Search results for ""Liverpool University Press""

Essays in Romanticism, a peer-reviewed journal edited by Alan Vardy, is the official journal of the International Conference on Romanticism, succeeding Prism(s): Essays in Romanticism. Available to purchase as a single issue, EiR continues the tradition of its predecessor in encouraging contributions within an interdisciplinary and comparative framework. More broadly, it welcomes submissions on any aspect of Romanticism, and especially work using emergent or innovative perspectives and approaches.

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This book draws on a lengthy experience of teaching graduates how to approach medieval books. It leads the reader through the stages of the editorial process, using part of Richard Rolle's Commentary on the Song of Songs as the working exemplar. In the humane sciences, the need for texts is ubiquitous; they provide the regular objects of study. But far less prevalent than editions is any discussion of the premises underlying these objects, or the mechanisms by which they have been constructed. This volume takes up both challenges. First, in a preliminary chapter, it discusses what is at stake in any edition one might read; the persistent argument is that these represent products of modern scholarly decision-making, the imposition of various kinds of unity on the extremely diverse evidence medieval books offer for any literary work. This chapter also explains broadly various options for the presentation of texts – and the difficulties inherent in them all. The remainder of the volume is given over to a step-by-step guide to the process of editing (and eventually to a finished presentation of) a heretofore unpublished medieval text. The discussion seeks to exemplify the decisions editors routinely face, and to suggest ways of addressing them.

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Geomorphology is the study of the earth’s landforms and the processes that made the landscape look the way it does today. What we see when we look at a scenic view is the result of the interplay of the forces that shape the earth’s surface. These operate on many different timescales and involve geological as well as climatic forces. Adrian Harvey introduces the varying geomorphological forces and differing timescales which thus combine: from the global, which shape continents and mountain ranges; through the regional, producing hills and river basins; to the local, forming beaches, glaciers and slopes; to those micro scale forces which weather rock faces and produce sediment. Finally, he considers the effect that humans have had on the world’s topography.

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Geological research does not flow steadily onwards by means of small incremental advances but can be better understood as a series of significant discoveries or changes in interpretation that transformed the way we understand the Earth. Each of these changes or new ideas encouraged a burst of activity as researchers attempted to apply them more widely in order to test their universality, and thereby their validity as a scientific theory. Probably the best example of such a transformative idea is Plate Tectonics, which, although questioned at the time it was introduced, is now universally accepted as a general principleA large number of the subsequent advances in geological understanding have been based upon this breakthrough. Each of the 12 chapters in this book represents a new idea or discovery, which is discussed in its historical context. In each case the salient features of these ideas are described, together with some biographical details of the individual scientists credited with them - but also mentioning others whose role in the generation of the idea is perhaps not so obvious. Of instant appeal to geologists and other earth scientists interested in how their science evolved over time by means of a number of revolutionary ideas, this book also serves as a paradigm for the history of science across many disciplines.

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People have been fascinated by minerals since prehistory. The attractions of minerals lie in their colours, their beautiful crystals and the discoveries of their uses and the metals that can be obtained from them. Minerals receive attention from a wide variety of people: mining executives, collectors, prospectors and scientists unravelling their molecular structure and origins. But, for someone new to mineralogy, the subject can appear to be overwhelmingly complex.In Introducing Mineralogy John Mason considers the essence of mineralogy in a clear and logical manner. The book begins with the basic chemistry of minerals and the way in which the mineral kingdom is classified. It then considers mineral occurrences, both typical, such as the minerals that largely make up common rocks like granite, and atypical, such as concentrations of rare metals in ore-deposits. The ways in which minerals are studied using microscopes and the importance of careful observation and interpretation are discussed and the topics of mineral collecting and related issues are addressed. The final chapters explore the uses of minerals, both industrial and scientific, and take a look at environmental issues associated with mineral extraction and usageLavishly illustrated in colour and complete with a glossary, the book is aimed at students embarking on courses in the Earth Sciences and at the amateur collector who wants to find out more about the colourful rocks they may find when out walking.

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'Outstanding Academic Title' Choice, magazine of the Association of College & Research Libraries, American Library Association.Most mountains on Earth occur within relatively well-defined, narrow belts separated by wide expanses of much lower-lying ground. Their distribution is not random but is caused by the now well-understood geological processes of plate tectonics. Some mountains mark the site of a former plate collision – where one continental plate has ridden up over another, resulting in a zone of highly deformed and elevated rocks. Others are essentially volcanic in origin.The most obvious mountain belts today – the Himalayas, the Alps and the Andes, for example - are situated at currently active plate boundaries. Others, such as the Caledonian mountains of the British Isles and Scandinavia, are the product of a plate collision that happened far in the geological past and have no present relationship to a plate boundary. These are much lower, with a generally gentler relief, worn down through millennia of erosion.The presently active mountain belts are arranged in three separate systems: the Alpine-Himalayan ranges, the circum-Pacific belt and the mid-ocean ridges. Much of the Alpine-Himalayan belt is relatively well known, but large parts of the circum-Pacific and ocean-ridge systems are not nearly as familiar, but contain equally impressive mountain ranges despite large parts being partly or wholly submerged.This book takes the reader along the active mountain systems explaining how plate tectonic processes have shaped them, then looks more briefly at some of the older mountain systems whose tectonic origins are more obscure. It is aimed at those with an interest in mountains and in developing an understanding of the geological processes that create them.

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This book offers the intelligent new reader a critically evaluative guide to Keats’s major poems and letters, from a perspective which aims to counter the historical emphasis of recent critical work

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Co-written by Irish filmmaker Neil Jordan and British novelist Angela Carter, and based on several short stories from Carter's collection The Bloody Chamber, The Company of Wolves (1984) is a provocative reinvention of the fairy tale of Little Red Riding Hood. Unraveling a feverish metaphor for the blossoming of a young girl's sexuality and her subsequent loss of innocence, the film entwines symbolism and metaphor with striking visuals and grisly effects. Released in the early 1980s, a time which produced several classic werewolf films (including An American Werewolf in London and The Howling), The Company of Wolves sets itself apart from the pack with its overtly literary roots, feminist stance, and art-house leanings. The film's narrative takes the form of a puzzle box, unfolding as dreams within dreams, and stories within stories, which lead further into the dark woods of the protagonist's psyche, as she finds herself on the cusp of womanhood. This Devil's Advocate explores all these aspects, as well as placing the film in the context of the careers of its creators and its position as an example of the "Female Gothic."

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Fight Club is, on one level, pop-culture phenomena and on another, a deeply philosophical and satirical exploration of modern life. David Fincher's 1999 film (and Chuck Palahniuk's source novel) has had a huge impact on audiences worldwide leading to spoofs, homage, merchandising and numerous Internet fan sites. On initial release the film was met with wide hostility from critics who either failed to appreciate its satirical intent or believed the film failed to deliver on its satirical promise. Early in its DVD afterlife, however, a wider audience began to appreciate the film's significance and radical message. Although attracted by the film's playfulness and star wattage, however, many students struggle with its theoretical notions such as Capitalism, materialism, anarchy and so on. This is one film, which therefore merits a thoughtful and provocative analysis but also an accessible one, and Mark Ramey has provided just that.

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This book sets out to explain the very particular characteristics of Spanish infrastructure policy. The capital city of Madrid plays a central role. It not only achieved the status of economic capital of Spain in recent decades but together with its status as administrative and political capital Madrid endowed itself as absolute capital. The challenge is to understand why such development has taken place. First: radial policies in transport infrastructure, which were primarily subordinate to political and administrative objectives, could not be supported by the dynamics of economic activity. For that reason these policies demanded the use of extensive budgetary resources in the form of subsidies and grants that made possible what legislation alone could not achieve. Second: these policies respond to a regular and continuing historical pattern in Spanish politics, which began with the accession to the Spanish Crown of the Bourbon dynasty in the early eighteenth century. The new dynasty tried hard to translate into practice the vision of building a Nation like France, with a Capital like Paris. Third: the enduring strength of this historical pattern allows us to understand why infrastructural policies in Spain today are so unique and different from those of surrounding and comparable countries. Originally published to great acclaim in Spanish and Catalan, Professor Bel places the historical perspective in contemporary viewpoint in discussing the Spanish enthusiasm for high-speed railway, with the prospect of Madrid being connected with all provincial capitals, albeit while freight by train has been neglected; a fully centralised model of airport management that is unmatched among comparable countries; and a mixed (toll and toll-free motorways) and highly asymmetric territorial highway funding model for motorways.

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Sense and Feeling in Daily Living in the Early Medieval English World seeks to illuminate important aspects of daily living and the experience of the environment through sense and emotion, using archaeological, art and textual sources. Twelve papers explore sight, sound, taste, smell, touch, and emotions such as anger, horror, grief and joy. Similar in theme and method to the first, second and third volumes in the Daily Living in the Anglo-Saxon World series, the collected articles illuminate how an understanding of the sensory and emotional landscape that helped form the daily lives of the peoples and the environments of early medieval England can inform the study of England before the Norman Conquest. The sights, smells, and sounds that informed the physical and emotional landscape of town, scriptoria, and hall, for example, explain urban planning, literary imagery and emotional attachment evident among the early medieval English peoples. Experienced senses and emotions are thus as central to understanding the inner and outer landscape of the pre-Conquest English as crafts, towns or water structures.

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In contemporary society, ‘the visual’ becomes a traversing denominator passing through the most diverse articulations: from new media, branding, drone vision and robot culture to cityscapes, design and art. The transvisuality project in three volumes promotes the turn away from the predominance of a focus on representations in studies of visual culture. Volume 2 introduces visual organisation in-the-making as an effect of manifold traversing articulations and interconnected practices: how is the ‘stuff’ of visuality—an image like a photograph, an incident on TV, a cinematic oeuvre—intertwined in a range of cultural practices, transformed and transgressed by them in transvisuality. The aim of the book is to map how visual organizations are traversing culture as articulatory practices in situ. The resulting case studies take their departure in different materialities and agencies of empirical, embedded visuality—from canvas to drone camera—and illustrate how transvisuality evolves in and around publics and communities on the one hand and through bodies and media on the other. The visual articulations analysed in this volume span from cellphone videos to forensic images, from biomedia to robots, from bunker ruins to Kalighat pat paintings, from a Palestinian wedding dress to video footage of unknown strangers in a metro, from the Gorgon Stare to movies becoming art installations. While the first volume addresses the boundaries of the notion of visuality and creative openings that visual culture studies offer, the third volume maps visuality in contexts of design, creativity and brand management.

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An Open Access edition of this book will be made available on publication on our website and on the OAPEN Library, funded by the LUP Open Access Author Fund. The history of Louisiana from slavery until the Civil Rights Act of 1964 shows that unique influences within the state were responsible for a distinctive political and social culture. In New Orleans, the most populous city in the state, this was reflected in the conflict that arose on segregated streetcars that ran throughout the crescent city. This study chronologically surveys segregation on the streetcars from the antebellum period in which black stereotypes and justification for segregation were formed. It follows the political and social motivation for segregation through reconstruction to the integration of the streetcars and the white resistance in the 1950s while examining the changing political and social climate that evolved over the segregation era. It considers the shifting nature of white supremacy that took hold in New Orleans after the Civil War and how this came to be played out daily, in public, on the streetcars. The paternalistic nature of white supremacy is considered and how this was gradually replaced with an unassailable white supremacist atmosphere that often restricted the actions of whites, as well as blacks, and the effect that this had on urban transport. Streetcars became the 'theatres' for black resistance throughout the era and this survey considers the symbolic part they played in civil rights up to the present day.

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The dispassionate intellectual examination of the concepts of death & dying contrasts dramatically with the emotive grieving process experienced by those who mourn. Death & dying are binary concepts in human cultures. Cultural differences reveal their mutual exclusiveness in philosophical outlook, language, and much more. Other sets of binaries come into play under intellectual consideration and emotive behavior, which further divide and shape perceptions, beliefs, and actions of individuals and groups. The presence or absence of religious beliefs about life and death, and disposition of the body and/or soul, are prime distinctions. Likewise the age-old binary of reason vs. faith. To many observers, the topic of death and dying in the Hispanic cultural tradition is usually limited to that of Mexico and its transmogrified religious festival day of Dia de los Muertos. The studies presented in the ten chapters, and editorial introductions to the themes of the book, seek to widen this representation, and set forth the implications of the binary aspects of death and dying in numerous cultures throughout the so-called Hispanic world, including indigenous and European-derived beliefs and practices in religion, society, art, film & literature. Contributions include engagement with the pre-Hispanic world, Picassos poetry, cultural norms in Cuba, and the literary works of Jorge Luis Borges and Gabriel Garcia Marquez. Underlying the arguments presented is Saussurean structuralist theory, which provides a platform to disentangle cultural context in comparative settings.

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The ancient Israelite authors of the Hebrew Bible were not philosophers, so what they could not say about God in logical terms, they expressed through metaphor and imagery. To present God in His most impenetrable otherness, the image they chose was the desert. The desert was Ancient Israels southern frontier, an unknown region that was always elsewhere: from that elsewhere, God has come -- God came from the South (Hab 3:3); God, when you marched from the desert (Ps 68:8); from his southland mountain slopes (Deut 33:2). Robert Miller explores this imagery, shedding light on what the biblical authors meant by associating God with deserts to the south of Israel and Judah. Biblical authors knew of its climate, flora, and fauna, and understood this magnificent desert landscape as a fascinating place of literary paradox. This divine desert was far from lifeless, its plants and animals were tenacious, bizarre, fierce, even supernatural. The spiritual importance of the desert in a biblical context begins with the physical elements whose impact cognitive science can elucidate. Travellers and naturalists of the past two millennia have experienced this and other wildernesses, and their testimonies provide a window into Israel's experience of the desert. A prime focus is the existential experience encountered. Confronting the desert's enigmatic wildness, its melding of the known and unknown, leads naturally to spiritual experience. The books panoramic view of biblical spirituality of the desert is illustrated by the ways spiritual writers -- from Biblical Times to the Desert Fathers to German Mysticism -- have employed the images therefrom. Revelation and renewal are just two of many themes. Folklore of the Ancient Near East, and indeed elsewhere, that deals with the desert / wilderness archetype has been explored via Jungian psychology, Goethean Science, enunciative linguistics, and Hebrew philology. These philosophies contribute to this exploration of the Hebrew Bible's desert metaphor for God.

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This exhaustive history of Provençal Jewry examines the key aspects of Jewish life in Provence over some 1,500 years of cultural florescence with far-reaching consequences. A seminal examination of the crucial role of the Jews of Provence in shaping medieval Jewish culture in the Mediterranean basin.

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The eighth century was a turbulent time for Byzantium. Beset by war, plague and religious division, this remnant of the Rome fought for survival. Severe decline and dislocation necessitated far reaching reform and soul searching. In particular, Byzantines asked why God had so punished the Chosen People they believed themselves to be. Attempting to formulate solutions to these problems were the new imperial dynasty, the Isaurians. Taking power in 717 as Constantinople was under siege by the Arabs, they would rule until 802 when Irene, the first empress to rule in her own right, was overthrown. However, our understanding of this critical period is clouded by the Iconoclast controversy, the debate over the validity of religious images that dominates the traditional narrative of the era. The vast majority of our sources were penned by the victors of that debate, the iconophiles, who make the controversy the driver of all events. Fortunately, there is one set of sources that survives that is free from the prism of iconoclasm. For in 741 Leo III and Constantine V promulgated the Ecloga, a concise legal handbook that proved a watershed moment in Roman Law. Over the next three decades, it is argued, the Ecloga was buttressed with several further texts, before Irene used her own laws to attack the dynasty she had married into, and whose policy of iconoclasm she had reversed. For the first time all these texts are gathered together and translated, providing new insights into this crucial but murky period.

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Edward Lear wrote a well-known autobiographical poem that begins ‘How pleasant to know Mr Lear!’ But how well do we really know him? On the one hand he is, in John Ashbery’s words, ‘one of the most popular poets who ever lived’; on the other hand he has often been overlooked or marginalized by scholars and in literary histories. James Williams’s account, the first book-length critical study of the poet since the 1980s, sets out to re-introduce Lear and to accord him his proper place: as a major Victorian figure of continuing appeal and relevance, and especially as a poet of beauty, comedy, and profound ingenuity. Williams approaches Lear’s work thematically, tracing some of its most fundamental subjects and situations. Grounded in attentive close readings, Williams also connects Lear’s nonsense with his various other creative endeavours: as a zoological illustrator and landscape painter, a travel writer, and a prolific diarist and correspondent.

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This title is a study of Tennyson's lyrical imagination, describing its complex fascinations with recurrence, progress, narrative, and loss, and its doubts about its own artfulness.

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Richard III has the status of a monster, in British culture, and the continuous popularity of Shakespeare’s play has done much to foster this. Deformity and distortion operate through this myth on many levels. This study is an essay in five ‘distortions’, tracking the way the play manipulates and explores fundamental human concerns; the body, history,, theatre, childhood and family and the mirrors and shadows of individual identity and self-knowledge.

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Drawing on biographical information, letters, reminiscences and anecdotes, John Lucas pieces together Gurney’s difficult, indeed tragic life, in order to show that Gurney’s poetry, while undoubtedly affected by his mental problems, his trench experiences in World War One, and his complex relationship to Gloucester, the Cotswalds and London, is the sane utterance of a deeply radicalized writer. There is no suggestion that Gurney’s experiences were unique. On the contrary, they were typical, as he well knew, and as he declares in poems which celebrate the implications of comradeship. What is unique is Gurney’s ability to turn these experiences into major poetry. Gurney is the greatest of all those poets who fought in and survived the war and his achievement drastically affects our understanding of twentieth century poetry.

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Few filmmakers could even attempt the fearlessness of Andrei Tarkovsky’s cinema and his most ambitious work, Stalker (1977), is arguably the most thoughtful science-fiction film ever made. Stalker parallels its speculative elements with a harrowing narrative of human fragility and philosophy. It is as much a movie about the complexity of its characters as it is the mysteriousness of its labyrinthine landscape, the ambiguous Zone and its heart, the Room of Desire. It is at once a darkly nihilistic film, ominous and threatening, and yet also profoundly hopeful and at its core a story of true faith. This book attempts to unravel the film’s complexities, from its difficult production and through its many cinematic elements: its composition and cinematography, the many philosophies it engages with, its poetic and literary influences, along with the cultural and historical landscapes that cultivated it, and the enormity of its influence across the following generations. Stalker challenges us to engage with film in a different way: a poetic cinema that asks much more of you as a viewer than most. Most of all, to explore why this film—even forty years since its original release—still affects us as an audience as profoundly as ever.

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Amid a recent resurgence in horror films, David Robert Mitchell's It Follows stands out as a particularly bold entry, a horror fan's dream come true that sparked a renewed creativity. Pulling a robust 97% on Rotten Tomatoes, It Follows was hailed as a "teen movie you've never seen before," a "creepy, mesmerizing exercise in minimalist horror," "the best horror film in years," and simply, "so damn good." Mitchell uses a variety of approaches to reinvent genre bromides while simultaneously embracing and challenging tropes that audiences and filmmakers rely on a little too heavily. It Follows is one of the best because it is one of the most unique. In this Devil's Advocate, Joshua Grimm focuses on how this film helped reinvent the rules of a horror movie, particularly along the lines of genre, style, sex, and gender.

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Daughters of Darkness (1971) is a vampire film like no other. Heralded as psychological high-Gothic cinema, loved for its art-house and erotic flavors, Harry Kümel's 1971 cult classic is unwrapped in intricate detail by writer Kat Ellinger to unravel the many mysteries surrounding just what makes it so appealing. This book, as part of the Devil’s Advocates series, examines the film in the context of its peers and contemporaries, in order to argue its place an important evolutionary link in the chain of female vampire cinema. The text also explores the film's association with fairy tales, the Gothic genre, and fantastic tradition, as well as delving into aspects of the legend of Countess Bathory, traditional vampire lore, and much more. The book contains new and exclusive interviews with director Harry Kümel and actress and star Danielle Ouimet.

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Is Michael Mann an auteur? Mann is a formidable filmmaking personality, no doubt, but the notion that today's celebrity cult of director immediately correlates with the mysterious sect of 'auteur' is questionable and deserves to be investigated. In doing so this book strives to emulate the methodology of the man himself, by ranging over not only the films he has made, from 1979’s The Jericho Mile to 2015's Blackhat, but also the scope of intellectual interests that they exemplify in an attempt to mine the commonalities, themes and traits that may suggest the presence of an auteur. Through his investigation of Mann's filmography and the personality that flows through it, author Deryck Swan provides the reader with accessible and new ways of thinking about his films to date, including, amongst myriad other things, references to painter Morris Louis, desert modernism, West Coast prison culture, Chicago Mayor Richard M. Daley, Strain Theory, journalist Mike Royko, Chicago's Auditorium building and a largely forgotten Charles Bronson film.

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Philip G Johnston's new translation of Un rio, un amor (One River, One Love) by Luis Cernuda (1902-1963) is faithful to the author's quasi-Surrealist intentions. Written in France and Spain in 1928-1929, this collection reflects the influences, conflicts and impulses that governed the poet's life then. It speaks of the alienation of a marginalised, disaffected individual in a Spain which he described as "decrepit and decomposing", of a shy homosexual gradually and painfully coming to terms with his orientation in a rigid, hostile society, of a passion for American popular culture (Jazz, Blues and cinema), filtered through a Hispanic sensitivity, and eventually somewhat tempered by the disappointments of daily life. The collection's later poems see Cernuda finding an admirable and resonant voice of protest. Very much a part of the broad European Modernist ethos (Cernuda can justifiably be compared to, say, T S Eliot), One River, One Love is furthermore written in the spirit of Spain's famous Generation of 1927 (spearheaded by figures such as Dali, Lorca and Bunuel) which set about reacting to "what had already been said", seeking the radical reform of the Spanish aesthetic and, in doing so, created a second Spanish Golden Age. Intriguingly balanced between what Cernuda himself would later term "Reality and Desire", this collection also involves a significant flirtation with the conventions of Surrealism. Lautreamont's famous formula involving the sewing machine, the umbrella and the dissection table is most certainly nodded to here in the characteristic Cernudian harnessing of shocking, incongruous and unexpected elements in imagery. That flirtation, however, stops short of full consummation of the relationship (Cernuda never, for example, gives himself completely over to unfettered, automatic writing, or, "dictee de la pensee") -which fact in itself speaks of a peculiarly Spanish twist to the European avant-garde.

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Satyric is the most thinly attested genre of Greek drama, but it appears to have been the oldest and according to Aristotle formative for tragedy. By the 5th Century BC at Athens it shared most of its compositional elements with tragedy, to which it became an adjunct; for at the annual great dramatic festivals, it was performed only together with, and after, the three tragedies which each poet was required to present in competition. It was in contrast with them, aesthetically and emotionally, its plays being considerably shorter and simpler; coarse and half-way to comedy, it burlesqued heroic and tragic myth, frequently that just dramatised and performed in the tragedies. Euripides'Cyclops is the only satyr-play which survives complete. It is generally held to be the poet's late work, but its companion tragedies are not identifiable. Its title alone signals its content, Odysseus' escape from the one-eyed, man-eating monster, familiar from Book 9 of Homer's Odyssey. Because of its uniqueness, Cyclops could afford only a limited idea of satyric drama's range, which the many but brief quotations from other authors and plays barely coloured. Our knowledge and appreciation of the genre have been greatly enlarged, however, by recovery since the early 20th Century of considerable fragments of Aeschylus, Euripides' predecessor, and of Sophocles, his contemporary - but not, so far, of Euripides himself. This volume provides English readers for the first time with all the most important texts of satyric drama, with facing-page translation, substantial introduction and detailed commentary. It includes not only the major papyri, but very many shorter fragments of importance, both on papyrus and in quotation, from the 5th to the 3rd Centuries; there are also one or two texts whose interest lies in their problematic ascription to the genre at all. The intention is to illustrate it as fully as practicable.

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The Portuguese Jewish diaspora was born out of a double tragedy: the expulsion of the Jews from Spain in 1492 and the forced conversion/expulsion of the Jews from Portugal in 1497. The potent combination of expulsion, Inquisition, and crypto-Judaism left people neither wholly Jewish nor wholly Christian in their identity. Subsequently many left the Iberian peninsula; some found refuge in the Caribbean, but succeeded in maintaining strong connections with Portuguese Jews in western Europe, the Ottoman empire, and the Far East, while they also forged ties with the surrounding peoples and cultures. This book looks at many different aspects of this complex past. Its interdisciplinary approach allows a wealth of new information to be brought together to create a comprehensive picture. Part I sets the context, and also considers the relationship of Caribbean Jewry to European trading systems; its special ties to Amsterdam and Dutch-ruled Curaçao; and the role of Jewish merchants in Jamaica’s commerce. Part II examines the material and visual culture of Jews in the British and Dutch Caribbean, while Part III looks at Caribbean Jewish identity and heritage and their modern manifestations. Part IV contains archival studies that illuminate other subjects of importance—adventure and piracy, Jewish participation in a nineteenth-century revolt of black slaves and in the first Jamaican elections after Jews were granted the right to vote, and questions of concubinage and sexual relations between Jews and blacks. Part V moves from the local to the international, in particular the connection with mainland America. In their diversity, the contributions to this volume suggest the many ways in which the formation of the Caribbean Jewish diaspora can be understood today: as a Jewish diaspora dispersed under different European colonial empires; as a Jewish cultural entity created by a set of shared traditions and historical memories; and as one component in a web of relationships that characterized the Atlantic world. Defining it is no simple matter: like all diaspora identities it was constantly in flux, reinventing itself under changing historical circumstances. CONTRIBUTORS: Aviva Ben-Ur, Miriam Bodian, Judah M. Cohen, Eli Faber, Rachel Frankel, Noah L. Gelfand, Jane S. Gerber, Josette Capriles Goldish, Matt Goldish, Jonathan Israel, Stanley Mirvis, Gérard Nahon, Joanna Newman, Ronnie Perelis, Jackie Ranston, James Robertson, Jessica Roitman, Dale Rosengarten, Barry L. Stiefel, Hilit Surowitz-Israel, Karl Watson, Swithin Wilmot

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For many centuries Poland and Russia formed the heartland of the Jewish world: right up to the Second World War the area was home to over 40 per cent of the world's Jews. Nearly three and a half million Jews lived in Poland alone, with nearly three million more in the Soviet Union. Yet although the majority of the Jews of Europe and the United States, and a large proportion of the Jews of Israel, originate from these lands, and many of the major movements that have characterized the Jewish world in recent times have their origins there, the history of their Jewish communities is not well known. Rather, it is the subject of mythologizing that fails both to bring out the specific features of the Jewish civilization that emerged there and to illustrate what was lost in its destruction: Jewish life in these parts, though often poor materially, was marked by a high degree of spiritual and ideological intensity and creativity. Antony Polonsky re-creates this lost world - brutally cut down by the Holocaust and seriously damaged by the Soviet attempt to destroy Jewish culture - in a study that avoids both sentimentalism and the simplification of the east European Jewish experience into a story of persecution and martyrdom. It is an important story whose relevance reaches far beyond the Jewish world or the bounds of east-central Europe, and Professor Polonsky succeeds in providing a comprehensive overview that highlights the realities of Jewish life while also setting them in the context of the political, economic, and social realities of the time. He describes not only the towns and shtetls where the Jews lived, the institutions they developed, and their participation in the economy, but also their vibrant religious and intellectual life, including the emergence of hasidism and the growth of opposition to it from within the Jewish world. By the late eighteenth century other factors had come into play: with the onset of modernization there were government attempts to integrate and transform the Jews, and the stirrings of Enlightenment led to the growth of the Haskalah movement that was to revolutionize the Jewish world. Polonsky looks at developments in each area in turn: the problems of emancipation, acculturation, and assimilation in Prussian and Austrian Poland; the politics of integration in the Kingdom of Poland; and the failure of forced integration in the tsarist empire. He then shows how the deterioration in the position of the Jews between 1881 and 1914 encouraged a range of new movements - Zionism, socialism, and autonomism - as well as the emergence of modern Hebrew and Yiddish literature. He also examines Jewish urbanization and the rise of Jewish mass culture. The final part of the volume deals with the twentieth century. Starting from the First World War and the establishment of the Soviet Union, it looks in turn at Poland, Lithuania, and the Soviet Union up to the Second World War. It then reviews Polish - Jewish relations during the war and examines the Soviet record in relation to the Holocaust. The final chapters deal with the Jews in the Soviet Union and in Poland since 1945, concluding with an epilogue on the Jews in Poland, Lithuania, Belarus, Ukraine, and Russia since the collapse of communism. This is an abridged version of a three-volume hardback edition which won the 2011 Kulczycki Book Prize for Polish Studies (awarded by the American Association for Slavic, East European, and Eurasian Studies) and also the Pro Historia Polonorum Prize for the best book on the history of Poland published in a foreign language between 2007 and 2011 (a prize established by the Polish Senate and awarded by the Polish Historical Association).

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National Jewish Book Awards Finalist for the Visual Arts Award, 2017. The carved wooden Torah arks found in eastern Europe from the seventeenth to nineteenth centuries were magnificent structures, unparalleled in their beauty and mystical significance. The work of Jewish artisans, they dominated the synagogues of numerous towns both large and small throughout the former Polish-Lithuanian Commonwealth, inspiring worshippers with their monumental scale and intricate motifs. Virtually none of these superb pieces survived the devastation of the two world wars. Bracha Yaniv’s pioneering work therefore breathes new life into a lost genre, making it accessible to scholars and students of Jewish art, Jewish heritage, and religious art more generally. Making use of hundreds of pre-war photographs housed in local archives, she develops a vivid portrait of the history and artistic development of these arks, the scope and depth of her meticulous research successfully compensating for the absence of physical remains. In this way she has succeeded in producing a richly illustrated and comprehensive overview of a classic Jewish religious art form. Professor Yaniv’s analysis of the historical context in which these arks emerged includes a broad survey of the traditions that characterized the local workshops of Lithuania, Belarus, and Ukraine. She also provides a detailed analysis of the motifs carved into the Torah arks and explains their mystical significance, among them representations of Temple imagery and messianic themes—and even daring visual metaphors for God. Fourteen arks are discussed in particular detail, with full supporting documentation; appendices relating to the inscriptions on the arks and to the artisans’ names will further facilitate future research. This seminal work throws new light on long-forgotten traditions of Jewish craftsmanship and religious understanding.

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Witchfinder General (1968), known as The Conqueror Worm in America, was directed by Michael Reeves and occupies a unique place in British cinema. Equally praised and vilified, the film fictionalizes the exploits of Matthew Hopkins, a prolific, real-life "witch hunter," during the English Civil War. For critic Mark Kermode, the release proved to be "the single most significant horror film produced in the United Kingdom in the 1960s," while playwright Alan Bennett called the work "the most persistently sadistic and rotten film I've ever seen." Steadily gaining a cult reputation, unimpeded by the director's death just months after the film's release, the film is now treated as a landmark, though problematic, accomplishment, as it exists in a number of recut, retitled, and rescored versions. This in-depth study positions the film within the history of horror and discusses its importance as a British and heritage film. It also considers the inheritance of Hopkins, the script's relationship to the novel by Ronald Bassett, and the iconic persona of the film's star, Vincent Price. Ian Cooper conducts close textual readings of specific scenes and explores the film's various contexts, from the creation of the X certificate and the tradition of Hammer gothic, to the influence on Ken Russell's The Devils (1971) and the "torture porn" of twenty-first-century horror.

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Located in the West London suburb from which it takes its name, Ealing Studios is one of the best loved and best known institutions of British cinema. Ealing represents a particular kind of institutional practice—a community of filmmakers who collaborate in a defined location and produce a particular kind of film. Popular and acclaimed examples include Dead of Night (1945), Whiskey Galore! (1949), Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951), and The Ladykillers (1955). Viewed within the context of a nation forced to adjust to World War II and its subsequent social upheavals, Ealing films reflect common characteristics that can be identified as "national," conjuring images of Britain and Britishness for domestic and international audiences. In many ways, the values of Ealing in the 1940s and early 1950s are the values of Britain. Encouraging a view of the institution from its own perspective (which John Ellis casts as "liberal rather than radical, progressive rather than revolutionary "), this volume traces how Ealing constructed an image of Britain at a particular moment in history.

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The tyrants of Greece are some of the most colourful figures in antiquity, notorious for their luxury, excess and violence, and provoking heated debates among political thinkers. Greek Tyranny examines the phenomenon of autocratic rule outside the law in archaic and classical Greece, offering a new interpretation of the nature of tyranny. The development of tyrannical government is examined in theory and in practice, embracing lesser-known rulers such as the tagoi of Thessaly and the Hecatomnids of Halicarnassus, as well as canonical figures like the Pisistratid rulers of Athens and the Dionysii at Syracuse. The book considers the different forms which sole rulership took – the violent usurper, the appointed magistrate, the general and the Hellenistic king – and the responses which tyranny evoked, both from the citizens of the polis and from intellectuals such as Plato and Aristotle. Lewis replaces the longstanding theory of an ‘age of tyranny’ in Greece with powerful new arguments, suggesting tyranny was a positive choice for many Greek states.

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John Conington’s three-volume edition of The Works of Virgil, begun in 1852, has long been unavailable except in rare second-hand sets. The whole work is now being reissued in six affordable paperbacks, with new introductions setting the commentary in its context. Well into the twentieth century Conington’s Virgil remained the sine qua non for school and undergraduate students and their teachers; Conington’s commentary is remarkably close and uncompromising in its engagement with the detail of Virgil’s Latin, as well as its literary sensitivity; it still has much to offer the modern reader. This volume includes Virgil’s text and Conington’s commentary on Books X–XII, along with Conington’s index to Books VII–XII. It also includes Philip Hardie’s general assessment of Conington and Anne Rogerson’s introduction to Conington’s Aeneid.

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Augustine's 'Confessions', written at the close of the fourth century CE, is a highly significant text in the history of European culture. Augustine explains just how and why he came to abandon a successful career and the personal enjoyments of a largely secular existence to follow a life of prayer and study, leading to a true comprehension of God and the Bible. The avowed approach of this introductory book is to 'historicise' - to set Augustine's own experiences of religion, philosophy and Christian faith against the long-standing political, cultural and religious traditions of the classical world. Late antiquity saw the transformation of the classical heritage and its transmission by Christian authors. Augustine's ideas about how texts may be presented and read, how people respond to written and spoken language, find resonance in recent critical theory.The world in which Augustine lived, the structure, style and purpose of the Confessions, and the problems of rhetoric and truth posed by its author's personal search for himself are all scrutinised in this lucid introductory account. The volume also offers a useful guide to further reading.

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For a Jew, describing a place as 'home' conveys connotations of heritage as well as of residence. Additionally, feeling 'at home' suggests a sense of comfort in one's social surroundings. The questions at the heart of this volume are: what things make a home 'Jewish', materially and emotionally, and what is it that makes Jews feel 'at home' in their environment? The material dimensions are explored through a study of the symbolic and ritual objects that convey Jewishness and a consideration of other items that may be used to express Jewish identity in the home-something that the introduction identifies as 'living-room Judaism'. The discussion is geographically and ethnically wide-ranging, and the transformation of meaning attached to different objects in different environments is contextualized, as, for example, in Shalom Sabar's study of {h.}amsa amulets in Morocco and Israel. For diasporic Jewish culture, the question of feeling at home is an emotional issue that frequently emerges in literature, folklore, and the visual and performing arts. The phrase 'at-homeness in exile' aptly expresses the tension between the different heritages with which Jews identify, including that between the biblical promised land and the cultural locations from which Jewish migration emanated. The essays in this volume take a closer look at the way in which ideas about feeling at home as a Jew are expressed in literature originating in Brazil, Argentina, and the United States, and also at the political ramifications of these emotions. The question is further explored in a series of exchanges on the future of Jews feeling 'at home' in Australia, Germany, Israel, and the United States. Jews at Home is the first book to examine the theme of the Jewish home materially and emotionally from a variety of disciplinary perspectives, including literature, history, anthropology, sociology, psychology, art history, and folk and popular culture. The essays in the collection use the theme of home and the concept of domestication to revise understanding of the lived (and built) past, and to open new analytical possibilities for the future. Its discussion of domestic culture and its relevance to Jewish identity is one with which readers should feel right at home.

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The enigmatic kabbalist Samuel Falk, known as the Ba'al Shem of London, has piqued the curiosity of scholars for enerations. Eighteenth-century London was fascinated by Jews, and as a miracle-worker and adventurer, well connected and well read, Falk had much to offer. Interest in the man was further aroused by rumours of his dealings with European aristocrats and other famous characters, as well as with scholars, Freemasons, and Shabbateans, but evidence was scanty. Michal Oron has now brought together all the known source material on the man, and her detailed annotations of his diary and that of his assistant give us rich insights into his activities over several years. We learn of his meetings and his travels; his finances; his disputes, his dreams, and his remedies; and lists of his books. We see London's social life and commerce, its landed gentry and its prisons, and what people ate, wore, and possessed. The burgeoning Jewish community of London and its religious practices, as well as its communal divisiveness, is depicted especially colourfully. The scholarly introductions by Oron and by Todd Endelman and the informative appendices help contextualize the diaries and offer an intriguing glimpse of Jewish involvement in little-known aspects of London life at the threshold of the modern era.

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This volume is devoted to the part Jews played in the history of Lódz between 1820 and 1939. Specifically, it focuses on the place of the Jews in the industrial elite of this multi-ethnic textile town, and on its role as a centre of the modern movement and of Jewish artistic and literary creativity. It is the result of a collaborative venture with the Historical Institute of the University of Lódz. CONTRIBUTORS Kazimierz Badziak, Natan Gross, Julian K. Janczak, Maria Kaminska, Tamara Karren, Stanislaw Liszewski, Jerzy Malinowski, Leszek Olejnik, Wieslaw Pus, Stefan Pytlas, Yosef Salmon, Pawel Samus, Robert Moses Shapiro, Chone Shmeruk, Jerzy Tomaszewski, Yehiel Yeshaia Trunk, Barbara Wachowksa, Jacek Walicki, Janusz Wrobel

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The book explores all the important themes of the Copts from the earliest moment sof Christian history to the present day.

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The story of The Usual Suspects has the kind of "rags to riches" back story that makes not only the film itself, but the tale of its creation a tale worth telling. Inspired by a magazine headline, it was a poster before it was a screenplay, yet it stands in opposition to the High Concept Hollywood movie. Studying The Usual Suspects is an analysis of a film that is both a ripping yarn and an exercise in virtuoso technique. Author Judith Gunn offers: a thorough introduction to semiotics as a way of approaching the multiple meanings of the film; a consideration of the film's noir antecedents and influences; a discussion of the film's playful approach to narrative; an overview of John Ottman's unique role as both composer and editor and how this affects the finished article, including a shot-by-shot analysis of the dramatic and mysterious opening sequence; and a definitive account of the film's genesis from idea to film festival acclaim.

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Gladiator was one of the great commercial successes of the early twenty-first century, a fascinating example of how an old genre can be resuscitated for a new generation. The film's story is not complex yet the ways in which it is told says much about mainstream narrative techniques. And beneath its action-packed scenes and richly detailed sets, Gladiator carries specific values and messages which deserve close scrutiny. In Studying Gladiator, Sandy Irvine considers:Film language – how Gladiator overcomes incredulity with compelling use of sound, costume and mise-en-scène; The industrial context – Gladiator as a product of a partnership between an infant studio (DreamWorks) and a transnational corporation (Universal); Genre and Narrative – what do we mean by an 'epic', and can we describe Gladiator as such? Audience – how did the makers of Gladiator 'win the crowd' and appeal to today's block-buster audience? Film-makers – what did Ridley Scott personally bring to Gladiator, and can he be considered an auteur? Representation and Ideology – can we relate historical representations to contemporary society?

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A lucid and balanced appraisal of some of the best Czech fiction of the twentieth century.

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What does feminism mean at the millennium? Can we say that such a thing as a women's movement exists anymore, and, if so, in what form? Why are so few women willing to identify as feminist; are we really post-feminism, or do we still need a woman-centered political discourse? And what might a feminist theory and practice capable of addressing the aspirations of all women look like? These are the fundamental questions about women's needs, experiences, and ideas explored in this volume. This powerful and empowering volume challenges conventional notions about differences of race, class and sexuality among women, bringing critical insights from the fields of anthropology, cultural and ethnic studies, history, sociology, and literary studies. Examined in this collection are many aspects of exclusion in feminist thought, including women's use of masculinist theory, the processes of tokenism and erasure prevalent in educational institutions, and the status of women in erotic discourse.

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