters. From symbolic perspectives, the catastrophic sea represents violence, instability, the savage, and even cosmological chaos. The twelve papers in this volume explore the themes of utopia and catastrophe in the liminal environment of the sea, through the lens of history, philosophy, literature and classical reception.Contributors: Manuel Álvarez-Martí-Aguilar, Vilius Bartninkas, Aaron L. Beek, Ross Clare, Gabriele Cornelli, Isaia Crosson, Ryan Denson, Rhiannon Easterbrook, Emilia Mataix Ferrándiz, Georgia L. Irby, Simona Martorana, Guy Middleton, Hamish Williams.

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Offering a survey of Hollywood science fiction cinema from 1979 to 2017 (from Ridley Scott’s Alien to Denis Villeneuve’s Blade Runner 2049), Dystopia and Dispossession in the Hollywood Science Fiction Film argues that the trajectory of Hollywood’s dystopianism in that period is inextricable from the phenomenon of the ‘new enclosures’, the new dispossessions and privatisations sweeping across the United States since the 1970s. More precisely, it contends that the critiques of such dispossessions elaborated before the turn of the century – consider the satire of private policing in RoboCop (1987), the portrayal of commodified air in Total Recall (1990), and the nightmarish extrapolations of postmodern urbanism in Blade Runner (1982) and The Truman Show (1998) – begin to disappear in films such as The Matrix (1999), The Island (2005), District 9 (2009), Repo Men (2010), and The Purge (2013), the further commodification of land, forest, reservoir, ideas, even the human genome having diminished the contrast between capitalist and non-capitalist spaces on which the earlier critiques depended. Bringing close readings of blockbuster films into dialogue with historical and theoretical scholarship on dispossession, Dystopia and Dispossession in the Hollywood Science Fiction Film proposes a new understanding of the politics of science fiction in particular and utopian thought in general.

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This book investigates the highly engaging topic of the literary and cultural significance of ‘sailor talk.’ The central argument is that sailor talk offers a way of rethinking the figure of the nineteenth-century sailor and sailor-writer, whose language articulated the rich, layered, and complex culture of sailors in port and at sea. From this argument many other compelling threads emerge, including questions relating to the seafarer’s multifaceted identity, maritime labor, questions of performativity, the ship as ‘theater,’ the varied and multiple registers of ‘sailor talk,’ and the foundational role of maritime language in the lives and works of Herman Melville, Joseph Conrad, and Jack London. The book also includes nods to James Fenimore Cooper, Rudyard Kipling, and Robert Louis Stevenson. Meticulous scholarly research underpins the close readings of literary texts and the scrupulously detailed biographical accounts of three major sailor-writers. The author’s own lived experience as a seafarer adds a refreshingly materialist dimension to the subtle literary readings. The book represents a valuable addition to a growing scholarly and political interest in the sea and sea literature. By taking the sailor’s viewpoint and listening to sailors’ voices, the book also marks a clear intervention in this developing field.

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Michaël Ferrier is a prize-winning novelist, essayist and academic whose cosmopolitan life – he grew up in Chad and France, has Mauritian roots and lives in Japan – has inspired him to write some fascinating novels that cross generic and geographical boundaries. This book is the first ever monograph dedicated to his works, which explore themes as various as an African childhood, notions of Frenchness, inter-identities, and post-Fukushima life in Japan. Hybridity is key to his themes, forms and genres, which include – as befits a twenty-first century author – a website, called ‘Tokyo-Time-Table’ and discussed in this study. Kawakami uses an eclectic range of frameworks to analyse Ferrier’s output, ranging from translingualism to Environmental Humanities and Ferrier’s own vision of his oeuvre, which he discloses for the first time in this book in the interview that he grants Kawakami. This interview, first published in this volume, is rich in insights into Ferrier’s views on dreams, Japan, the internet, and collaborating with other artists. This book is an indispensable guide to an author who is one of the rising stars of contemporary French and Francophone literature, and a unique voice that crosses all kinds of borders across the globe.

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The concept of the afterlife has always been prominent in both Greek literature and modern scholarship alike. The fate of man after his/her allotted time has come to an end has a central position in poetry, philosophy and religion, often leading to questions and answers as to how one can best live one's life, and how can one deal with the burden of mortality that is inherent in every human being. The Greeks devoted a considerable amount of their literary production in an attempt to answer these questions through a variety of different media, whereas similar concerns appear to have been at the core of the ancient world in general. This volume represents the first to examine the influences, intersections, and developments of understandings of death and the afterlife between poetic, religious, and philosophical traditions in ancient Greece in one resource. Greek thinking on death and the afterlife was neither uniform, simple, nor static, and by offering an examination of these matters in

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This book is the first-ever scholarly edition of one of the bestselling and most revered poets in the nineteenth centurya poet excluded from the canon by twentieth-century critics.

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The three poems (Satires 7, 8 and 9) that comprise Book 3 of the Satires form a brilliant collection, displaying Juvenal at the height of his powers and in the full breadth of his interests.

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While being the first known standalone chronicle of England in Dutch, it shows a remarkable sophistication and adeptness in negotiating English and Dutch sources, as well as Dutch and English interests, and presents a determinedly Lancastrian view of English history to its Dutch audience.

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Depuis l’ouvrage de John Pocock, The Machiavellian Moment. Florentine Political Thought and the Atlantic Tradition (1975), on connaît l’importance de James Harrington dans la pensée politique anglo-américaine à la période moderne. Parce qu’au-delà de l’acte de résistance à la tyrannie, il promeut la démocratie et propose les moyens constitutionnels de mettre en œuvre la souveraineté populaire dans un pays de vaste étendue, Harrington a incarné une forme distinctive de républicanisme. En retraçant l’histoire de sa réception dans la France des Lumières, cet ouvrage a pour but de combler un hiatus entre le grand récit pocockien du républicanisme machiavélien et l’historiographie de la Révolution française. En cela, il s’inscrit dans le panorama brossé en 2010 par l’historienne Rachel Hammersley, et va au-delà. D’une part, il accorde à Hume, Jaucourt ou Rousseau, aux côtés de ses nombreux traducteurs et commentateurs, un rôle central dans l’actualisation de la pensée de Harrington. D’autre part, il montre que son héritage intellectuel fut pluriel. Celui-ci n’est en effet pas seulement l’inspirateur de dispositions constitutionnelles spécifiques : à l’heure où se développe l’économie politique, Harrington apparaît comme le penseur d’une égalité relative des fortunes, perçue comme la seule base possible d’un ordre politique stable.--John Pocock’s book The Machiavellian Moment. Florentine Political Thought and the Atlantic Tradition (1975) has shown the importance of James Harrington in Anglo-American modern political thought. Beyond the act of resistance to tyranny, he vindicates democracy and provides the constitutional means for implementing popular sovereignty in a vast country. In doing so, Harrington has incarnated a distinctive form of republicanism.By reconstructing the history of his reception in eighteenth century France, this book aims to bridge the gap between the great Pocockian narrative of Machiavellian republicanism and the historiography of the French Revolution. It is set against the panorama offered by Rachel Hammersley in 2010 and aims to go further. On the one hand, it shows how central Hume, Jaucourt or Rousseau have been in reviving Harrington’s thought, along with his numerous translators and commentators. On the other hand, it shows that his intellectual legacy was diverse. He did not only stand as the inspirer of specific constitutional measures: as political economy developed, Harrington also appeared as the theoretician of a relative equality of wealth among the people, perceived by many as the true basis of a stable political order.

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This book explores advertising and consumer culture as key aspects of everyday life and national culture in twentieth-century Ireland. It makes a particular argument that the presence of anti-materialist rhetoric in some parts of Irish public life after Independence has obscured the existence of a lively consumer culture throughout the period, as evident in the many advertisements which supported Irish newspapers and magazines, the jingles broadcast on Irish radio, and the neon advertising signs and billboards on Irish streets. The book focuses on the development of the advertising industry itself, and the sophisticated ways in which it worked to associate consumption with national pride. It also considers the advertising of Irish homes and home appliances as an important focus of consumption, and the targeting of Irish women as the principal consumers in those homes, as well as publicity stunts and advertising in public space, and the form and style of commercial broadcasting and sponsored programming from the earliest days of Irish radio. It finishes with an examination of the opposite extremes of consumer abundance displayed in the annual Christmas advertising, as opposed to the consumer culture response to shortages during World War Two.

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Into our Labours explores the literary representation of work across the globe since 1850, setting out to show that the literature of modernity is best understood in the light of the worlding of capitalism. The book proposes that a determinative relation exists between changing modes of work and changes in the forms, genres, and aesthetic strategies of the writing that bears witness to them. Two aspects of the ‘worlding’ of modernity, especially, are emphasised. First, an ‘inaugural’ experience of capitalist social relations, whose literary registration sometimes makes itself known through a crisis of representation, as the forms of space- and time-consciousness demanded by life in contexts in which market-oriented commodity production has become the dominant form of social labour are counterposed with inherited ways of seeing and knowing, now under acute pressure if not already obsolete. Second, a moment corresponding to the consolidation, regularisation and global dispersal of capitalist development. Into Our Labours focuses on the naturalisation of capitalist social relations: forms of sociality and solidarity, ideologies of familialism, individualism and work, relations between the sexes and the generations. Arguing that the only plausible term for the vast body of literary work engendered by the worlding of capitalist social relations is ‘modernist’, the book proposes that it is then important to challenge the still-entrenched Eurocentric understandings of modernism. Modernism is neither originally nor paradigmatically ‘Western’ in provenance; and its temporal parameters are much broader than are usually assumed in modernist studies, extending both backward and forward in time.

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Shadow of a Doubt (1943) was British-born Alfred Hitchcock’s sixth American film and the one that he at various times identified as his favourite and his best. It seems likely that one of the reasons he liked Shadow so much is that is an extraordinarily well-ordered narrative system, a meticulous cause and effect chain that melds its various scenes and sequences together to form a unified narrative that is highly effective in building suspense and cultivating identification with characters. This scrupulously organized film operates as a masterclass on principles of narrative design while generating resonant commentary on the nature of family life. This book redresses the deficit of sustained critical attention paid to Shadow even in the large corpus of Hitchcock scholarship. Analysing the film’s narrative system, issues of genre, authorship, social history, homesickness and ‘family values’, Diane Negra shows how the film’s impeccable narrative structure is wedded to radical ideological content, linking the film’s terrors to the punishing effects of looking beyond conventional family and gender roles. This book understands Shadow as an unconventionally female-centred Hitchcock text and a milestone film that marks the director’s emergent engagement with the pathologies of violence in American life and opens a window into the placement of femininity in World War II consensus culture and more broadly into the politics of mid-century gender and family life.

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Italy is Out is the fruit of the collaboration between Mario Badagliacca, the established documentary photographer, and the research team of ‘Transnationalizing Modern Languages: Mobility, Identity and Translation in Modern Italian Cultures’ (2014-16). This ARHC-funded project explored the implications of Italian migration in a global perspective tracing cultural transformations across borders, generations, and language. Badagliacca visited some of the project’s key locations conducting interviews with Italians or people of Italian descent before photographing them in familiar locations. The subjects of the portraits were invited to bring along three objects representing their attachment to Italy. The sheer variety of the objects which appear alongside the portraits suggest the diversity of the migrant experience. Photographs shot in London, New York, and Buenos Aires feature members of the historical Italian community, but also first generation migrants in search of opportunities not offered at home. A similar complexity emerges, more unexpectedly, in the postcolonial Italian communities of Tunis and Addis Abeba. The photographs are accompanied by essays written by members of the research team and people who have in some way participated in the project. Fiction, autobiography and academic reflection sit side by side adding to Badagliacca’s multifaceted exploration of Italians abroad.

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Winner of the ASLE-UKI Book Prize 2023. The commons and enclosure are among the most vital ways of thinking about poetry today, posing urgent ecological and political questions about land and resource ownership and use. Poetry & Commons is the first study to read postwar and contemporary poetry through this lens, by putting it in dialogue with the Romantic experience of agrarian dispossession. Employing an innovative transhistorical structure, the book demonstrates how radical Anglophone poetries since 1960 have returned to the 'enclosure of the commons' in response to political and ecological crises. It identifies a 'commons turn' in contemporary lyric that contests the new enclosures of globalized capital and resource extraction. In lucid close readings of a rich field of experimental poetries associated with the 'British Poetry Revival', as well as from Canada and the United States, it analyses a landscape poetics of enclosure in relationship with Romantic verse. Canonical Romantic poetry by Wordsworth and Clare is understood through the fine-grain textures of the period’s vernacular and radical verse and discourse around enclosure, which the book demonstrates contain the seeds of neoliberal political economy. Engaging with the work of Anne-Lise François and Anna Tsing, Poetry & Commons theorizes commoning as marking out subsistence 'rhythms of resource', which articulate plural, irregular, and tentative relations between human and nonhuman lifeworlds.

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This book investigates the way the British national press covered Ireland and the ‘Irish question’ from the aftermath of the Easter Rising in 1916 to the ratification of the Anglo-Irish Treaty in 1922. Bridging the fields of history and media studies, it seeks to add to our understanding of the complex relationship between the press and politics. Using a case study of 11 newspapers, Erin Kate Scheopner investigates daily press coverage from the formative 1916-22 period to offer broader contextualisation and critical analysis of what the press, the reading public, and the government recognised to be happening in Ireland. The material examined includes articles, dedicated series, editorials, cartoons, letters to the editor, and reports from outside journalists and foreign press outlets. This research confirms that the British national press were not neutral bystanders in the Irish question debate but were active participants, helping to shape and influence the course of events that led to the signing of the Anglo-Irish Treaty.

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Books V-VI of Julius Caesar’s The Gallic War narrate Caesar’s campaigns in Britain, Gaul, and Germany in 55 and 54 BCE. His political rival Pompey was at the height of his popularity in Rome, making it all the more incumbent upon Caesar to deliver exciting news of victories. Book V should have been the tale of triumphant conquest in Britain, but Caesar’s campaign was underwhelming; Caesar the politician and general thus needed assistance from Caesar the author. In Books V and VI Caesar masterfully compensates for the lacklustre British campaign with a dramatic account of his forceful suppression of Ambiorix’s revolt and new incursions into Germany; the narrative is further enlivened with speeches and digressions on the Britons, Germans, and the wonders of the Hercynian Forest. This English translation faithfully represents the clarity and precision of Caesar’s Latin while also conveying the drama of Caesar’s narrative in a voice that modern readers will find lively and accessible. A substantial introduction orients the reader to the historical and literary context of The Gallic War as well as to the complicated political and authorial career of Julius Caesar. The commentary covers topics of historical, literary, and linguistic interest, providing support to readers of both the English and Latin texts.

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Alors que l’on sort à peine de la querelle des Anciens et des Modernes en Europe, la curiosité antiquaire se mondialise. De Paris à Pékin, de Delhi à Mexico en passant par Copenhague ou Philadelphie, cet engouement pour les discussions et les pratiques antiquaires s’affirme au dix-huitième siècle et déconstruit les contours rassurants du modèle gréco-latin. Ce livre essaie de rendre compte de ce changement d’échelle en suivant une perspective originale et nouvelle en faveur d’une histoire connectée de la connaissance antiquaire au dix-huitième siècle. Loin des traditions nationales ou seulement comparatistes qui avaient mis en évidence les relations que les différentes sociétés humaines avaient entretenues, au cours de l’histoire, avec les vestiges du passé, ce livre envisage les cultures et les savoirs antiquaires dans leur matérialité non seulement dans les métropoles européennes, mais aussi dans les capitales américaines et asiatiques. A distance d’une Antiquité figée, ce livre entend montrer comment la mobilité des savants et des artistes a commencé à pluraliser l’Antiquité dès le dix-huitième siècle, à la dépayser dans un contexte global et impérial.~ Just as the quarrel between the Ancients and the Moderns was coming to an end in Europe, antiquarian curiosity became global. From Paris to Peking, from Delhi to Mexico City, via Copenhagen and Philadelphia, this craze for antiquarian discussions and practices took hold in the eighteenth century and deconstructed the reassuring contours of the Greco-Latin model. This book attempts to account for this change of scale by following an original and new perspective in favour of a connected history of antiquarian knowledge in the eighteenth century. Far from the national or only comparative traditions that had highlighted the relations that the different human societies had maintained, in the course of history, with the remains of the past, this book considers the cultures and the antiquarian knowledge in their materiality not only in the European metropolises, but also in the American and Asian capitals. This book aims to show how the mobility of scholars and artists began to pluralize antiquity from the eighteenth century onwards, to make it more diverse in a global and imperial context.

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The Enlightenment’s project of establishing scientific proof for the unity of the universe led instead to the fragmentation of knowledge. The culture of certainty mutated into a culture of conjecture and speculative supplements as the image of a unified cosmos mutated into a patchwork totality. In the process, the pursuit of knowledge developed a symbiotic association with science fiction. While sf has often provided concrete ideas adopted by the knowledge faculties, equally important is the way science-fictional counterfactual world building – science fiction’s “fantastic knowledge” – has intersected with rational speculation in all fields of knowledge. As a result, the dream of a completed, rationally engineered utopia has evolved into the image of “mutopia,” in which the objects of knowledge, the process of knowing, and the science-fictional imagination itself are expected to undergo constant transformation. The essays in Mutopia address the science-fictional imagination’s relevance for scientific modeling, critical theory, the deconstruction of the future, the future of religion, the future of nations, the imagination of empire, the construction of aliens, the future of science fiction itself, and the transformation of utopia into mutopia. Written over many years by a leading scholar of science fiction, the essays are revised and expanded for republication in this collection, alongside new commentary that places them in an updated context.

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Perhaps no great poet, in any language, has suffered more than Byron from being merely read about rather than actually read. As Bernard Beatty remarks in his introduction to this important collection of essays, the popular conception of ‘Byron’ still often approximates to ‘Rupert Everett with a limp’.Reading Byron is the product and summation of nearly sixty years devoted to studying and teaching his poetry. It argues that, far from being ‘mad, bad and dangerous to know’, Byron is serious, ethically orientated and rewarding to read. The book is in three parts: Poems – Life – Politics. Five new essays have been written especially for the first and largest section, which provides fresh perspectives on Byron’s major works. The volume continues with three of Beatty's lively lectures on unappreciated aspects of Byron the man, and three pithy essays on Byron as a complex, if not systematic, political thinker.While Beatty does not question the pre-eminent status of the ‘bright’ Don Juan, devoting a chapter to an unconventional reading of its final cantos, he argues powerfully that nineteenth-century readers, who responded on an unprecedented scale to the forceful poetic structures of the ‘dark’ Byron in Childe Harold's Pilgrimage, The Tales, Manfred, and Cain, were right to do so. Introduced by Jerome McGann (editor of the great Clarendon edition of the poet's works) and concluded in dialogue with Gavin Hopps (co-editor of the forthcoming Longman edition), Reading Byron is itself essential reading for any student or lover of Romantic poetry.

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Muslim Women in French Cinema: Voices of Maghrebi Migrants in France is the first comprehensive study of cinematic representations of first-generation Muslim women from the Maghreb (Algeria, Morocco, Tunisia) in France. Women of this generation migrated to France during the decades preceding and following the end of French colonial rule, and they are generally – though not always accurately – regarded as belonging to a generation of migrants silenced under the weight of poverty, illiteracy, Islamic tradition, and majority ethnic Islamophobia. Situated at the intersection of post-colonial studies, gender studies, and film studies, this book brings together a diverse corpus of over 60 documentaries, short films, téléfilms (made-for-television films), and feature films released in France between 1979 and 2014, and it devotes one chapter to each kind of film. In examining the ways in which the voices, experiences, and points of view of Maghrebi migrant women in France are represented and communicated through a selection of key films, this study offers new perspectives on Maghrebi migrant women in France. It shows that women of this generation, as they are represented in these films, are far more diverse and often more empowered than has generally been thought. The films examined in this book contribute to larger contemporary debates and discussions relating to immigration, integration, and identity in France.

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Longlisted for the Laurel Prize 2022. Shortlisted for the Ledbury Hellens Poetry Prize for Second Collections 2023. ‘Have you looked / have you looked deeply?’ ask these poems, rooted in the human body and its movement through an interconnected living world. Bloom, Sarah Westcott’s second collection, approaches the cultural and physical spaces where human and non-human lives co-exist. These poems are attuned to a tender, bleeding world in which ‘all flesh is grass’ and language is matter. These are poems of resistance: attentive to non-human life, ‘eternal and plaintive … counter-balanced, strange.’ Here are field flowers, walled gardens and lost species, the particularities of ‘undistinguished things … seeds, waterbuts, palpable concerns’. Exploring sacrifice and loss, these poems push at the boundaries where girlhood and flower might bleed. These poems are a hymn to being alive in the twenty-first century - the frailties and vigour of life in all its dazzling form, its ‘looped breath, perpetual singing’.

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Examining the birth and development of early modern atheism from Spinoza’s Tractatus theologico-politicus (1670) to d’Holbach’s Système de la nature (1770), this study considers Spinoza, Hobbes, Cudworth, Bayle, Meslier, Boulainviller, Du Marsais, Fréret, Toland, Collins, Hume, Diderot, Voltaire, and d’Holbach and positions them in a general interpretive scheme, based on the idea that early modern atheism is itself an unwanted fruit of early modern metaphysics and theology. Breaking with a long-standing tradition, Descartes claimed that it was possible to have a "clear and distinct" idea of God, indeed that the idea of God was the "clearest and most distinct" of all ideas accessible to the human mind. Humans could thus obtain a scientific knowledge of God’s nature and attributes. But as soon as God became an object of science, He also became the object of a thoroughgoing scientific analysis and criticism. The effortlessness with which early modern atheists managed to turn round their adversaries’ arguments to their own favour is a sign that the new doctrines of God which emerged in the seventeenth-century, each based in its own way on principles and dogmas related to the new science of nature, were plunging headfirst towards the precipice under their own steam.

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Exporting Japanese Aesthetics brings together historical and contemporary case studies addressing the evolution of international impacts and influences of Japanese culture and aesthetics. The volume draws on a wide range of examples from a multidisciplinary team of scholars exploring transnational, regional and global contexts. Studies include the impact of traditional Japanese theatre and art through to the global popularity of contemporary anime and manga. Under the banner of soft power or Cool Japan, cultural commodities that originate in Japan have manifested new meanings outside Japan. By (re)mapping meanings of selected Japanese cultural forms, this volume offers an in-depth examination of how various aspects of Japanese aesthetics have evolved as exportable commodities, the motivations behind this diffusion, and the extent to which the process of diffusion has been the result of strategic planning. Each chapter presents a case study that explores perspectives that situate Japanese aesthetics within a wide-ranging field of inquiry including performance, tourism, and visual arts, as well as providing historical contexts. The importance of interrogating the export of Japanese aesthetics is validated at the highest levels of government, which formed the Office of Cool Japan in 2010, and which perhaps originated in the 19th Century at governmentally endorsed cultural courts at worlds fairs. Increased international consumption of contemporary Japanese culture provides a much needed boost to Japans weakening economy. The case studies are timely and topical. As host of the 2020 Tokyo Olympic Games and the 2025 Osaka Expo, Cool Japan will be under special scrutiny.

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The coup d'etat of July 1936 split Spain in two, shaping a chessboard of terror, misery and death that would put an end to the Republic and give sustenance to dictatorship. In the rebel territory, Franco's soldiers were often not convinced followers, but mere pawns forced to fight for the future of a Spain in which the only element of cohesion would be fear. The experience of the Spanish Civil War is defined by how the dictator placed citizens before a terrible dilemma: become executioners or die. This experience was not confined to Spain alone. A transnational analysis, hitherto never undertaken, puts the Spanish war experience in the context of the political and military dramas of the first half of the 20th century. Issues of recruitment, terror, and propaganda dominate analysis. But deeper social and indeed psychological issues are equally important in understanding how dictatorship can shape society for the worse, and indeed come to be regarded by the majority as the norm. Special attention is paid to military ethos at all levels of the armed forces. Francos Soldiers, originally published to acclaim in Spain, provides a unique literary platform that better allows the Spanish Civil War experience to be understood in a wide historical context, thus furthering and encouraging international debate. Published in collaboration with the Department of International History, London School of Economics.

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Modern states increasingly seek to regulate religious expression, practice and discourse. This is profoundly evident at many levels of Islamic policy interaction: from debates about the banning of the Muslim face-veil in Europe to civic re-education programmes for Muslim citizens in China. Governance of Islam in Pakistan provides a systematic account of how interactions between multiple public and private bodies direct the regulation and standardisation of Islam in one of the largest Muslim-majority states in the world. Analysis centres on the institutional development of the Council of Islamic Ideology, a constitutional body tasked with issuing advice to the executive and legislature about the compatibility of laws with Islamic principles. Based on archival material that has been subject to little scholarly attention, and interviews with Council members and staff of other state bodies, Sarah Holz proposes governance as an analytical framework to study the negotiation of religious expression, practice and discourse. In contrast to the established Islamisation narrative which generally labels such religious institutions as mere rubberstamps in the process of policy-making, the study of governance offers an alternative approach that enables examination of the dynamic competition and cooperation among multiple actors. Through collective interaction the Council and other relevant bodies are active players in the governance of Islam. Insights gained from analysis of the ideational, structural and functional evolution of the Council offers a Global South perspective on liberal democratic ideas about the functionality of the modern state and its institutional structure. Issues of economic, cultural and local/international political influence bear strongly in governance analysis. Engagement with the governance policy tool has applicability across the social sciences, but is particularly relevant for South Asian/Near and Middle East Studies.

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Exactly when Matisse and Picasso first met is open to debate. Their earliest encounter may have taken place during the Matisse retrospective at Galerie Druet right before the 1906 Salon des Indépendants. The latter marked the first time all the Fauves exhibited together. The centerpiece was Matisse’s monumental Le bonheur de vivre. Leo Stein bought the painting while the Salon was still running, regarding it as “the most important work of our time.” This opinion undoubtedly annoyed Picasso. Jealousy of the other man’s success goaded him to greater innovations. In his view, the new art would have to match the sense of endless discovery that science and technology were offering. The 1900 “Exposition Universelle” had already shown the latest marvels in engineering. If painting wanted to keep the public’s attention, instead of merely reproducing what the eye saw, it had to generate its own reality on the surface of the canvas, a reality more vivid than, and bearing only the mostcursory resemblance to, anything found in nature. Matisse was also a catalyst in that he was the one who introduced Picasso to African sculptures. Max Jacob recalls: “Matisse took a black, wooden statuette from a table and showed it to Picasso. It was the first piece of Negro wooden art. Picasso held onto it all evening. The next morning, when I arrived at the studio, the floor was strewn with sheets of paper, and on each sheet was drawn the head of a woman; all of them were more or less the same: one eye, an oversized nose attached to the mouth, and a lock of hair on the shoulders. Cubism was thus born” (cited in Janine Warnod, Washboat Days [New York: Grossman Publishers Warnod, 1972, p. 128]).

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Down to the Sunless Sea explores the time Coleridge spent in Gibraltar, Malta, Sicily and mainland Italy, where he had planned to recover his health, escape the clutches of opium and gain inspiration from the landscape; however, the reality would prove very different. After his short sojourn in Gibraltar, Coleridge arrived in Malta, where he became acquainted with the British Governor, Alexander Ball. He settled into Maltese life, initially taking on the role of acting Under-Secretary. Travelling to Sicily, Coleridge embraced the island's landscapes but was shaken to find the opium poppy was an important local crop. The Mediterranean would not prove the solution to his addiction. He visited the Consul, G. F. Leckie, and was invited to stay with him at a house on the site of Timoleon's Greek villa. The poet visited the antiquities of Syracuse and at the opera house encountered the soprano, Anna-Cecilia Bertozzi, nearly succumbing to her charms. Back in Malta, he was offered rooms in the Treasury building (now the Casino Maltese) and took up the post of Public Secretary. Legal pronouncements in Italian bear Coleridge's signature. Leaving behind these matters of state, he drifted through the Italian peninsula, engaging with a coterie of artistic ex-pats when in Rome. His listless, half-hearted, and financially embarrassed attempts at the Grand Tour included a narrow escape from French troops. Coleridge's Mediterranean sojourn impacted on his life and writing, not to mention his health, which saw a marked decline, leading to his final years in Highgate under the roof of a friendly doctor. Down to the Sunless Sea is a literary reflection on the fact that the sun-filled Mediterranean was not the tonic he had first imagined.

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The deep wounds that exist from long-standing conflicts between Turks, Kurds, and Armenians have not yet been sufficiently addressed and healed. Nermin Soyalp explains the collective traumas and their significant psychosocial impacts in terms of the potential for reconciliation among these politically conflicted groups. Discussion centres on the transgenerational implications of the Balkan wars of 1912-1913, the Armenian genocide of 1915-1917, the Greco-Turco war of 1920-1922, the formation of the Republic of Turkey in 1923, the population exchange with the Balkans in 1924, the conflict between the Turkish government and Kurdish identity since the formation of the Republic, as well as the impacts of assimilation policies on minorities. Drawing on the complexities of history, psychology, and identity, this book elucidates how collectively and historically shared traumas become inherently more complex, and more difficult to address, generation by generation. Epistemologies of ignorance in Turkey have suppressed the transgenerational experiences of trauma and prevented healing modalities. The Turkish state and society have consciously and unconsciously denied historical realities such as the Armenian genocide and Kurds ethnopolitical rights. The result is a collective dehumanization that fuels further trauma and conflicts. The collective traumas of Anatolia have impacted its society at multiple levels -- psychological, physical, economic, cultural, political, and institutional. The author, a dialogue facilitator for the non-profit Healing the Wounds of History organisation, proposes systemic healing modalities that address the dynamics at play. The research that underpins this work is highly relevant to the healing of other historical and cultural traumas.

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The Salvation Army is well known for its work with the poor and disadvantaged. There is, however, much more to the story of the Salvation Army than their highly commendable good works. They have been so closely identified with a programme of social action that their wider history has been marginalized. This history includes a period of astonishing levels of opposition and religious persecution which the Army faced in its early years. Many Salvationists were badly injured in violent street riots against them while at the same time facing imprisonment as the force of the law was brought to bear on their evangelism. Among all those places in Britain where the Salvation Army was persecuted, that in the south-coast town of Eastbourne during the 1880s and 1890s stands out as worthy of attention. The Sussex seaside resort played a hugely important part in the wider anti-Salvation Army narrative as it was in Eastbourne that opposition was among the most violent and protracted. Significantly and surprisingly, the vehemence and savagery was supported by the local Council and Mayor. The narrative of The Mob and The Mayor is chronological and entirely evidence based. It includes: Eyewitness accounts; newspaper reports; Parliamentary papers; Eastbourne Council & Watch Committee Meetings Minutes; and Salvation Army documents. Britain was at times at war with itself as the country came to terms with urban poverty resulting from the Industrial Revolution. The persecution of the Salvation Army at the Victorian seaside sheds a wider light on the struggles to promote social betterment for all.

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Beethoven Symphonies Revisited guides the reader -- music student, concert goer, or general music lover -- through the movements in a way that renews the novelty and excitement that listeners must have felt at the first performances. Stylistic discussion concentrates on the unusual features of each symphony, placing each individual work in the context of Beethoven's musical advancement and circumstances. His musical innovations are explored, and his contribution to the genre assessed. Thirty author-annotated musical pages elaborate and exemplify. The essential building blocks of key, tonality, metre, rhythm and instrumentation are discussed in detail. The authors' purpose is twofold: to bring together major research findings and at the same time offer detailed descriptive analyses of all nine symphonies. The approach is singular in its emphasis on the symphonies in the context of performance practice of the time, especially musical direction; the importance of the wind instruments (especially horns) and kettle drums; how counterpoint features in various passages in all the symphonies except the Sixth and Eighth, and how this was influenced by Beethoven's strict training in species counterpoint. New evaluations are offered, especially for the Second, Eighth and Ninth symphonies. The book's multi-faceted approach will be invaluable not only for conductors and music students at all levels, but for all concert goers and music lovers who wish to gain insight into the musical intricacies developed and enhanced by Beethoven's symphonic journey. Illustrations: 30 annotated musical score pages comprising 99 examples linked to text explanations; autographed manuscripts; performance venues; and instruments of the period.

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Chinese Longquan ( ) celadon, a type of green-glazed ceramic, is one of the most famous branded and trade products, particularly during the 13th and 14th centuries. Its archaeological and historical materials possess multiple attributes with plentiful cultural information. The objective of the present book is to vivify these materials and provide readers and researchers a broader perspective and additional methodologies to review and gain a new and more profound understanding of Longquan celadon. The first part of this book focuses on elite Longquan celadon in Chinas Southern Song (SS) (11271278) and Yuan (12711368) periods and sets out to answer unresolved questions. How did Longquan potters elevate their products artistic quality from regional and popular acclaim to elite art, and create their products brand and successful marketing? What was the ceramics technological particularity that brought about its achievement as the commercial version of SS Guan (Imperial) ware? Why did its style change, and why did the production center shift after the end of the Southern Song period? In addressing these issues, the author explores the contemporary social atmosphere and local ecological environment. The second part focuses on elite Longquan celadon products as imports in medieval Japan. Beginning with the late Kamakura period (11921333) via the Muromachi shogunate (13921573) to the Edo (16031868) periods an extensive time span elite Longquan celadon ware circulated widely within elite class communities and Zen temples. These products played a crucial role in shaping medieval Japanese culture, bringing to the fore issues such as the Japanese manner of adopting Chinese Song and Yuan culture, and more generally cross-cultural transmission from China to Japan.

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Since China announced the Belt and Road Initiative (BRI) in 2013, the Gulf States have regarded it as a means for diversifying their national economies in order to reduce dependence on oil revenues and to achieve their national development strategy. The Persian Gulf region has a significant role in the successful implementation of BRI. Emerging strategic, diplomatic and financial partnerships will enable China to control the flow of its exports to world markets. The BRI has five major goals: Policy coordination, facilities connectivity, free trade, financial integration, and people-to-people bonds. Facilities connectivity, which focuses on transportation and energy infrastructure, is the initiatives priority. The integration between the national development plans of Gulf monarchies, the economic reconstruction plans of Iraq and Iran, and the new economic goals of Saudi Arabia, with Chinas Belt and Road vision have converged to bring forward opportunities. The implementation of the new Silk Road strategy will unleash a regional infrastructure boom by connecting China with Asia, Europe, and Africa by land and sea, boosting renminbi internationalization. Nevertheless, there are challenges that could complicate the envisaged bilateral partnerships. Saudi Arabia: The strategic synergy between the BRI and Saudi Vision 2030 has forged a joint economic development path, but external conflicts (Yemen, Iran) could derail plans. Iran: While Tehran has a special geographical status in West Asia, Washingtons decision to withdraw from the Iran nuclear agreement might create Sino-Iranian trade barriers. The UAE: In July 2018 bilateral relations were elevated to a comprehensive strategic partnership. The synergy between the BRI and UAE Vision 2021 is multifaceted trade, energy, infrastructure and logistics, financial services, military ties, tourism and cultural cooperation but very complex. Most of the Gulf States are governed by monarchies, are at the primary stage of industrialization, and are susceptible to US and European influence. The challenges Chinas ascendancy poses for the US, and the inevitable geopolitical fight back, in conjunction with Gulf regional turbulence, mean that the BRI project will face substantive challenges in the years ahead.

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Sculpture Journal provides an international forum for writers and scholars in the field of post-classical sculpture and public commemorative monuments in the Western tradition. Sculpture Journal offers a keen critical overview and a sound historical base, and is Britain's foremost scholarly journal devoted to sculpture in all its aspects. Periods covered extend to public and private commissions for present-day sculptors. While being academic and traditional, the journal encourages contributions of fresh research from new names in the field.

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As a former British colony (1842–1997) and then a Special Administrative Region, Hong Kong has witnessed at all times how relations are formed, dissolved and refashioned amidst changing powers, identities and narratives, given the many names it possessed over the course of history, from ‘Barren Rock’, ‘Fragrant Harbour’, ‘Port of Incense’, ‘Pearl of the Orient’, ‘Asia’s World City’, ‘Vertical City’, ‘Floating City’ to ‘City at the End of Time’ among others. In the post-handover, post-hangover years, the circulation, reverberation and reception of cultural symbols, old and new, such as the King of Kowloon, Song Emperor’s Terrace, and Lion Rock have revealed the multifaceted appearances and connotations of Hong Kong’s ‘local’. At the intersections between real-life events, cultural production and consumption and multiple voices, the book extracts and examines the local relations between the inhabitants of the territory and the human and nonhuman agencies that stand or that have once stood for Hong Kong across time and through space. Via the lens of places, things and cultural icons, the book offers lessons to learn from Hong Kong by opening up manifold postcolonial, translocal and planetary perspectives to confront and interrogate the volatile experiences in the new millennia—unprecedented since the Cold War period of the twentieth century—shared by Hong Kong and other regions. After all, what does it mean, or take, to live in the contemporary world when the local, global and national are constantly given new meanings?

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Perceiving Dubuffet: Art, Embodiment, and the Viewer offers a comprehensive reconsideration of Jean Dubuffet’s work which contextualizes it within contemporary developments in phenomenology and examines the central role played by questions relating to embodiment in the evolution of his aesthetic thinking and artistic practice. Conceived as an interdisciplinary project and combining phenomenological approaches with detailed visual and linguistic analysis, elucidation of interpictorial and intertextual reference, and extensive archival research, the study examines the development across Dubuffet’s work of a core set of cognate themes and formal concerns, charts his many and various shifts in priority and direction, and identifies the constants that drive his tireless experimentation with materials, genre, dimensionality, viewer involvement, visual-verbal interplay, and metareference. Topics explored include: the affinities between Merleau-Ponty's account of the phenomenological reduction and Dubuffet's conception of the functioning of the artwork; Dubuffet’s thematisation of the experience of embodiment; the foregrounding of temporality and the exploration of corporeal and associative memory; the testing and transgression of generic boundaries; the experimentation with unconventional materials and with dimensionality; the impact of Dubuffet’s reading of scientific theory and of Daoist and Buddhist philosophy on his understanding of man’s relationship with his environment; and the central role given to the viewer's physical interaction with the artwork. Perceiving Dubuffet: Art, Embodiment, and the Viewer covers Dubuffet’s lengthy career and examines the full range of his pictorial and sculptural œuvre and the large corpus of aesthetic writings produced between the 1940s and the 1980s.

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This volume consists of a series of essays, written by leading scholars within the field, demonstrating the types of inquiry that can be pursued into the transnational realities underpinning German-language culture and history as these travel right around the globe. Contributions discuss the inherent cross-pollination of different languages, times, places and notions of identity within German-language cultures and the ways in which their construction and circulation cannot be contained by national or linguistic borders. In doing so, it is not the aim of the volume to provide a compendium of existing transnational approaches to German Studies or to offer its readers a series of survey chapters on different fields of study to date. Instead, it offers novel research-led chapters that pose a question, a problem or an issue through which contemporary and historical transcultural and transnational processes can be seen at work. Accordingly, each essay isolates a specific area of study and opens it up for exploration, providing readers, especially student readers, not just with examples of transnational phenomena in German language cultures but also with models of how research in these areas can be configured and pursued. Contributors: Angus Nicholls, Anne Fuchs, Benedict Schofield, Birgit Lang, Charlotte Ryland, Claire Baldwin, Dirk Weissmann, Elizabeth Anderson, James Hodkinson, Nicholas Baer, Paulo Soethe, Rebecca Braun, Sara Jones, Sebastian Heiduschke, Stuart Taberner and Ulrike Draesner.

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What is a hangover? How does it feel to suffer from one? What can hangovers tell us about the way attitudes to alcohol have developed over time? In the humanities, why have we neglected the subject of the hangover in our critical discussions of alcohol and intoxication?In the first comprehensive study of the hangover in literature and culture, Jonathon Shears sets out to answer each of these questions by exploring the representation of ‘the morning after’ in a wide variety of texts ranging from the Renaissance to the present day. The book looks at what examples of ‘hangover literature’ from writers such as Ben Jonson, Robert Burns, Charles Dickens, Kingsley Amis and A.L. Kennedy can add to our personal and cultural understanding of alcohol use. It demonstrates that, more than just a cluster of physical symptoms, the hangover is a complex interplay of sensations and emotions with a fascinating cultural history.

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Transnational Russian Studies offers an approach to understanding Russia based on the idea that language, society and culture do not neatly coincide, but should be seen as flows of meaning across ever-shifting boundaries. Our book moves beyond static conceptions of Russia as a discrete nation with a singular language, culture, and history. Instead, we understand it as a multinational society that has perpetually redefined Russianness in reaction to the wider world. We treat Russian culture as an expanding field, whose sphere of influence transcends the geopolitical boundaries of the Russian Federation, reaching as far as London, Cape Town, and Tehran.Our transnational approach to Russian Studies generates new perspectives on the history of Russian culture and its engagements with, and transformation by, other cultures. The volume thereby simultaneously illuminates broader conceptions of the transnational from the perspective of Russian Studies. Over twenty chapters, we provide case studies based on original research, treating topics that include Russia’s imperial and postcolonial entanglements; the paradoxical role that language plays in both defining culture in national terms, and facilitating transnational communication; the life of things ‘Russian’ in the global arena; and Russia’s positioning in the contemporary globalized world. Our volume is aimed primarily at students and researchers in Russian Studies, but it will also be relevant to all Modern Linguists, and to those who employ transnational paradigms within the broader humanities.Contributors: Amelia M. Glaser, Cathy McAteer, Connor Doak, Dušan Radunović, Ellen Rutten, Galin Tihanov, Jeanne-Marie Jackson, Julie Curtis, Lara Ryazanova-Clarke, Marijeta Bozovic, Michael Gorham, Olga Maiorova, Philip Ross Bullock, Sergey Tyulenev, Stephen Hutchings, Stephen M. Norris, Tatiana Filimonova, Vera Tolz, Vitaly Nuriev and Vlad Strukov.

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James Watt (1736-1819) was a pivotal figure of the Industrial Revolution. His career as a scientific instrument maker, inventor and engineer was developed in Scotland, his land of birth. His subsequent national and international significance as a scientist, technologist and businessman was formed in the Birmingham area. There, his partnership with Matthew Boulton and the intellectual and personal support of other members of the Lunar Society network, such as Erasmus Darwin, James Keir, William Small and Josiah Wedgwood, enabled him to translate his improvements in steam technology into efficient machines. His pumping and rotative steam engines represent a summit of technological achievement in the late-eighteenth and early-nineteenth centuries. This is the traditional picture of James Watt. After his death, his surviving son, James Watt junior projected his father’s image through commissioning sculptures, medals, paintings and biographies which celebrated his reputation as a ‘great man’ of the Industrial Revolution. In popular historical understanding Watt has also become a hero of modernity, but the context in which he operated and the roles of others in shaping his ideas have been downplayed. This book explores new aspects of his work and evaluates him in his locational, family, social and intellectual contexts.

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Each of the three volumes of this magisterial work provides a comprehensive picture of the realities of Jewish life in the Polish lands in the period it covers, while also considering the contemporary political, economic, and social context. Volume I: 1350 to 1881 provides a wide-ranging overview down to the mid-eighteenth century, including social, economic, and religious history. The period from 1764 to 1881 is covered in more detail, with attention focused on developments in each country in turn, especially with regard to the politics of emancipation, acculturation, assimilation, and forced integration. Volume II: 1881 to 1914 explores the factors that had a negative impact on Jewish life as well as the political and cultural movements that developed in consequence: Zionism, socialism, autonomism, the emergence of modern Hebrew and Yiddish literature, Jewish urbanization, and the rise of popular Jewish culture. Galicia, Prussian Poland, the Kingdom of Poland, and the tsarist empire are all treated individually, as are the main cities. Volume III: 1914 to 2008 covers the interwar period, the Second World War, and the Holocaust, including Polish–Jewish relations and the Soviet record on the Holocaust. A survey of developments since 1945 concludes with an epilogue on the situation of the Jews since the collapse of communism.

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The emergence of a theatrical science of man in France, 1660-1740 highlights a radical departure from discussions of dramatic literature and its undergirding rules to a new, relational discourse on the emotional power of theater. Through a diverse cast of religious theaterphobes, government officials, playwrights, art theorists and proto-philosophes, Connors shows the concerted effort in early Enlightenment France to use texts about theater to establish broader theories on emotion, on the enduring psychological and social ramifications of affective moments, and more generally, on human interaction, motivation, and social behavior. This fundamentally anthropological assessment of theater emerged in the works of anti-theatrical religious writers, who argued that emotional response was theater’s raison d’être and that it was an efficient venue to learn more about the depravity of human nature. A new generation of pro-theatrical writers shared the anti-theatricalists’ intense focus on the emotions of theater, but unlike religious theaterphobes, they did not view emotion as a conduit of sin or as a dangerous, uncontrollable process; but rather, as cognitive-affective moments of feeling and learning. Connors’ study explores this reassessment of the theatrical experience which empowered writers to use plays, critiques, and other cultural materials about the stage to establish a theatrical science of man—an early Enlightenment project with aims to study and ‘improve’ the emotional, social, and political ‘health’ of eighteenth-century France.

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