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This book addresses the intriguing incongruity between naming Charles Robert Maturin as a 'well-known' author of the Romantic period and the lack of any real critical analysis of his works in the past thirty years. The central thesis of the book is that Maturin's novels provide the key to a new understanding of Irish national fiction as a peculiarly haunted form of literature. Specifically, it argues that Maturin's too often overlooked body of fiction forcefully underscores the haunting presence of the past and past literary forms in early nineteenth-century Irish literature. It is a presence so often omitted and/or denied in current critical studies of Irish Romantic fiction. The book represents a project of ghost-hunting and ghost-conjuring. It investigates the ways in which Maturin's fourth novel attempts to build on the ruins of the Irish nation by describing the fissures produced by religious sectarianism in the country. The book makes use of the rarely consulted correspondence between Maturin and the publisher Archibald Constable. It does this to emphasise the manner in which Maturin's completion of his novel, Melmoth the wanderer was at all times crowded by, and, indeed, infiltrated with, his work on competing texts. These include books of sermons, Gothic dramas, short stories, and epic poems interspersed with prose narrative.
This book offers a new interpretation of the debates over education and politics in the early years of the French Revolution. This period witnessed a series of amazingly ambitious efforts to reform and reinvent the nation's political institutions, cultural politics, and social order. Deputies, political commentators, and private citizens alike recognized that reinventing French politics and transforming French society would require rethinking the principles and practices of education. The book aims to recapture the dynamism of this polyvalent debate and to flesh out the ambitions and dilemmas that gave it meaning during this most turbulent of historical moments. It traces an ambivalent strain in Enlightenment thought on education, a deep tension at the point of contact between seemingly limitless philosophical possibilities and the apparent limitations imposed by political and social realities. The book analyses the debate over education amid broader concerns about the nature and efficacy of representative government and the nascent idea of "public instruction" from its emergence as a revolutionary ambition through efforts to fulfill the constitutional promise of national education. It argues for a new understanding of "public instruction" as a pedagogical and political ideal and, with that, a revised sense of education's role in regenerating France and in working towards a representative and participatory system of government. The book also focuses on letters and proposals submitted by people affiliated or associated with the schools and related institutions. Finally, it surveys the changes the "education question" took on an explicitly republican form after September 1792.
Over recent years, the relationship between humanitarians and the military has become especially controversial. Concerns over inefficient and duplicated assistance programs and the compromised security of relief workers have been regularly highlighted. Many point to ongoing tensions and polarized positions that seem to leave NGOs a stark choice between “neutrality” and co-option. Using Afghanistan as a case study, this book analyses this apparent duality. It puts forward five basic arguments. First, the history of the relationship extends prior to the birth of modern humanitarianism. Second, inter-organizational friction is common between groups and it does not always have a detrimental impact. Third, working with the military does not necessarily create more dangerous situations for NGOs. Fourth, humanitarian principles are not a fixed set of propositions, but evolve according to temporal and situational context. Finally, humanitarians are generally not co-opted, but rather willingly take part in political-military endeavors. In all, it is suggested that NGOs tend to change their policies and actions depending on the context. The book thus transcends the simple “for” or “against” arguments, leading to a more refined understanding of the relationship between NGOs and the military.
Italy's declaration of war on Britain in June 1940 had devastating consequences for Italian immigrant families living in Scotland signalling their traumatic construction as the 'enemy other'. This book takes a case study of a long-established immigrant group and explores how notions of belonging and citizenship are undermined at a time of war. The experiences of the Italian population in Britain during World War Two illuminate the complex and diverse ways in which ethnicity interacts with a sense of belonging to a nation at a time of conflict. There is a tendency within leading British Italian texts to portray the Italians as somehow immune from the difficulties faced by other ethnic minority groups. This book looks at the role of the Fasci all'estero, clubs set up by Benito Mussolini's regime in order to 'fascistise' Italian diasporic communities in the inter-war period. It shows how the wartime configuration of Italians as the 'enemy within' served to dramatically reinforce a sense of 'otherness' and not 'belonging' already prevalent amongst the children of Italian immigrants. The book also offers a critical overview of current representations of Italian internment in Britain, in particular the ways in which the rhetorical device of 'Collar the lot!' is utilised to give the misleading impression that 'all' Italians were interned. The impact of the government's policy of relocating Italian women from coastal regions, the narratives of the Pioneer Corps, and the Italians' declarations of alienage are also discussed.
Adjusting the contrast National and cultural identity, ethnicity and difference have always been major themes within the national psyche. People are witnessing the rise and visibility of far-right politics and counter-movements in the UK and USA. Simultaneously, there is an urgent need to defend the role of public service media. This book emerges at a time when these shifts and conjunctures that impact on and shape how 'race' and racial difference are perceived. They are coinciding with rapidly changing media contexts and environments and the kinds of racial representations that are constructed within public service broadcasting (PSB), specifically the BBC and Channel 4. The book explores a range of texts and practices that address the ongoing phenomenon of race and its relationship to television. Policies and the management of race; transnationalism and racial diversity; historical questions of representation; the myth of a multicultural England are also explored. It interrogates three television primarily created by women, written by women, feature women in most of the lead roles, and forcefully reassert the place of women in British history. The book contributes to the range of debates around television drama and black representation, examining BBC's Shoot the Messenger and Top Boy. Finally, it explores some of the history that led to the belated breakthrough of Black and Asian British comedy. The book also looks at the production of jokes about race and colour prior to the 1980s and 1990s, and questioning what these jokes tell us about British multiculturalism in this period.
This book explores the aspirations and tastes of new suburban communities in interwar England for domestic architecture and design that was both modern and nostalgic in a period where homeownership became the norm. It investigates the ways in which new suburban class and gender identities were forged through the architecture, design and decoration of the home, in choices such as ebony elephants placed on mantelpieces and modern Easiwork dressers in kitchens. Ultimately, it argues that a specifically suburban modernism emerged, which looked backwards to the past whilst looking forward to the future. Thus the inter-war 'ideal' home was both a retreat from the outside world and a site of change and experimentation. The book also examines how the interwar home is lived in today. It will appeal to academics and students in design, social and cultural history as well as a wider readership curious about interwar homes.
David Livingstone's Zambesi expedition marked the beginning of an ongoing series of medical exchanges between the British and Malawians. This book explores these entangled histories by placing medicine in the frameworks of mobilities and networks that extended across Southern Africa and beyond. It argues that mobility was a crucial aspect of intertwined medical cultures that shared a search for therapy in changing conditions. The Malawi mission stations were the first permanent sites in which Western medicine was made available to Africans. Livingstonia's medical practice began in Cape Maclear in 1875, moved to Bandawe in the early 1880s and expanded to Ngoniland and north Lake Malawi. Lacking effective therapies to deal with the high levels of ill health and morbidity that plagued them, Europeans sometimes sought out cures and protection from indigenous African, Asian and American healers, many of whom were women. The lay practice of 'doctoring' African employees with elements of trickery continued into the later colonial period. Medical middles were among the most mobile individuals in colonial Southern Africa, moving as they did between mission, government and private sector employment, and across local and regional boundaries. The Second World War brought about major changes in the types of antimalarials available in the Nyasaland Protectorate and the wider empire, as quinine became a scarcer resource and new synthetic anti-malarials became more available. Western medicine became recognised as one resource among others in a pluralistic medical culture, but African medicine, for Europeans, became mainly an object of ethnographical and anthropological interest.
In the late 1960s and 1970s, women artists in the United States and Britain began to make texts and images of writing central to their visual compositions. This book explores the feminist stakes of that choice. It analyses how Adrian Piper, Nancy Spero, and Mary Kelly worked with the visual dimensions of language to transform how women are perceived. To illuminate the specific ways in which these artists and writers contribute to the production of a feminist imaginary, Part I charts the correspondences between the artwork of Piper and the writings of Davis. It analyses the artwork she created in the late 1960s and 1970s, when she began using text to create artwork that moves between what Piper identifies as 'the singular reality of the "other."' Davis's writing exposes the fictions animating projections that the black female body is perceived to be a malleable ground upon which fears and fantasies can take visual form. Part II focuses on aggression and traces how its repression plays out across Spero's Codex Artaud and Solanas's SCUM Manifesto. It argues that in Post-Partum Document, texts and pieces of writing become fetish objects that Kelly arranges into visual and linguistic 'poems' that forestall a confrontation with loss. Part III demonstrates that the maternal femininity thought to naturally inhere in woman is also restricted and muffled, quite efficiently repressing the possibility that women could address each other across maternal femininity's contested terrain.
There is a widespread view that local democracy in Britain is in deep trouble and that people face a crisis of civic engagement and political participation. This book counterweighs the many negative accounts that seek to dominate the political discourse with talks on political apathy and selfish individualism. It commences with an examination of theoretical debates as to the meaning of local democracy and related concepts. The book looks at the policy agenda around local democracy in the context of the developing nature of central/local relations since 1979. It considers the available evidence on level of political participation and civic engagement by looking at eight themes. These include the state of formal politics, forms of civic engagement, community identity and the emerging world of the internet/world wide web. The book also looks at nine key aspects of the reform of local democracy over the last fifteen years, including local democracy and the New Labour reform agenda; the constitutional position of local government; and double devolution. It focuses on the so-called 'crisis of formal democracy' at the local level. The book ascertains the recent developments beyond the realm of elections, political parties and formal political institutions. It then concentrates on local services and policy attempts to widen public participation in the shaping and delivery of such services. Finally, the book discusses the concept of sustainability and regeneration strategies to build sustainable communities, both physical and social.
This book is about the British film director Terence Fisher. It begins by setting the context by detailing Fisher's directorial debut to Hammer's horror production and the importance of the Hammer horror to Fisher's career. Hammer's horror production represents one of the striking developments in post-war British cinema. The book explains some professional and industrial contexts in which Fisher operated and shows how these relate both to the films he made and the way in which these films have been judged and valued. It presents a detailed account of The Astonished Heart, Fisher's sixth film as director, highlighting the benefits and some of the problems involved in thinking about Fisher's career generally in its pre-horror phase. The successful Hammer film, The Curse of Frankenstein, both inaugurated the British horror boom and established Fisher as a film-maker whose name was known to critics as someone who specialised in the despised horror genre. After The Curse of Frankenstein, Fisher became primarily a horror director. The book presents an account of the highs and lows Fisher faced in his directorial career, highlighting his significant achievements and his box-office failures. It also shows Fisher as a director dependent on and at ease with the industrial and collaborative nature of film-making. In a fundamental sense, what value there is in Terence Fisher's work exists because of the British film industry and the opportunities it afforded Fisher, not despite the industry.
This book offers introductory readings of some of the well-known and less well-known feature productions coming out of Australia since the revival in the national film industry at the end of the 1960s. The interpretations of the texts and the careers of their makers are considered in relation to the emergence of an indigenous film culture and the construction of national identity. The majority of the films examined in the book have had theatrical or video releases in the UK. The independent development of several indigenous film genres has been an important feature of recent production, and helped to punctuate and bracket the streams of feature production that have evolved since 1970. These Australian genres have been identified and evaluated (the Australian Gothic, the period film, the male ensemble film) and are worthy of consideration both in their own right and in their intersection with other conventionalised forms. These include science fiction, fantasy and horror in comparison with the Gothic, the heritage film and literary adaptation in connection with the period film, and the war film and rite of passage in relation to the male ensemble. More recently, an aesthetic and thematic trend has emerged in the examples of Strictly Ballroom, The Adventures of Priscilla, and Muriel's Wedding, which foregrounds elements of the camp, the kitsch and the retrospective idolisation of 1970s Glamour. Such chronological, stylistic and thematic groupings are important in the interpretation of national filmmaking.
Lady Anne Clifford was Countess of Pembroke, Dorset and Montgomery by marriage, and by birth Baroness Clifford. Anne began her life with the expectation that she would live the typical and prescribed life of a seventeenth-century aristocratic woman - marrying into an important family. With the death of her brother Robert in 1591, the one-year-old Anne became sole heir of the vast Clifford hereditary estates in Westmorland and north-west Yorkshire. However, her status as heir was soon compromised by her father, who began legal manoeuvres to place his own brother Francis as heir. This and George Clifford's infidelities led to great strains in his marriage to Margaret Russell, which Anne describes in detail in the 1603 Memoir. George Clifford died in 1605 and by his will left some hereditary estates to his brother Francis Clifford. The will stipulated that, should his brother leave no direct male heirs, his daughter Anne would inherit these estates. Margaret Russell refused to accept the will and this ignited an inheritance dispute that would last for decades, with repercussions that rumbled on for over a century. Anne's mother led the battle to regain her daughter's inheritance in the early years of the lawsuit. Anne Clifford lived during the reigns of four monarchs and two heads of state in her long life of eighty-six years. She experienced exile and isolation as well as great political power. Anne Clifford's surviving autobiographical writing reveals her deep commitment to maintaining a record or account of her life.
This book investigates the functioning of Gothic clothing as a discursive mechanism in the production of Gothic bodies. It presents the debates surrounding the fashion for decolletage during and immediately following the French Revolution, linking these discourses with the exposure of women's bodies in Gothic fiction. The popularisation of the chemise-dress by Marie Antoinette, and the subsequent revival of the classical shift by the women of the Directory, inflected the representation of female Gothic bodies in this period with political rhetoric. The book examines the function of clothing in early to mid-Victorian Gothic. It suggests that the Gothic trappings of veil and disguise take on new resonance in the literature of the period, acquiring a material specificity and an association with discourses of secrecy and madness. The book also investigates a nexus of connections between dandies, female-to-male crossdressing, and monstrosity. It then traces the development of the female doppelganger in the twentieth century, according to the ideologies of femininity implicated in contemporary women's magazines such as Cosmopolitan. In a world where women are encouraged to aspire towards an ideal version of themselves, articulated through fashion and lifestyle choices, the 'single' girl is represented as a problematically double entity in Gothic texts. The book examines the revival of Gothic style in the fashions of the 1990s. Gothic fashion is constantly revisited by the trope of the undead, and is continually undergoing a 'revival', despite the fact that according to popular perception it has never really died in the first place.
This book examines lay religious culture in Scottish towns between the Black Death and the Protestant Reformation. Part I looks at what the living did to influence the dead and at how the dead were believed to influence the living in turn. It shows that the living and the dead shared a reciprocal relationship of obligation and assistance, and that the bonds between the two groups were especially strong when they involved blood or guild kinship. Part II considers the overlapping communities in Scottish towns where people could personalize religious expression in a meaningful social context. Part III focuses on the period between 1350 and 1560 as one of disruption and development. It assesses weaknesses in the Scottish ecclesiastical structure and instances of religious dissent, and then it considers the Scottish Church’s response to these challenges. Two main arguments run through the book. The first is that most laypeople in Scottish towns continued to participate in orthodox Catholic practices right through to the mid-sixteenth century. The second major argument is that Catholic religious practices in Scottish towns underwent a significant shift between 1350 and 1560. This shift, which is most easily perceived when Scotland is considered within the broader European transition from the medieval to the early modern period, brought with it a kind of pre-Reformation reformation in religious practice.
This book is a study of cultural memory in and of the British Middle Ages. It works with material drawn from across the medieval period – in Old English, Middle English and Latin, as well as material and visual culture – and explores modern translations, reworkings and appropriations of these texts to examine how images of the past have been created, adapted and shared. It interrogates how cultural memory formed, and was formed by, social identities in the Middle Ages and how ideas about the past intersected with ideas about the present and future. It also examines how the presence of the Middle Ages has been felt, understood and perpetuated in modernity and the cultural possibilities and transformations this has generated. The Middle Ages encountered in this book is a site of cultural potential, a means of imagining the future as well as imaging the past.The scope of this book is defined by the duration of cultural forms rather than traditional habits of historical periodization and it seeks to reveal connections across time, place and media to explore the temporal complexities of cultural production and subject formation. It reveals a transtemporal and transnational archive of the modern Middle Ages.
Classical mechanics provided the conceptual and methodological foundations of neoclassical economics, which has its roots in economic individualism. Since the early twentieth century, statistical mechanics has underpinned a lesser-known approach to economics and finance, one that focuses on aggregates and the interactions between individuals. This has led to the emergence of a new field of research, known as econophysics, which brings to the fore concepts such as emergent properties, power laws, networks, entropy, and multifractality, thereby reshaping economic enquiry.
Jeff Wall and Ian Wallace’s rejection of ‘home’ and ‘homeland,’ and the primacy of the manifesto as an important polemical tool in framing one’s work, are explored in Chapter 3 in relation to Wall’s art history master’s thesis on the Berlin Dada group, which established “myth” as an anti-critical cultural practice that was broadly applied to much of the cultural activity then active in Vancouver. Vancouver’s seeming “lack of history,” the existence of back-to-the-land intentional communities living outside of the urban centre, the proliferation of other performance and media based art groups, and the influence of visiting American artist Robert Smithson’s earthworks are all examined as cultural expressions deemed a-historical or romantic by photo-conceptualists.