Search results for ""Liverpool University Press""

This is the first book-length study of Forster’s posthumously-published novel. Nine essays focus exclusively on Maurice and its dynamic afterlives in literature, film and new media during the twentieth and twenty-first centuries. Begun in 1913 and revised over almost fifty years, Maurice became a defining text in Forster’s work and a canonical example of queer fiction. Yet the critical tendency to read Maurice primarily as a ‘revelation’ of Forster’s homosexuality has obscured important biographical, political and aesthetic contexts for this novel. This collection places Maurice among early twentieth-century debates about politics, philosophy, religion, gender, Aestheticism and allegory. Essays explore how the novel interacts with literary predecessors and contemporaries including John Bunyan, Oscar Wilde, Havelock Ellis and Edward Carpenter, and how it was shaped by personal relationships such as Forster’s friendship with Florence Barger. They close-read the textual variants of Forster’s manuscripts and examine the novel’s genesis and revisions. They consider the volatility of its reception, analysing how it galvanizes subsequent generations of writers and artists including Christopher Isherwood, Alan Hollinghurst, Damon Galgut, James Ivory and twenty-first-century online fanfiction writers. What emerges from the volume is the complexity of the novel, as a text and as a cultural phenomenon.

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This lavishly illustrated book breaks new ground in focusing on some of the many successful professional British women sculptors active during this period. Largely unknown, the few women who have been mentioned in histories of twentieth century British sculpture have been those who adhered to the (masculine) Modernist canon. Organized by theme this book explores and illustrates an unusually large number of and stylistically varied works. The social and cultural contexts in which these women sculptors were working are investigated, revealing how, mostly male, commentators often fixated on their gender at the expense of seriously engaging with their work. A wide variety of sources are used, ranging from contemporary art historical accounts to articles in popular magazines. This book explores contemporary sculptural developments, art school training, exhibiting opportunities, and the writings of influential critics. It also reveals how important photography, film and the written word were in the creation of reputations. Alongside revealing important works and individuals, this book’s originality also lies in its scope, covering diverse sculptural genres such as decorative sculpture and utilitarian objects for the home and garden; portraits and statues; architectural sculpture, war memorials and ecclesiastical work.

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This book reproduces the texts of four lectures, followed by discussions, and two interviews with Lise Gauvin published in Introduction à une poétique du divers (1996); and also four further interviews from L’Imaginaire des langues (Lise Gauvin, 2010). It covers a wide range of topics but key recurring themes are creolization, language and langage, culture and identity, ‘monolingualism’, the ‘Chaos-world’ and the role of the writer. Migration and the various different kinds of migrants are also discussed, as is the difference between ‘atavistic’ and ‘composite’ communities, the art of translation, identity as a ‘rhizome’ rather than a single root, the Chaos-World and chaos theory, ‘trace thought’ as opposed to ‘systematic thought’, the relation between ‘place’ and the Whole-World, exoticism, utopias, a new definition of beauty as the realized quantity of differences, the status of literary genres and the possibility that literature as a whole will disappear. Four of the interviews (Chapters 6, 7, 8 and 9) relate to particular works that Glissant has published: Tout-monde, Le monde incrée, La Cohée du Lamentin, Une nouvelle région du monde. Many of these themes have been explored in his previous works, but here, because in all the chapters we see Glissant interacting with the questions and views of other people, they are presented in a particularly accessible form.

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Shortlisted for Costa Poetry Award 2020Shortlisted for Forward Prize for Best First Collection 2020Shortlisted for John Pollard Foundation International Poetry Prize 2021Poetry Book of the Month - The Telegraph May 2020Included in Books of the Year 2020 - The TLS November 2020Juana of Castile (commonly referred to as Juana la Loca – Joanna the Mad) was a sixteenth-century Queen of Spain, daughter of the instigators of the Inquisition. Conspired against, betrayed, imprisoned and usurped by her father, husband and son in turn, she lived much of her life confined at Tordesillas, and left almost nothing by way of a written record. The poems in Citadel are written by a composite ‘I’ – part Reformation-era monarch, part twenty-first century poet – brought together by a rupture in time as the result of ambiguous, traumatic events in the lives of two women separated by almost five hundred years. Across the distance between central Spain and the northwest coast of England these powerful, unsettling poems echo and double back, threading together the remembered places of childhood, the touchstones of pain, and the dreamscapes of an anxious, interior world. Symbolic objects – the cord, the telephone, eggs, a flashing blue light – make obsessive return, communication becoming increasingly difficult as the storm moves in over the sea. Citadel is a daring and luminous debut.

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Richard Whitford’s Dyuers Holy Instrucyons and Teachynges Very Necessary for the Helth of Mannes Soule is the last printed work written by a brother of the Brigittine community at Syon Abbey. A vocal opponent of Lutheran reforms and Henry VIII’s agenda to install himself as the head of the Church of England, Richard Whitford was also Syon’s most prolific author. His writing provides pastoral guidance on a range of issues as well as powerful articulations of the value of religious life during the turbulent years preceding the king’s break from the Catholic Church. Published in 1541, Dyuers Holy Instrucyons is also the only Syon text printed after the dissolution of the monasteries. This text thus offers a rare perspective on the concerns of those faithful to the old religion from a religious brother who actively participated in the abbey’s campaign against Lutheran reformers. As with his previous work, Whitford’s Dyuers Holy Instrucyons maintains an openly confrontational stance toward radical reformers while offering instruction to readers on issues that would certainly have been topical for faithful who lived after the 1534 Act of Supremacy—issues focussed on patience, avoiding vice, impediments to spiritual perfection, and detraction. This edition makes this significant work available for the first time to modern readers with crucial discussions of the history and themes of the texts, including the indivisibility of politics and religion in the early years of the Reformation and the crucial role that Syon Abbey played in the textual representation of this period in English history.

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While the resonance of Giambattista Vico’s hermeneutics for postcolonialism has long been recognised, a rupture has been perceived between his intercultural sensibility and the actual content of his philological investigations, which have often been criticised as being Eurocentric and philologically spurious. China is a case in point. In his magnum opus New Science, Vico portrays China as backward and philosophically primitive compared to Europe.In this first study dedicated to China in Vico’s thought, Daniel Canaris shows that scholars have been beguiled by Vico’s value judgements of China without considering the function of these value judgements in his theory of divine providence. This monograph illustrates that Vico's image of China is best appreciated within the contemporary theological controversies surrounding the Jesuit accommodation of Confucianism.Through close examination of Vico’s sources and intellectual context, Canaris argues that by refusing to consider Confucius as a “filosofo”, Vico dismantles the rationalist premises of the theological accommodation proposed by the Jesuits and proposes a new functionalist valorisation of non-Christian religion that anticipates post-colonial critiques of the Enlightenment.

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Described as "the best MP Scotland never had", Jimmy Reid was undoubtedly of the most important figures of late twentieth-century Britain. Often at the forefront of the major turning points in the history of industrial relations and politics in Britain, Jimmy’s story is an epic one; from a poverty-stricken background in Govan, Glasgow, he became a communist at a young age, leading a national strike of engineering apprentices while only twenty, before being thrown into the national limelight as the leading spokesperson for the Upper Clyde Shipbuilders Work-In in 1971-2. Disillusioned with communism he left the Party for Labour and the centre-left before leaving them disenchanted with New Labour to join the Scottish National Party. This enlightening book looks at Jimmy’s political journey from Communism, to Labourism, and ultimately to Nationalism (a political life in three acts), which not only speaks of the complexities of left politics after 1945, but also illuminates our understanding of institutions and social change in post-war Britain by showing how they were understood and negotiated by one inspirational individual.

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Winner of the Science Fiction Research Association Book Award 2021.This is the first book-length study of the relationship between science fiction, the techno-scientific policies of independent India, and the global non-aligned movement that emerged as a response to the Cold War and decolonization. Today, we see the trend of science fiction writers being used by governments as advisors on techno-scientific policies and defence industries. But such relationships between literature, policy and geo-politics have a long and complex history. Glimpses of this history can be seen in the case of the first generation of post-colonial Indian science fiction writers, the policies of scientific and technological development in independent India, and the political strategy of non-alignment advocated by India’s first prime minister, Jawaharlal Nehru, who proposed that Third World nations should maintain an equal distance between Washington and Moscow. Such a perspective reveals the surprisingly long and relatively unknown life of Indian science fiction, as well as the critical role played by the genre in imagining alternative pathways for scientific and geo-political developments to those that dominate our lives now.

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The Enlightenment redefined the ethics of the rights of man as part of an outlook that was based on reason, the equality of all nations and races, and man’s self-determination. This led to the rise of a new language: the political language of the moderns, which spread throughout the world its message of the universality and inalienability of the rights of man, transforming previous references to subjective rights in the state of nature into an actual programme for the emancipation of man. Ranging from the Italy of Filangieri and Beccaria to the France of Voltaire, Rousseau and Diderot, from the Scotland of Hume, Ferguson and Smith to the Germany of Lessing, Goethe and Schiller, and as far as the America of Franklin and Jefferson, Vincenzo Ferrone deals with a crucial theme of modern historiography: one that addresses the great contemporary debate on the problematic relationship between human rights and the economy, politics and justice, the rights of the individual and the rights of the community, state and religious despotism and freedom of conscience.

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French painting of Louis XV’s reign (1715–74), generally categorized by the term rococo, has typically been understood as an artistic style aimed at furnishing courtly society with delightful images of its own frivolous pursuits. Instead, this book shows the significance and seriousness underpinning the notion of pleasure embedded in eighteenth-century history painting. During this time, pleasure became a moral ideal grounded not only in domestic life but also defining a range of social, political, and cultural transactions oriented toward transforming and improving society at large. History, painting, and the seriousness of pleasure in the age of Louis XV reconsiders the role of history painting in creating a new visual language that presented peace and happiness as an individual’s natural rights in the aftermath of Louis XIV’s bellicose reign (1643-1715). In this new study, Susanna Caviglia reinvestigates the artistic practices of an entire generation of painters born around 1700 (e.g. Francois Boucher, Charles-Joseph Natoire, and Carle Vanloo) in order to highlight the cultural forces at work within their now iconic images.

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The Girl from Andros was the first play of the brilliant but short-lived Roman comic playwright Terence and shows him as already a master dramatist. It is based on two plays (both now lost) by the Greek playwright Menander and was first put on in Rome in 166 BCE. The main focus of interest is the plotting and counter-plotting of a devious master and his equally devious slave, but there are also two boys both in danger of losing the girls they love, and a girl in search of the family from which she has long been separated – typical ingredients of a Latin comedy.The play is a theatrical tour de force with many comic highlights and is enlivened by a succession of metatheatrical remarks; but it also provokes thought on various aspects of human relationships in a male-dominated, slave-owning society that jealously guards its rights of citizenship. It was the first ancient Latin comedy to be performed in the Renaissance and influenced a number of plays in succeeding centuries, most notably Richard Steele’s The Conscious Lovers (1722); it was also the inspiration for Thornton Wilder’s novel The Woman of Andros (1930). This volume includes the first detailed commentary on the play in any language for nearly sixty years.

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Obéissant à la logique d’une spécialisation toujours plus grande, les sociétés contemporaines ne tiennent pas l’amateur en grande estime. Or, s’il est vrai que le 18e siècle consacre le triomphe de cette figure, c’est aussi l’époque où s’amorce son irréversible déclin. Couvrant un large spectre de disciplines et d’aires culturelles au sein de l’Europe, les contributions de spécialistes réunies dans ce volume permettent de mieux cerner ce moment-pivot de l’histoire culturelle.Sans se limiter aux formes institutionnalisées de l’amateurship étudiées par les historiens de l’art ou des sciences, l’ouvrage examine ainsi les relations que le non-professionnel entretient avec les gens de métier (dans la presse, le milieu musical ou littéraire) ; la spécificité des œuvres qu’il produit et sa contribution au progrès des arts et des sciences ; l’émergence, à l’âge de l’esthétique naissante, d’un amateur compris comme instance de jugement ; la manière dont il est investi par les discours et annexé à leurs logiques propres (en tant que fiction littéraire, idéal ou ethos). Observer le phénomène dans ses manifestations plurielles, confronter l’ordre des réalités et celui des représentations, articuler les diverses approches sur la question: l’enjeu, on l’aura compris, est moins de définir une quelconque identité de l’amateur, que d’interroger sa raison d’être.---Amateurs are not particularly appreciated in our ever specialising contemporary societies. Yet the figure of the amateur was highly celebrated in the eighteenth century, even though its irremediable decline began at the same time. The articles collected in this book allow a better understanding of this turning point in cultural history as they cover a wide spectrum of academic disciplines and European cultural areas.This book does not only deal with the institutionalised forms of amateurship that have been studied by art historians and historians of science. This work considers the relationships that non-professionals had with professionals (working in periodicals, in the musical world, or in the book trade) ; the specificity of the works that amateurs produced and their contribution to the progress of arts and sciences ; the rise of the amateur as a judging instance in a period that saw the development of aesthetics ; and the way this figure was handled in different discourses and subjected to their own logics (whether as a literary fiction, an ideal or an ethos). Since this collective work focuses on the phenomenon of amateurship in its diverse manifestations, confronts the real to its representations, and articulates different perspectives on the subject, it obviously does not aim at defining any identity for the amateur, but rather intends to question its raison d'être.

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Truth informs much of the self-understanding of religious believers. Accordingly, understanding what we mean by ‘truth’ is a key challenge to interreligious collaboration. The contributors to this volume, all leading scholars, consider what is meant by truth in classical and contemporary Jewish thought, and explore how making the notion of truth more nuanced can enable interfaith dialogue. Their essays take a range of approaches: some focus on philosophy proper, others on the intersection with the history of ideas, while others engage with the history of Jewish mysticism and thought. Together they open up the notion of truth in Jewish religious discourse and suggest ways in which upholding a notion of one’s religion as true may be reconciled with an appreciation of other faiths. By combining philosophical and theological thinking with concrete case studies, and discussion of precedents and textual resources within Judaism, the volume proposes new interpretations of the concept of truth, going beyond traditional exclusivist uses of the term. A key aim is to help Jews seeking dialogue with other religions to do so while remaining true to their own faith tradition: in pursuit of this, the volume concludes with suggestions of how the ideas presented can be applied in practice. CONTRIBUTORS: Cass Fisher, Jerome Yehuda Gellman, Alon Goshen-Gottstein, Avraham Yizhak (Arthur) Green, Stanislaw Krajewski, Tamar Ross

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The third edition of a best-selling book on the Port Sunlight Village, with a new chapter on the Lady Lever Art Gallery, further information on key individuals and an increase in the number of illustrations. The model industrial village of Port Sunlight was founded by the soap manufacturer W. H. Lever (later Lord Leverhulme) in 1888 for the factory workers of the firm of Lever Brothers. The village was acclaimed from the first as exemplifying the best in English town planning and house design, and greatly influenced subsequent industrial villages such as the later parts of Bournville, and the garden city movement more generally. This guide considers the village in its historical context, with particular emphasis on the planning and architectural aspects. It explains the social and visual significance of Port Sunlight and the reasons for its being unique in the history of town planning, as well as looking at the way its development was influenced by changing fashions in urban design. The relevance of Lever’s own character and interests – his social conscience, his love of art and beauty and his architectural enthusiasms – are also examined. Two tours, one for pedestrians and one for car drivers, which include and describe the most significant buildings of the village, are an additional feature of the guide.

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For the modern world Greek tragedy is represented almost entirely by those plays of Aeschylus, Sophocles and Euripides whose texts have been preserved since they were first produced in the fifth century BC. From that period and the next two hundred years more than eighty other tragic poets are known from biographical and production data, play-titles, mythical subject-matter, and remnants of their works quoted by other ancient writers or rediscovered in papyrus texts. This edition includes all the remnants of tragedies that can be identified with these other poets, with English translations, related historical information, detailed explanatory notes and bibliographies. Volume 1 includes some twenty 5th-century poets, notably Phrynichus, Aristarchus, Ion, Achaeus, Sophocles’ son Iophon, Agathon and the doubtful cases of Neophron (author of a Medea supposedly imitated by Euripides) and Critias (possibly author of three other tragedies attributed to Euripides). Volume 2 will include the 4th- and 3rd-century tragedians and some anonymous material derived from ancient sources or rediscovered papyrus texts.Remnants of these poets’ satyr-plays are included in a separate Aris & Phillips Classical Texts volume, Euripides Cyclops and Major Fragments of Greek Satyric Drama, edited by Patrick O’Sullivan and Christopher Collard (2013).

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During the course of more than four centuries, merchants in Liverpool were responsible for forcibly transporting over a million and a half Africans across the Atlantic to work as enslaved labourers on the plantations of the Caribbean as their ships carried a larger number of Africans than those of any other European port. White colonial owners used the enslaved Africans to produce sugar and other valuable tropical goods which were consumed at home in Britain. Liverpool and the slave trade is the first comprehensive account of the city’s participation in the trade. It tells the story of the merchants and ships’ captains who organised the trade and shows how they bought and sold Africans, how they treated the enslaved during the Atlantic voyage and how they and the wider community benefitted from the slave trade. It concludes with the efforts to end the trade and the legacy it has left in Liverpool and beyond. Drawing on the most recent research as well as extensive use of contemporary documents and personal testimonies and experiences to explore this history, Liverpool and the slave trade highlights an important part of the city’s history which has for too long been rejected, forgotten or ignored.

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This volume is the first publication to examine in detail the phenomenon of collective art practice in the continental Western Europe of the late 1950s and of the 1960s. The book elaborates a comparative perspective, engaging with a cultural history of art deeply concerned with political ideas and geopolitical conflicts. Groups of artists and activists including Equipo 57, Equipo Cronica, Equipo Realidad, N, GRAV, Spur, Geflecht and Kommune I, have often been neglected in the English-speaking world. This happened partly because they were active in allegedly minor art centres such as Valencia, Padua, Cordoba, West-Berlin and Munich. However, their works, debates and intellectual networks cast new light on both the art produced during the Cold War and the heightened interest in participatory and collaborative art practices that has characterised the art world of the 2000s and 2010s. Individuals against Individualism tells the stories of these artists and activists, and focuses on their attempts to depict and embody forms of egalitarianism opposing the Eastern bloc authoritarianism as much as the Free world’s ethos. By setting their political use of collective authorship, resistance to institutional co-optation and attack on the 'ideology of freedom, against the backdrop of the Cold War, the book largely speaks to the present.

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The First World War has often suffered from comparison to the Second, in terms of both public interest and the significance ascribed to it by scholars in the shaping of modern Britain. This is especially so for the relationship between the Left and these two wars. For the Left, the Second World War can be seen as a time of triumph: a united stand against fascism followed by a landslide election win and a radical, reforming Labour government. The First World War is more complex. Given the gratuitous cost in lives, the failure of a ‘fit country for heroes to live in’ to materialise, the deep recessions and unemployment of the inter-war years, and the botched peace settlements which served only to precipitate another war, the Left has tended to view the conflict as an unmitigated disaster and unpardonable waste. This has led to a tendency on the Left to see the later conflict as the ‘good’ war, fought against an obvious evil, and the earlier conflict as an imperialist blunder; the result of backroom scheming, secret pacts and a thirst for colonies. This book hopes to move away from a concentration on machinations at the elite levels of the labour movement, on events inside Parliament and intellectual developments; there is a focus on less well-visited material.

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Set against the charms and vicissitudes of growing up in a family of musicians, Jodie Hollander’s beautifully-structured and compelling debut follows the story of a daughter’s maturing relationship with her mother. Interspersed with versions of Rimbaud, and always alert to the surreal comedy of the human condition, these powerful and immediate poems chart with huge passion, musicality and insight a complex journey towards familial understanding and reconciliation.

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Tartan Gangs and Paramilitaries is a new oral history of the loyalist backlash of the early 1970s in Northern Ireland. In the violent maelstrom of Belfast in 1971 and 1972 many young members of loyalist youth gangs known as ‘Tartans’ converged with fledgling paramilitary groups such as the Red Hand Commando, Ulster Volunteer Force and Young Citizen Volunteers. This fresh account focuses on the manner in which the loyalist community in Belfast reacted to an increasingly vicious Provisional IRA campaign and explores the violent role that young loyalist men played in the period from 1970 – 1975. Through the use of unique one-on-one interviews former members of Tartan gangs and loyalist paramilitaries explain what motivated them to cross the Rubicon from gang activity to paramilitaries. The book utilises a wide range of sources such as newspaper articles, loyalist newssheets, coroners’ inquest reports and government memorandums to provide the context for a dynamic new study of the emergence of loyalist paramilitarism.

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Bringing together the work of literary critics, social scientists, activists, and creative writers, this edited collection explores the complex relationships between environmental change, political struggle, and cultural production in the Caribbean. It ranges across the archipelago, with essays covering such topics as the literary representation of tropical storms and hurricanes, the cultural fallout from the Haitian earthquake of 2010, struggles over the rainforest in Guyana, and the role of colonial travel narratives in the reorganization of landscapes. The collection marks an important contribution to the fields of Caribbean studies, postcolonial studies, and ecocriticism. Through its deployment of the concept of ‘world-ecology’, it offers up a new angle of vision on the interconnections between aesthetics, ecology, and politics. The volume seeks to grasp these categories not as discrete (if overlapping) entities, but rather as differentiated moments within a single historical process. The ‘social’ changes through which the Caribbean has developed have always involved changes in the relationship between humans and the rest of nature; and these changes have long been entangled with the emergence of new kinds of cultural production. The contributors to this collection provide a series of unique insights into the relationship between aesthetic practice and specific ecological processes and pressure-points in the region. More than ever Caribbean writers and artists are engaging explicitly with environmental concerns in their work; this volume responds to that trend by bringing literary and cultural criticism into sustained dialogue with debates around local, national, and regional ecological issues.

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Liverpool Sectarianism: the rise and demise is a fascinating study that considers the causes and effects of sectarianism in Liverpool, how and why sectarian tensions subsided in the city and what sectarianism was in a Liverpool context, as well as offering a definition of the term ‘sectarianism’ itself. By positioning Liverpool amongst other ‘sectarian cities’ in Britain, specifically Belfast and Glasgow, this book considers the social, political, theological, and ethnic chasm which gripped Liverpool for the best part of two centuries, building upon what has already been written in terms of the origins and development of sectarianism, but also adds new dimensions through original research and interviews. In doing, the author challenges some longstanding perceptions about the nature of Liverpool sectarianism; most notably, in its denial of the supposed association between football and sectarianism in the city. The book then assesses why sectarianism, having been so central to Liverpool life, began to fade, exploring several explanations such as secularism, slum clearance, cultural change, as well as displacement by other pastimes, notably football. In analysing the validity of these explanations, key figures in the Orange Order and the Catholic Church offer their viewpoints. Each chapter examines a different dimension of Liverpool’s divided past. Topics which feature prominently in the book are Irish immigration, Orangeism, religion, politics, racism, football, and the advance of the city’s contemporary character, specifically, the development and significance of ‘Scouse’. Ultimately, the book demonstrates how and why two competing identities (Irish Catholic and Lancastrian Protestant) developed into one overarching Scouse identity, which transcended seemingly insurmountable sectarian fault lines.

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For scholars in the European Middle Ages, Isidore, bishop of Seville (560? — 636) was one of the most influential authorities for understanding the natural world. Isidore’s On the Nature of Things is the first work on natural science by a Christian author that is not a commentary on the creation story in Genesis. Instead, Isidore adopted a classical model to describe the structure of the physical cosmos, and discuss the principles of astronomy, physics, geography, meteorology and time-reckoning. Into this framework he incorporated an eclectic array of ancient and patristic erudition. The fact that On the Nature of Things presents an essentially Greco-Roman picture of the universe, but amplified with Christian reflections and allegories, played a crucial role in the assimilation of ancient science into the emerging culture of the Middle Ages. It exerted a deep and long-lasting influence on scholars like Bede, one of whose earliest works was an adaptation of On the Nature of Things. On the Nature of Things provides a new window into vital intellectual currents, as yet largely unexplored, flowing from Visigothic Spain into Celtic Ireland, Anglo-Saxon England, and Merovingian France. This is the first translation of this work into English. The introduction places the work in the context of Isidore's milieu and concerns, and traces the remarkable diffusion of his book. A chapter-by-chapter commentary explains how Isidore selected and transformed his source material, and added his own distinctive features, notably the diagrams that gave this work its medieval name The Book of Wheels (Liber rotarum).

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Shortlisted for the 2016 Forward Prize for Best First Collection and the 2016 T S Eliot Prize for Best Collection. Drawing from neuroscience on the idea of 'internal gain', an internal volume control which helps us amplify and focus on quiet sounds in times of threat, danger or intense concentration, Ruby Robinson's brilliant debut introduces a poet whose work is governed by a scrupulous attention to the detail of the contemporary world. Moving and original, her poems invite us to listen carefully, and use ideas of hearing and listening to explore the legacies of trauma. The book celebrates the separateness and connectedness of human experience in relationships, and our capacity to harm and love.

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Irish Science Fiction revisits a critical paradigm that has often been overlooked or dismissed by science fiction scholars – namely, that science fiction can be understood in terms of myth. Science fiction springs from pseudo-science rather than ‘proper’ science, because pseudo-science is more easily converted into narrative; in this book it is argued that different cultures produce distinct pseudo-sciences, and thus, unique science fiction traditions. Fennell's innovative framework is used to examine Irish science fiction from the 1850s to the present day, covering material written both in Irish and in English. Considering science fiction novels and short stories in their historical context, Irish Science Fiction analyses a body of literature that has largely been ignored by Irish literature researchers. This is the first book to focus exclusively on Irish science fiction, and the first to consider Irish-language stories and novels alongside works published in English.

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Hybridity theory, the creative dissemination and restless to-and-fro of Homi Bhabha’s Third Space or of Stuart Hall’s politics of difference, for example, has opened up understandings of what may be produced in the spaces of cultural contact. This book argues that the particularity of the forms of mixing in the literatures of the French Pacific country of New Caledonia contest and complexify the characterisations of hybrid cultural exchange. From the accounts of European discovery by the first explorers and translations of the stories of oral tradition, to the writings of settler, déporté, convict, indentured labourer and their descendants, and contemporary indigenous (Kanak) literatures, these texts inscribe Oceanian or Pacific difference within and against colonial contexts. In a context of present strategic positioning around a unique postcolonial proposal of common destiny, however, mutual cultural transformation is not unbounded. The local cannot escape coexistence with the global, yet Oceanian literatures maintain and foreground a powerful sense of ancestral origins, of an original engendering. The spiral going forward continually remembers and cycles back distinctively to an enduring core. In their turn, the Pacific stories of unjust deportation or heroic settlement are founded on exile and loss. On the other hand, both the desire for, and fears of, cultural return reflected in such hybrid literary figures as Déwé Gorodé’s graveyard of ancestral canoes and Pierre Gope’s chefferie internally corrupted in response to the solicitations of Western commodity culture, or Claudine Jacques’ lizard of irrational violence, will need to be addressed in any working out of a common destiny for Kanaky-New Caledonia.

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By the power of Greyskull! In their second big-screen collaboration after Shaun of the Dead (2004), with Hot Fuzz (2007) director and co-writer Edgar Wright and co-writer and star Simon Pegg took aim at the conventions of the Hollywood action movie, transplanting gratuitous slo-mo action sequences into the English village supermarket and local pub. In this first critical study of arguably the most influential British film-makers to emerge this century, Neil Archer considers to what extent a modestly funded film such as this can be considered 'British' at all, given its international success and distribution by an American studio, and how far that success depends upon what he calls its 'cultural specificity'. He considers the film as a parody of the action movie genre, and discusses exactly how parody works - not just in relation to the conventions of the action film but also in the depiction of English space. Exactly what and who is Hot Fuzz poking fun at?

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This book presents the original text and English translations of the medieval and post-medieval records, documents, poems and chronicles relating to Owain Glyndŵr (1357?-1415, revolutionary and the last native Welshman to hold the title Prince of Wales), his career and his legacy. In addition, textual notes and essays on the historical, social and literary context of these documents will provide up-to-date perspectives and commentary on the man and his times. For the first time, historians, literary scholars, students and the general reader will be able to view a wide range of materials collected in a single volume and will be able to assess for themselves the significance of Glyndŵr in Welsh, English and European history from the late Middle Ages into the Renaissance – and to redress the imbalance of historical accounts past and present. The high profile international contributors include: John K. Bollard, Independent Scholar of Welsh Kelly DeVries, Loyola University, Maryland Helen Fulton, University of York Rhidian Griffiths, Independent Scholar Elissa R. Henken, University of Georgia Michael Livingston, The Citadel Alicia Marchant, University of Western Australia Scott Lucas, The Citadel William Oram, Smith College Gruffydd Aled Williams, Aberystwyth University

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Thomas Hoccleve’s Series (1419-21) tells the story of its own making. The Making of Thomas Hoccleve’s Series analyzes this story and considers what it might contribute to the larger story about book production in the fifteenth century. Focusing on four surviving manuscripts made by Hoccleve himself between 1422 and 1426, the first four chapters explore the making of the Series in context. They examine the importance of audience judgment in the selection and juxtaposition of forms, the extent to which the physical flexibility of books could serve the needs of their owners and their makers, the changing tastes of fifteenth-century readers, and the appetite for new paradigms for reform in head and members. The final chapter analyzes the most important non-authorial copy of the Series in order to ask what others made of it. While this study draws on Hoccleve’s experience, it asserts that the Series offers a reflection on, not a reflection of, his conception of book production. The ironic contrast between what Hoccleve’s narrator intends and accomplishes when making his book is its most redeeming feature, for it provides insight into the many conflicting pressures that shaped the way books were made and imagined in early fifteenth-century England.

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The central focus of this book is the traumatized German war veteran. Using previously unexplored source material written by the psychologically scarred veterans themselves, this innovative work traces how some of the most vulnerable members of society, marginalized and persecuted as ‘enemies of the nation,’ attempted to regain authority over their own minds and reclaim the authentic memory of the Great War Under Weimar Germany and the Third Reich, the mentally disabled survivor of the trenches became a focus of debate between competing social and political groups, each attempting to construct their own versions of the national community and the memory of the war experience. Views on class, war, masculinity and social deviance were shaped and in some cases altered by the popularised debates that surrounded these traumatized members of society. Through the tortured words of these men and women, Jason Crouthamel reveals a hidden layer of protest against prevailing institutions and official memory, especially the Nazi celebration of war as the cornerstone of the ‘healthy’ male psyche. He also shows how these ‘social outsiders’ attempted to reform healthcare and reconstruct notions of ‘comradeship’, ‘manliness’ and the national community in ways that complicate the history of the veteran in this highly militarised society. By examining the psychological effects of war on ordinary Germans and the way these war victims have shaped perceptions of madness and mass violence, Crouthamel is able to illuminate potent and universal problems faced by societies coping with war and the politics of how we care for our veterans.

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Working with Anglo-Saxon Manuscripts is a highly readable and well-illustrated guide to manuscript study for students and fledgling researchers in Anglo-Saxon history and literature.Bringing together invaluable advice and information from a group of eminent scholars, it aims to develop in the reader an informed and realistic approach to the mechanisms for accessing and handling manuscripts in what may be limited time. In addition to an exploration of the various manuscript resources available in libraries and their research potential, the book appraises recent developments in electronic resources, making it a beneficial aid for teachers as well as individual researchers working away from the location of manuscripts.The book includes a clear and comprehensive guide to palaeography and codicology. Chapters on Old English prose, Old English poetry and Anglo-Latin texts introduce readers to the whole range of written material extant in Anglo-Saxon manuscripts. Manuscript art is uniquely presented in the context of Anglo-Saxon manuscripts as a whole, moving beyond traditional approaches, while the chapter ‘Reading between (and beyond) the lines’ demonstrates some of the fascinating detail of glosses and marginalia, and reveals how the life of the manuscript continued beyond the writing of its main text.

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This is the first volume of a new integrated documentary history of the Soviet Union. The Soviet story—the revolution, Lenin, Stalinism, the Great Patriotic War, the era of Khrushchev, Brezhnev and Cold War, and the dramatic collapse under Gorbachev—looms large in history syllabuses across the world. This book will be a valuable resource for students at all levels, drawing upon the primary material that has come to light since the collapse of Communist rule in 1991. Combining lucid narrative commentary and a rich selection of evocative documents, it provides a lively entrée to current debate over humanity’s most momentous and tragic experiment. This volume is organised chronologically, subdivided thematically and incorporates over 200 documents. Key terms and references to individuals, places, events and institutions are explained and guidance provided on significant features of the primary sources. Conceived as companion to the highly-regarded, best-selling 4- volume Nazism 1919–1945: A Documentary Reader by Noakes & Pridham, also published by UEP, it assumes no prior knowledge of the subject.

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Volume Two of this new documentary history of the Soviet Union comprises over 270 documents and is organised into four chronologically distinct parts, subdivided thematically; it runs from the fraught diplomatic and military preamble of the Great Patriotic War to the final fracturing of the USSR along the national fault-lines of its 15 Union Republics. Slight overlap of chronological coverage with Volume One allows increased attention in Volume Two to foreign affairs. Areas in this volume that attract greatest student interest are the epic dramas at the beginning and end of the period — the Great Patriotic War and Perestroika.The commentary is by Edward Acton, Professor of Modern European History at the University of East Anglia, who has published widely on the Russian revolution and the history of Russia and the USSR. The documents have been translated by Tom Stableford, Assistant Librarian, Slavonic and East European Collections, Bodleian Library, Oxford

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The Dream of the Rood is a poem that has entranced generations of scholars. It is one of the greatest religious poems in English literature, the work of a nameless poet of superb genius. This edition presents a conservative text with variant reading described in the notes. In his introduction Professor Swanton describes the Vercelli Book, in which the full text of The Dream of the Rood is found, and gives an account of the Ruthwell Cross, the sources for which are scattered and not normally familiar to students of Old English. The relationship between the two texts, the doctrine behind the poem and its style and structure are also discussed. The edition includes extensive notes and glossary.

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^'What reason has an educated man for going to the theatre, except to see Menander'?Thus the judgement of Aristophanes of Byzantium, and in later antiquity the social comedies of Menander ranked second in popularity only to the epics of Homer. Yet for centuries thereafter the plays were thought to be irretrievably lost, failing to become part of the canon of writers that generations of copyists deemed worthy of transmitting to us. It was only in the 20th century that large sections of the plays began to emerge from the sands of Egypt, enabling modern readers to gauge for themselves the correctness of earlier verdicts. Following on from the author's edition of Menander's Bad-Tempered Man ( dyskolos ) the present volume aims to provide readers with ready access to the playwright's consummate sophistication in dramatic technique through two, albeit incomplete, plays, The Shield ( aspis ) and arbitration ( epitrepontes ). As before, the Greek text is accompanied by a translation aimed at providing a version that is readable, while at the same time remaining close enough to the original to make comparison of the two a feasible proposition. The commentary, in turn, concentrates upon dramatic development, providing the reader with pointers to appreciating the playwright's often subtle techniques of both dramatic development and character portrayal. Stanley Ireland is Reader in Classics and Ancient History at the University of Warwick. He has written on such diverse topics as Menander, Roman Britain and Ancient Numismatics. He is also editor of Terence's The Mother-in-Law in this series. Greek text with facing-page translation, introduction and commentary.

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This edition of St Augustine's The City of God (De Civitate Dei) is the only one in English to provide a text and translation as well as a detailed commentary of this most influential document in the history of western Christianity. In these books Augustine offers a Christian perspective on the growth of Rome, which its pagan apologists attribute to the providential protection of its gods. Book III spotlights both the injustices inflicted and the privations endured by the Romans, thus rebutting such claims. Book IV offers a withering account of the Roman deities, basing its analysis on the researches of Terentius Varro. This section of The City of God is a vital document for students of Roman history, and especially of Roman religion, for it provides the most detailed evidence of Varro’s learned works. Latin text with facing-page English translation, introduction and commentary.

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This volume completes this distinguished edition of Metamorphoses . This volume completes Donald Hills distinguished edition to the Metamorphoses. Of the pevious volume it was said: It is all we could hope for, with excellent translation, fuller understanding from the notes and an extensive bibliography. The text is attractively and conveniently laid out, with Latin and translation en face. The translation is in blank verse for the English reader while being stimulating and thought-provoking for the Latinist. The notes too make interesting reading at any level, with a vast store of information from a multitude of sources." ^ILACT^/I

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Books V and VI of Tacitus’ Annals, when complete, carried the narrative of Tiberius’ reign from AD 29 to 37. Unfortunately most of Book V has been lost, and, with it, Tacitus’ account of the sensational events that led to the execution on 18 October in AD 31 of Aelius Sejanus. Nevertheless, Annals VI contains a fascinating variety of incidents both at Rome and on Capri, to which Tiberius had retired permanently in AD 27. But, in addition to all the material that portrays Tiberius in a highly unfavourable light, there is much in Annals VI that shows a very different side to his character. Whereas Suetonius talks of an elderly emperor who discarded all interest in public affairs from the time he retired to Capri, Tacitus portrays a more complex character – one in which cruelty and vice stand alongside a deep concern for Rome’s prosperity at home and abroad. Annals VI provides an absorbing account of the varied aspects of the behaviours and personality of Rome’s most enigmatic emperor during the final years of his life. Latin text with facing-page English translation, introduction and commentary.

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Appian wrote his Roman History in the second century AD as a series of books arranged geographically to chronicle the rise of the Roman Empire. His Iberike, of which this is the first translation with historical commentary in English, deals with the Romans' wars in the Iberian peninsula from the third to the first centuries BC. It is the only continuous source for much of the history of this crucial period in one of the earliest regions of Rome's imperial expansion, and so fills in the gap made by the loss of Livy's later books. He describes the major campaigns of the conquest from the defeat of the Carthaginians by Scipio Africanus, the wars against the Celtiberians, the war against the Lusitanians under Viriathus and the siege of Numantia. The value of the text is not merely as a chronicle of otherwise obscure events, Appian was an historian who deserves to be studied in his own right. This scholarly edition presents the Greek text with facing-page English translation, accompanied by an introduction, historical commentary and copious notes.

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Ecclesiazusae, probably produced in 391 BC, is at once a typically Aristophanic fantasy of gender inversion, obscenity and farce, the earliest surviving work in the western Utopian tradition, and the source of a blueprint for a communist society on which Plato may well have drawn in his Republic. This edition attempts to set the play, more closely than has usually been done, against the political background at the time of its production, when Athens has just spurned what proved to be the last opportunity to escape from a war it did not have the resources to fight, and to define the details of staging as precisely as the text will allow. [Greek text with facing-page translation, commentary and notes.]

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Iphigenia in Tauris tells the story of the princess Iphigenia who was sacrificed by her father Agamemnon to expedite his campaign against Troy but was rescued by the goddess Artemis and transported to the land of the Taurians. There she herself must perform human sacrifices as a priestess of Artemis in the local cult. Troy has now been sacked, and Agamemnon murdered by his wife and avenged by his son Orestes. With his mother's blood on his hands, Orestes is guided by Apollo to seek purification through bringing the image of the Tauric Artemis to Greece, and so is reunited with his sister. The drama centers on Orestes' near-sacrifice at Iphigenia’s hands, their recognition in the nick of time, and their ingenious and thrilling escape to bring the cult of Artemis to Halae and Brauron near Athens. Martin Cropp’s first edition was originally published in 2000 and provided the first commentary on the play since those of Maurice Platnauer (Oxford, 1938) and Hans Strohm (Munich, 1949). It contributed significantly to a revival of interest in what had been a rather neglected and underrated play. This new second edition will incorporate substantial revisions to the introduction and commentary and some corrections to the Greek text and translation in light of reviews of the first edition and other recent work.

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Aristophanes’ Frogs was produced in 405 BC, shortly after the deaths of the two great veteran Athenian tragic dramatists, Euripides and Sophocles. It was restaged a year later, a few weeks before starving Athens at last accepted defeat in the long Peloponnesian War. Dionysus, the god of drama, wine and joyful celebration, goes down to the underworld to bring his favourite poet, Euripides, back from the dead, and surprises both himself and the audience by bringing back instead Aeschylus, who had died fifty years before, with the mission of saving both Athens and Tragedy from ruin. The contest for the throne of tragedy between Euripides and Aeschylus is the earliest sustained piece of literary criticism in the Western tradition. This edition is the first to combine a reliable English translation of Frogs with a full explanatory commentary; it also includes a freshly constituted Greek text. [Greek text with facing-page translation, commentary and notes.]

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Ovid’s poetical career reached its climax in his masterpiece, the Metamorphoses. The work displays his mature genius and has become a standard treasure-house of mythology for all succeeding generations. The complete work has been edited for this series by Donald Hill. Each volume includes the Latin text with a line by line parallel prose translation, and notes which trace Ovid’s sources and his influence on literature and art. The volumes stand alone, but the whole is complete in four volumes, and the final volume contains a complete index. Metamorphoses Books IX–XII is the third of the four volumes, the others are: Metamorphoses Books I–IV (1985), Metamorphoses Books V–VIII (1992) and Metamorphoses Books XIII–XV with complete index (2000).

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Lorca's famous Gypsy Ballads were composed in the 1920s, when his poetic style was evolving from the traditional towards the surrealist. The combination of the ballad's perennial narrative format with startling and allusive imagery has intrigued readers ever since. Dr Havard argues that the fatalism and tribalism of the gypsy settings relate to Lorca's own subjective dilemma and sexual anxieties, and that they ultimately make a deeply personal statement. The translations are broadly into free verse which aims to preserve the directness and the rhythm of the Spanish original so that the force of the poems may be appreciated by English readers. 162p

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The Fifth Tusculan Disputation is the finest of the five books, its nearest rival being the First (also edited in this series). The middle three books, represented in this edition by the Second, are, as the author clearly intended, less elevated, though still showing Cicero’s flair for elegant and lively exposition, and providing much valuable information about the teaching of the main Hellenistic philosophical schools, especially the Stoics. They argue that the perfect human life, or complete human well-being, that of the ‘wise man’, is unaffected by physical and mental distress or extremes of emotion. Against this background the Fifth puts the positive, mainly Stoic, case that virtue, moral goodness, is alone and of itself sufficient. Latin text with facing-page English translation, introduction and commentary.

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Birds was produced at the City Dionysia in the spring of 414 BC. It differs from all the other fifth-century plays of Aristophanes that survive in having no strong and obvious connection with a topical question of public interest, whether political (like Acharnians, Knights, Wasps, Peace and Lysistrata), literary-theatrical (like Thesmophoriazusae and Frogs), or intellectual-educational (like Clouds). It has, indeed, in its own way, plenty of topical and satirical content: in particular, as the city of Cloudcuckooville begins to take shape, it proves in many ways to be a replica of Athens, and is soon visited by many of the less desirable elements of the Athenian population. But taking the play as a whole, satire is kept firmly subordinate to fantasy; and as fantasy Birds has no rival in what we possess of Greek literature, until we reach Lucian nearly six centuries later. Alan Sommerstein's celebrated edition, reprinted with revisions in 1991, presents the Greek text with facing-page translation, commentary and notes.

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A significant two-fold development in recent classical scholarship has been a revival of interest in, and respect for, post-Aristotelian Greek philosophy and Cicero’s contribution to our knowledge of it. Of Cicero’s major works in this field the Tusculan Disputations is perhaps the most approachable. Less technical than Academia and De Finibus, it still provides many insights into Hellenistic philosophical controversies, especially those concerning the two great schools of Stoicism and Epicureanism. At the same time it contains significant evidence of a reviving interest in Plato and Aristotle themselves. The theme of the first Tusculan is whether death is an evil. Of the many popular beliefs about the nature of the soul and its fate after death Cicero has little to say, but the philosophically based approach which he adopts is rich in material and provides the inspiration for striking passages worthy of the great orator. Latin text with facing-page English translation, introduction and commentary.

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