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1355862 results in Books

Page 1367 of 67794

The early Spenser, 1554–80
  • ‘Minde on honour fixed’
  • Jean R. Brink
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • This revisionary biographical study documents that Spenser was the protégé of a circle of churchmen who expected him to take holy orders, but between 1574, when he left Pembroke College, and 1579, when he published the Shepheardes Calender, he decided against a career in the church. At Pembroke College and in London, Spenser watched the Elizabethan establishment crack down on independent thinking. The sequestration of Edmund Grindal was a watershed event in his early life, as was his encounter with Philip Sidney, the dedicatee of to the Shepheardes Calender. Once Spenser exchanged the role of shepherd-priest for that of shepherd-poet, he understood that his role was not just to celebrate the victories of Protestant England over the Spanish empire, immortalize in verse the virtues of Gloriana’s knights, but also to ‘fashion a noble person in vertuous and gentle discipline’. The received biography of the early Spenser emphasizes Gabriel Harvey, who is reported to have been Spenser’s tutor. Brink shows that Harvey could not have been Spenser’s tutor and argues that Harvey published Familiar Letters (1580) to promote his ambition to be named University Orator at Cambridge. Brink shows that Spenser had already received preferment. His life is contextualized by comparisons with contemporaries including Philip Sidney, Lodowick Bryskett, Shakespeare, and Sir Walter Ralegh. Brink’s provocative study, based upon a critical re-evaluation of manuscript and printed sources, emphasizes Philip Sidney over Harvey and shows that Spenser’s appointment as secretary to Lord Grey was a preferment celebrated even years later by Camden.

Chartist drama
  • Edited by Gregory Vargo
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. A communal, public, and embodied art form, drama was linked for the Chartists with other kinds of political performance: the oratory of the mass platform, festival-like outdoor meetings, and the elaborate street theatre of protest marches. Plays that Chartists wrote or staged advanced new interpretations of British history and criticised aspects of the contemporary world. And Chartist drama intervened in fierce strategic arguments within the movement. Most notably, poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising of 1839, in which twenty-two Chartists lost their lives, defends the rebellion and the Chartist recourse to violence as a means for the movement to achieve its aims. The volume’s appendices document over one hundred Chartist dramatic performances, staged by activists in local Chartist associations or at professional benefits at some of London’s largest working-class theatres. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.

Karel Reisz
  • Colin Gardner
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • In a pair of interviews during the 1970s, Karel Reisz himself acknowledged this clear line of continuity in his work, he always thought of himself as a cinematic auteur, but stressed that it was a continuity of neither British nor Czech sensibilities. Like many exiles and outsiders, Reisz was able to balance an emotional investment in his adoptive country with the ability to remain critically distanced enough to recognize and then de-familiarize the cultural tropes that make it tick. Given his lifelong affinity for outsiders and exiles, it is clear that Reisz's personal background is crucial to any understanding of his cinema, not only because of his own exile from Nazism and subsequent displacement into a foreign culture. Because of his graduation into film-making from the academic world of film criticism, a realm largely alien to many of the veterans of the British film industry. The book discusses the 'kitchen sink' realism of the Angry Young Men, the birth of the British New Wave, and the Gorilla war. Morgan is an important film in the Reisz canon, not only because it reinforced his continued move away from the last vestiges of social realism associated with the first British New Wave, but also because it was his first truly self-reflexive film. The book also discusses Momma Don't Allow, We Are the Lambeth, Saturday Night and Sunday Morning, Night Must Fall, The Gambler, Dog Soldiers/, Who'll Stop the Rain, The French Lieutenant's Woman, and Everybody.

The early modern English sonnet
  • Ever in motion
  • Rémi Vuillemin, Laetitia Sansonetti, Enrica Zanin
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • This volume questions and qualifies commonly accepted assumptions about the early modern English sonnet: that it was a strictly codified form, most often organised in sequences, which emerged only at the very end of the sixteenth century and declined as fast as it had bloomed at the turn of the century – and that minor poets merely participated in the sonnet fashion by replicating established conventions. Drawing from book history, using the tools of close reading and textual criticism, it aims to offer a more nuanced history of the form in early modern England – and especially of the so-called ‘sonnet craze’. It does so by exploring the works of such major poets as Shakespeare, Sidney and Spenser but also of lesser-studied sonneteers such as Barnabe Barnes and Gabriel Harvey. It discusses how sonnets were written, published, received and repurposed in sixteenth- and seventeenth-century England, taking into account interactions with the French and Italian literary traditions. The collection also discusses current editorial practices and provides the first modern edition of an early seventeenth-century Elizabethan miscellany which claims the Earl of Essex, Spenser and ‘S.P.S.’ (presumably Sir Philp Sidney) as authors.

Critical theory and sociological theory
  • On late modernity and social statehood
  • Darrow Schecter
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • Populism, neoliberalism, and globalisation are just three of the many terms used to analyse the challenges facing democracies around the world. Critical Theory and Sociological Theory examines those challenges by investigating how the conditions of democratic statehood have been altered at several key historical intervals since 1945. The author explains why the formal mechanisms of democratic statehood, such as elections, have always been complemented by civic, cultural, educational, socio-economic, and, perhaps most importantly, constitutional institutions mediating between citizens and state authority. Critical theory is rearticulated with a contemporary focus in order to show how the mediations between citizens and statehood are once again rapidly changing. The book looks at the ways in which modern societies have developed mixed constitutions in several senses that go beyond the official separation of legislative, executive, and judicial powers. In addition to that separation, one also witnesses a complex set of conflicts, agreements, and precarious compromises that are not adequately defined by the existing conceptual vocabulary on the subject. Darrow Schecter shows why a sociological approach to critical theory is urgently needed to address prevailing conceptual deficits and to explain how the formal mechanisms of democratic statehood need to be complemented and updated in new ways today.

The European Left Party
  • Richard Dunphy, Luke March
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • Transnational party federations (TNPs) have been critical prisms through which to analyse the EU’s tensions between intergovernmentalism and supranationalism. This study focuses on the radical left TNP, the European Left Party (EL), founded in 2004. It centres on four general questions: first; the conditions under which TNPs might be successful; second, how the EL compares with other TNPs, particularly those of the broad centre-left, the Party of European Socialists (PES) and the European Green Party (EGP); third, to what extent the EL has fostered a consensus over positions towards the EU previously conspicuously lacking among the radical left; and fourth, the degree to which the EL has enabled an increase in the electoral or policy influence of the radical left in Europe. The study highlights the strengths and weaknesses of TNPs as networks of Europeanisation; they have important roles in the EU political system but remain timid actors with only selectively developed transnationalism. It shows how the EL is a paradoxical actor; on the one hand it has brought radical left transnational co-operation to historical highs; on the other it is both less influential than the PES and less transnational and consolidated than the EGP. Such paradoxes result from persistent internal divisions between Europeanists and sovereigntists, as well as suboptimal internal structures. The influence of the EL is also paradoxical. It has emerged as a centre of attraction for the European radical left promoting the Left Europeanist position, but is a long way from being hegemonic or unchallenged on the left.

From perversion to purity
  • The stardom of Catherine Deneuve
  • Edited by Lisa Downing, Sue Harris
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • Few screen icons have provoked as much commentary, speculation and adulation as the 'she' of this plaudit, Catherine Deneuve. This book begins with a brief overview of Deneuve's career, followed by a critical survey of the field of theoretical star studies, highlighting its potential and limitations for European, and particularly French, film scholarship. It argues the need for the single-star case study as a model for understanding the multiple signifying elements of transnational stardom. Her first role, at the age of 13, was a brief appearance as a schoolgirl in André Hunebelle's Collégiennes/The Twilight Girls. It was in 1965 that Roman Polanski would cast Catherine Deneuve in Repulsion, described by one critic as a 'one-woman show' in a role that would effectively create a persona which would resonate throughout her future film career. The darker shades of the Deneuve persona are in even greater evidence in Tristana. Demy's Donkey Skin is arguably an equal source of the tale's iconic status in France today, and largely because of Deneuve. The book also investigates films of the 1970s; their role in shaping her star persona and the ways in which they position Deneuve in relation to French political culture. The book considers exactly why directors gravitate towards Deneuve when trying to evoke or represent forms of female homosexual activity on film, and to consider exactly what such directors actually make Deneuve do and mean once they have her performing these particular forms of lesbian relation.

Monarchies and decolonisation in Asia
  • Edited by Robert Aldrich, Cindy McCreery
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • In the 1940s, the British king, the Dutch queen and the Japanese emperor reigned over colonial possessions in Asia, whose ‘protected’ indigenous monarchs included Indian and Himalayan maharajas, Shan princes in Burma, and sultans in the Malay states and the Dutch East Indies, as well as the Vietnamese emperor and the Cambodian and Lao king in the French republican empire, and the ‘white raja’ of Sarawak. Decolonisation posed the question about the form of government to be adopted in successor states to the colonial empires and about the fate of local dynasties. As their possessions gained independence, the European and Japanese monarchies also had to adapt to a post-imperial world. This collection of original essays by an international group of distinguished historians argues that the institution of monarchy, and individual monarchs, occupied key roles in the process of decolonisation. It analyses the role of monarchy (both foreign and indigenous) in the late colonial period and with decolonisation. It examines the post-colonial fate of thrones buffeted and sometimes destroyed by republicanism and radicalism. It assesses the ways that surviving dynasties and the descendants of abolished dynasties have adapted to new social and political orders, and it considers the legacies left by extant and defunct dynasties in contemporary Asia.

Jean-Luc Godard
  • Douglas Morrey
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • Jean-Luc Godard enjoyed a comfortable and cultured upbringing, acquiring a literary sensibility that would inflect the whole of his career in the cinema. Godard began to study anthropology at the Sorbonne, but dropped out, and the subsequent decade of his life was spent drifting between various occupations. It is this period of Godard's life in particular that has given rise to speculation, rumour and apocryphal stories. Along with other critics at Cahiers du cinéma, including Truffaut, Rivette, Chabrol and Rohmer, Godard's writing on film in the 1950s played an important role in shaping the canon of great film directors that would influence the development of both French and anglophone film studies. A mixture of playfulness and reverent cinematic homage is to be found in the film language that Godard employs in A bout de souffle. The film became famous for its use of jump-cuts, and it may be difficult for today's viewers, familiar with the ultra-rapid editing of music videos and advertising, to appreciate how disruptive this technique appeared to contemporary spectators. Vivre sa vie, like Le Petit Soldat, appears, in places, to appropriate a kind of existentialist narrative form, only to move beyond it into something much stranger and more troubling. Jean-Luc Godard's Masculin féminin is about young people in Paris in the winter of 1965-1966. Godard in the 1970s is doubtless addressing issues such as the nature of capitalism, and the possibilities for revolt. France tour détour deux enfants is a fascinating glimpse of what television could be.

Cormorant
  • A Cultural History of Greed and Prejudice
  • Gordon McMullan
  • Published online:
    14 March 2026
    Print publication:
    02 April 2026
  • How does prejudice grow and mutate? What does intolerance, when transferred from human beings onto animals, do to those creatures? And what, in return, does it do to us? Cormorant is the gripping story of a 'greedy' bird hated across the world, the object of global conflict between the fishing industry on the one hand and environmental science on the other. Gordon McMullan's book reveals that cormorants have been loathed for centuries, a detestation that has metamorphosed over time. Drawing on fields which include literature, art history and zoology, and ranging from America to China and from Britain to Peru, Cormorant explores racism, xenophobia and capitalism through the remarkable story of a bird. McMullan argues that if in the present we are to recognize prejudicial attitudes towards animals and our fellow human beings, then we need to look to the past to understand how those viewpoints have taken hold.

Nan Shepherd's Correspondence, 1920-80
  • Edited by Kerri Andrews
  • Published by:
    Edinburgh University Press
    Published online:
    14 March 2026
    Print publication:
    30 November 2023
  • Recognised now as one of the most important voices to emerge from Scotland's literary 'Renaissance' in the 1930s, the full extent of Nan Shepherd's considerable cultural significance is revealed only in the letters she sent and received over the course of her long life and extraordinary career. Including letters from Neil Gunn, Hugh MacDiarmid, Jessie Kesson, Helen B. Cruickshank, Agnes Mure Mackenzie and many more, this edition documents Shepherd's emergence as a celebrated novelist in the 1920s and 30s, her quieter years editing the Aberdeen University Review, and the composition of what would, eventually, be her most famous work, 'The Living Mountain'. With an introduction, annotations and biographical sketches, Nan Shepherd's Correspondence brings you into Nan Shepherd's world as one of the most influential literary figures of her generation.

Marguerite Duras
  • Renate Günther
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • Marguerite Duras embarked on a second career as a film director in the late 1960s; by then was already a well-known and highly acclaimed novelist and playwright. Bearing in mind this dual influence, this book presents an outline of Duras's early life and of her later political preoccupations, highlighting the relationship between these two dimensions and her films. Duras's aim was to transcend the limitations of both literature and cinema by creating an écriture filmique. Working within the 1970s French avant-garde, Marguerite Duras set out to dismantle the mechanisms of mainstream cinema, progressively undermining conventional representation and narrative and replacing them with her own innovative technique. The making of Nathalie Granger in 1972 coincided with the period of intense political activity and lively theoretical debates, which marked the early years of the post-1968 French feminist movement. India Song questions the categories of gender and sexuality constructed by the patriarchal Symbolic order by foregrounding the Imaginary. Agatha mirrors transgressive relationship and quasi-incestuous adolescent relationship, as the film resonates with the off-screen voices of Duras and Yann Andréa who also appears on the image-track where he represents Agatha's anonymous brother. Her work, both in literature and in film, distinguishes itself by its oblique, elusive quality which evokes her protagonists' inner landscape instead of dwelling on the appearances of the external world.

Realist film theory and cinema
  • The nineteenth-century Lukácsian and intuitionist realist traditions
  • Ian Aitken
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • This book embraces studies of cinematic realism and nineteenth-century tradition; the realist film theories of Lukács, Grierson, Bazin and Kracauer; and the relationship of realist film theory to the general field of film theory and philosophy. It attempts a rigorous and systematic application of realist film theory to the analysis of particular films, suggesting new ways forward for a new series of studies in cinematic realism, and for a new form of film theory based on realism. The book stresses the importance of the question of realism both in film studies and in contemporary life.

Coline Serreau
  • Brigitte Rollet
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • Coline Serreau is one of the most famous female French directors alive, not only in France but also abroad. This book is devoted not only to some relevant biographical aspects of Serreau's personal and artistic life, but also to the social, historical and political context of her debut. It deals with the 1970s' flavour of Serreau's work and more especially with the importance of politics. Taking intertextuality in its broadest sense, it assesses the strong literary influence on the tone, genre and content of Serreau's films and dramas. The book is concerned with the cinematographic genres Serreau uses. It provides a description and an analysis of Serreau's comedies, within the wider perspective of French comedies. The book also deals with the element of 'family' or community which is recurrent in Serreau's films and plays. During the 1980s, Serreau's career moved towards fiction, and she worked both for the cinema and the theatre. Serreau often underlines her family's lack of financial resources. The book considers the specificity of French cinema in the 1970s before analysing in more detail Serreau's first film. Serreau's work on stage and on big or small screens was strongly influenced by the political mood which succeeded May '68 in France. The book also discusses the idea of utopia which was the original theme of Serreau' first documentary and which is central to her first fiction film, Pourquoi pas!. Female humour and laughter cannot be considered without another powerful element: the motivation of often transgressive laughter.

The secret life of romantic comedy
  • Celestino Deleyto
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • Humour can be theorised as integral to the genre even if there are some films that do not provoke laughter. Romantic comedy has been described as a narrative of the heterosexual couple with a happy ending in which humour does not necessarily play an important part. The comic, protective, erotically-charged space is the space of romantic comedy. This book proposes a revised theory of romantic comedy and then tests its validity through the analysis of texts, but these films must not be expected to fully embody the theory. It proposes a change of approach in two different but closely linked directions. On the one hand, a comic perspective is a fundamental ingredient of what we understand by romantic comedy; on the other, the genre does not have a specific ideology but, more broadly, it deals with the themes of love and romance, intimacy and friendship, sexual choice and orientation. The book discusses two films directed by two of the most prestigious figures in the history of Hollywood comedy: Ernst Lubitsch and Billy Wilder. Lubitsch's To Be or Not to Be became part of the canon as one of the most brilliant comedies in the history of Hollywood in so far as its romantic comedy elements remained invisible. Wilder's Kiss Me, Stupid was almost universally rejected because its satire was too base, too obscene, too vulgar. Discussing Alfred Hitchcock's Rear Window and Woody Allen's Crimes and Misdemeanors, the book attempts to move beyond the borders of comedy.

Negotiating the auteur
  • Dominique Cabrera, Noémie Lvovsky, Laetitia Masson and Marion Vernoux
  • Julia Dobson
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • This book aims to provoke increased interest in the work of the four directors: Dominique Cabrera, Noémie Lvovsky, Laetitia Masson and Marion Vernoux, although some of their early works have become more difficult to access, most of their films remain commercially available through French distributors. The four directors are not new arrivals and began making films in the early 1990s, yet they have received scant critical attention in both popular and academic film criticism. They share similar profiles in terms of box office success, number of films made and generational affinities and, shorts and feature films in France. They make films that straddle boundaries of categorisation and therefore escape the quickly established and self-perpetuating groupings that serve as powerful frameworks for popular access via DVD distribution, critical canonisation and academic curricula. Whilst Cabrera attests her sanguine awareness of the discriminatory treatment of women in all areas of the film industry she rejects the suggestion that the process of her filmmaking is determined by sexual difference or a gendered creative identity, asserting provocatively. The book discusses Masson's use of romance and detective narratives to debunk the former and subvert the later. The career path of Lvovsky remains distinctive from that of other directors. Vernoux's oeuvre maintains a coherent focus on the modes of transgression present within the generic conventions of comedy and romance in films which exploit the common narrative device of the encounter to propel narratives and characters across social boundaries within a dominant generic focus on romantic comedy.

France, humanitarian intervention and the responsibility to protect
  • Eglantine Staunton
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • France has been a central actor in human protection, yet the existing literature has too often focused on Anglo-Saxon states or states that are wary of its development. In order to address this gap, this book provides an original and much-needed account of France’s relationship to human protection since the 1980s. It analyses a ‘tale of two norms’ using an innovative theoretical framework: The first is ‘France’s domestic norm of human protection’, and the second is the dominant international principle or norm of human protection at the time (chiefly humanitarian intervention in the 1990s and the responsibility to protect (R2P) in the 2000s). Through this ‘tale of two norms’, and also thanks to interviews with key actors such as Gareth Evans and Bernard Kouchner and analysis of fourteen case studies, the book reshapes our understanding of the development and influence of key principles and norms of human protection. It also corrects prevailing assumptions about France’s foreign policy and allows us to anticipate its future foreign policy more accurately. Last but not least, by showing how important it is to pay more attention to the interplay between domestic and international norms and building an innovative framework that can be used beyond the analysis of France and human protection, the book makes a key contribution to the literature on norms and International Relations theory more generally. The book is therefore an essential read for anyone interested in human protection, peace studies, France, foreign policy analysis, International Relations and norm diffusion.

Marcel Pagnol
  • Brett Bowles
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • One of the first commentators to attempt a balanced reassessment of Pagnol was Cahiers du cinéma founder André Bazin, who in his 1959 classic Qu'est-ce que le cinema? devoted a chapter to the filmmaker as part of an extended reflection on the links between theatre and cinema. Bazin broke new ground by rejecting the longstanding tendency to dismiss Pagnol's work as the cinematic recycling of theatrical convention and by recognising the value of subordinating image to speech. This book offers the first comprehensive, scrupulously documented, and unapologetically critical reading of Pagnol's cinema. It highlights his singular contribution to classic French film as an auteur and businessman while at the same time evaluating the larger cultural and aesthetic stakes of his movies. Rather than adopting a strictly chronological approach, the book traces the emergence of Pagnol's signature style in theatre and presents an epilogue that surveys the afterlife of his work in France since the mid-1970s. It discusses the definitive opening up of Pagnol's theatrically inspired cinema and his maturation from dramatic author into bona fide screen director. While Pagnol battled to defend and perfect his signature brand of cinématurgie, he simultaneously pursued an alternative production model that rejected both theatrical convention and contemporary film industry practice by shooting feature-length pictures on site in the Provençal countryside. The success of Pagnol's business model was unmatched in 1930s French cinema, offering industry insiders and the general public welcome proof that their nation could not only defend its unique cultural identity against Americanisation.

The new pornographies
  • Explicit sex in recent French fiction and film
  • Victoria Best, Martin Crowley
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • This book examines that body of recent French literary and cinematic productions which have been characterised by their reference to, use of, or complicity with the aesthetics, the codes, the tropes or the world of pornography, and which have made a significant cultural impact on the basis of this dimension. It considers the insistent heterosexuality of most contemporary pornographic citation, exploring a range of texts and films, and taking in the female perspective on the male and the male perspective on the female. The book discusses the work of Guillaume Dustan and Erik Remes, whose explicit representations of sexual activity intervene into debates about the place of gay and queer identities in contemporary France, particularly with reference to sexual practice in the light of the AIDS epidemic. The book explores the conflicted sexual space, considering the perspectives of men and women in turn, starting somewhat unconventionally with women's art. It addresses Catherine Breillat's work in terms of its relation to the pornographic. The book also explains that the homophobic dismissal of homosexuality, and its defiant, resistant assertion, sometimes rely on the figure of anality as a kind of shorthand for their arguments about the relationship between desire, productivity, anatomy, futurity, community, and so on. Michel Houellebecq's treatment of questions of gender, most especially the portrayal of women, including the discourses of misogyny and anti-feminism, is discussed. The book also looks at the concept of child pornography, romantic comedy, and the growing impact of independent cinema.

Georges Méliès
  • The birth of the auteur
  • Elizabeth Ezra
  • Published by:
    Manchester University Press
    Published online:
    14 March 2026
  • Georges Méliès is universally acknowledged to be an early film Pioneer. However, his work has often been dismissed as simplistic, both narratively and technically. This book primarily aims is to give an idea of the complexity and the modernity of his work. It also aims to dispel a number of myths about Méliès's contribution to film history. For a long time, Méliès's work was cited as the foremost example of 'primitive mode of representation'; films made before around 1906 were characterized by four traits. These are 'autarky and unicity of each frame', or framing that is selfcontained and unchanged throughout the scene; 'the noncentered quality of the image', or the use of the edges of the frame as well as the centre; 'consistent medium long-shot camera distance'; and the 'nonclosure' of the narrative. The book examines individual scenes of some of his films using a model of structural analysis designed for narrative films. It outlines the technical function of the major special effects, or trues, used by Méliès. The book also considers Méliès's treatment of the relationship between fantasy and realism, first by examining a selection of films that explicitly thematize representation, and then by discussing several of the actualités reconstituées. It examines the ways in which Méliès's films blur the boundary between realism and illusion, by examining first a selection of trick films. This examination is followed by several actualités reconstituées or early docu-dramas, culminating in an extended discussion of Méliès's most influential L'Affaire Dreyfus/The Dreyfus Affair.

Page 1367 of 67794