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This Element explores the relation between historiography and testimony as a question about what it means to know and understand the past historically. In contrast with the recent rapprochement between memory accounts and history in historical theory, the Element argues for the importance of attending to conceptually distinct relations to past actions and events in historical thinking compared with testimony. The conceptual distinctiveness of history is elucidated by placing historical theory in dialogue with the epistemology of testimony and classical philosophy of history. By clarifying the rejection of testimony inherent in the evidential paradigm of modern historical research, this Element provides a thoroughgoing account of the ways in which historical knowledge and understanding relates to testimony. The argument is that the role of testimony in historiography is fundamentally shaped by the questioning-activity at the core of critical historical research. This title is also available as Open Access on Cambridge Core.
This Element analyses how Kant's practical philosophy approaches social suffering, while also taking into account the elusiveness of this concept in his work, especially when viewed through a contemporary lens. It claims that Kant's theory of human dignity is a vital tool for detecting social structures in need of improvement, even if the high demands it imposes on the subject show a propensity to conceal situations of domination and oppression. In his writings, Kant investigated various societal challenges such as widespread poverty, duties towards animals, care for the mentally ill, and motherhood out of wedlock, suggesting that the state should solve most of these through financial support from the wealthier segments of society. Although the direct testimony of victims of social suffering does not play a role in Kant's approach, the author holds that he views social interdependence – including, notably, non-humans – as a fundamental commitment underpinning human development.
This Element examines the roles and activities of women and their contributions to the Platonic tradition from Plato's time-fourth century BCE- through to the sixth century CE. Drawing on recent research on female agency, gender studies and the connections between ancient philosophy and religious traditions, this Element re-assesses the multi-faceted roles of women within Platonism. Methodologically, any assessment of ancient women philosophers must consider the contexts of the production, transmission and (partial) survival of the range of evidence attesting to their activities, and the historical minimisation or elision of women's intellectual contributions within the western philosophical tradition, science and the academy. As such, this Element argues that the existing evidence allows us to glimpse a much wider pattern of female philosophical and intellectual activity within the Platonic tradition and that we should be careful not to underestimate or minimise the significance of ancient women within the history of Platonism.
Crime fiction first emerged in the Victorian era and its series form continues to dominate the genre. Despite the prevalence of crime series, very little research has been done on how character is conceived. The Element's focus is contemporary, from the 1970s onward, and it determines the theory and conventions behind writing the detectives in these modern meganarratives. Exemplary series and a range of subgenres are analysed, thriller to cosy crime, professional investigator to amateur sleuth, embracing diversity and different gender identities. Previous examinations have tended to interpret the detective figure as either mythic or realist, but the author argues that both modes are combined in the contemporary crime series, generating a mythorealist protagonist. This creative-critical Element celebrates the vibrancy of the form and its capacity to investigate the human condition. It also considers future trends and concludes with the author's own guide to writing a crime fiction series.
Japan's Takarazuka Revue is arguably the most commercially successful all-female theatre company in the world. Renowned for its glamour-laden staging of musicals and revues, the company's signature shows are heterosexual Western romances where women play both male and female roles. Since its audience consists almost entirely of women, Takarazuka creates a space for queer intimacy between performers and ardent female fans. This Element analyses the recent experimental show, The Poe Clan, directed by Koike Shūichirō, which portrays a male homoerotic relationship, argued as a façade for a queer, kin-like relationship between women. It also explores works by the female director Ueda Kumiko, which depict an anti-capitalist shared commons for female intimacy. These shows exhibit resistant girls' aesthetics, expressed in the company's two-dimensional performance style.
Despite unprecedented opportunities to publish content in accessible formats, most books remain inaccessible to people with print disability. Technological advances and new legal frameworks are creating a transition toward inclusive publishing practices, but systemic barriers continue to limit equitable access to books for millions of individuals worldwide. Scholarship has also moved slowly, leaving a significant gap in our understanding of the strategic, technological and ethical dimensions of inclusive publishing. This Element offers the first holistic examination of this landscape, and argues for the need to move away from ad hoc remediation of books towards the commercial production of 'born-accessible' content. Through policy research, industry case studies, and strategic partnership mapping, it critically examines the rationale, implementation, and potential of inclusive publishing. By articulating both business imperatives and social responsibilities, it proposes a transformative framework for understanding accessibility that offer valuable insights for researchers, industry professionals, and advocacy groups.
Hieratic was the most widely used script in ancient Egypt, but is today relatively unknown outside Egyptology. Generally written with ink and a brush, it was the script of choice for most genres of text, in contrast to hieroglyphs which was effectively a monumental script. The surviving papyri, ostraca and writing boards attest to the central role of hieratic in Egyptian written culture, and suggest that the majority of literate people were first (and not infrequently only) trained in the cursive script. This Element traces the long history of hieratic from its decipherment in the nineteenth century back to its origins around 2500 BC, and explores its development over time, the different factors influencing its appearance, and the way it was taught and used.
The philosophy of linguistics reflects on multiple scientific disciplines aimed at the understanding of one of the most fundamental aspects of human existence, our ability to produce and understand natural language. Linguistics, viewed as a science, has a long history but it was the advent of the formal (and computational) revolution in cognitive science that established the field as both scientifically and philosophically appealing. In this Element, the topic will be approached as a means for understanding larger issues in the philosophy of science more generally.
The Penguin Modern Painters (1944–1959) was a groundbreaking series of British art monographs designed to promote the work of contemporary artists to a general readership. In examining the factors that influenced the wartime conception and development of the series, this Element makes a contribution to the understanding of the relationship between publishing and the visual arts during the Second World War. The study argues that the emergence of The Penguin Modern Painters was inextricably linked to the aims of British wartime cultural policy and the ideology of the pre-war adult education movement. The key personalities involved are identified and their multiple and often conflicting motives analysed to provide new insights into the shifting perspectives of Britain's elites regarding the way that art was presented to the public in the 1940s. This Element provides a foundation on which further study of twentieth-century art publishing in Britain might be developed.
Creation myths in the ancient Middle East served, among other things, as works of political economy, justifying and naturalizing materially intensive ritual practices and their entanglements with broader economic processes and institutions. These rituals were organized according to a common ideology of divine service, which portrayed the gods as an aristocratic leisure class whose material needs were provided by human beings. Resources for divine service were extracted from the productive sectors of society and channeled inward to the temple and palace institutions, where they served to satiate the gods and support their human servants. This Element examines various forms of the economics of divine service, and how they were supported in a selection of myths – Atraḫasis, Enki and Ninmaḫ, and Enūma Eliš from Mesopotamia and the story of the Garden of Eden from the southern Levant (Israel).
The last twenty years have witnessed a 'social turn' in analytic philosophy. Social epistemology has been crucial to it. Social epistemology starts by repudiating the kind of individualistic epistemology, which, since Descartes' Meditations and through Kant's maxim 'Think for yourself', has dominated philosophy. It is a sign of the deep erasure of Wittgenstein's ideas from many debates in analytic philosophy that neither his views against fundamental tenets of individualistic epistemology, nor his positive contribution to key themes in social epistemology are considered.This Element on Wittgenstein and Social Epistemology is the first comprehensive study of the implications of the later Wittgenstein's ideas for key issues at the core of present-day social epistemology, such as the nature of common sense and its relations to common knowledge; testimony and trust; deep disagreements in connection with genealogical challenges; and the meaning of 'woman' and the role of self-identification in the determination of gender.
Pseudoscience includes any practice or argument that is presented as scientific but systematically violates criteria that distinguish science, particularly experimental verification. This Element discusses, in critical fashion, different ideas and approaches that combine pseudoscience and Islam. It begins by historically reconstructing the debate on Islam-related pseudoscience developed by Muslim and non-Muslim critics. It then analyzes three areas which these critics have identified as pseudoscience: iʿjāz ʿilmī or the “miraculous scientific content of the Qur'an”; Islamic creationism; ideas and approaches related to hygiene, nutrition, health, and illness. Each area is dissected, identifying the exact reasons that characterize some of its versions as pseudoscientific. After a section discussing other malpractices and erroneous approaches, which do not strictly qualify as pseudoscience but accompany and foster it, the Element ends with the discussion of overarching questions constituting an agenda for future discussions of Islam-related pseudoscience.
Zoroastrianism is a religion with a long history, but it has been comparatively neglected by contemporary philosophers. This Element aims to bring aspects of its long intellectual history into conversation with contemporary Anglo-American philosophy. Section 1 provides an introduction to Zoroastrianism and its history, some of the important texts, and some contemporary philosophy engaged with Zoroastrian themes. Section 2 discusses distinctive contributions Zoroastrian thought can make to the problems of evil and suffering. And Section 3 discusses a 'quasi-universalist' approach to puzzles about heaven and salvation, inspired by Zoroastrian theological texts. This title is also available as Open Access on Cambridge Core.
Magic and Heresy in Ancient Christian Literature is a genealogical study of two parallel but not coequal discursive trajectories: of 'magic' and of 'heresy.' This longue durée analysis charts how these two discursive streams intersect in myriad ways, for myriad ends, across the first four centuries of selected Christian literature. Magic and Heresy attempts to answer in part the question: When and how did early Christian authors start thinking of magic as heresy – that is, as a religious and epistemic system wholly external to their own orthodoxies? Prompted by metacritical concerns about the relationship between magic and heresy, as well as these categories' roles in erecting and maintaining Christian empire, this Element seeks to disrupt tidy conceptual conflations of magic-heresy constructed by ancient authors and replicated in some modern scholarship. Magic and Heresy excavates the cycles of discursive disciplining that eventually resulted in these very conflations.
This Element presents an integrated account of psychodrama theory, practice, and research. It begins by exploring psychodrama's psychosocial roots and emphasizes Jacob Levy Moreno's pioneering work. Core concepts such as spontaneity, creativity, adaptability, encounter, act-hunger, action insight, and act fulfillment are discussed in detail. This is followed by an overview of psychodrama practice, including session structure, core techniques, and a positive psychodrama intervention program. Five research designs for outcome studies are presented, along with key issues such as bias assessment, treatment fidelity, treatment differentiation, feasibility, and acceptability in psychodrama research. Change process research is reviewed in light of the latest evidence and methods, highlighting eleven therapeutic change factors in psychodrama and discussing concepts such as moderation, mediation, and mechanisms of change. The final section addresses future directions, including nonverbal synchrony and physiological and neurobiological pathways in psychodrama research. This title is also available as Open Access on Cambridge Core.
The Fabric of War traces the rich history of flags and banners in Renaissance Europe through a critical analysis of the cultural, ideological, material, and artistic histories of these complex and ubiquitous objects. It examines banners as numinous textiles that animated and adorned battle, energized and embellished armies, constructed and celebrated victory. Though flags are often investigated as mere symbols to be deciphered – as heraldic code revealing identity – they were vibrant and charismatic textiles whose mutability, movement, and multivalency constituted their appeal and salience. Banners propelled their viewers not only to decipher or identify, but to act.
Deep maps capture complex relationships to place and help trace the relationship between the abstract spaces of traditional maps and the cultural and literary history of the places that they represent. Using early modern Ireland as a template, this Element explores how deep-mapping techniques and a decolonial data ethic can be used to assemble a more culturally and linguistically representative archive and create more inclusive literary histories. It shows how deep mapping can disrupt colonial teleology and counter the monophone (and, specifically, anglophone) colonial record by bringing the long-neglected voices of the colonised back into the conversation. In doing so, it recovers a pre-conquest cultural vibrancy which colonisation, the language shift from Irish to English, and scholarly inattention successively occluded. More broadly, it offers a model for engaging with decolonial literary deep maps by developing reading strategies for 'juxtapuntal' reading that has the potential to decolonise the canon.
Little has been written about Suzanne Beckett, née Déchevaux-Dumesnil (1900–1989). As Samuel Beckett's lifelong companion, she found herself in a peculiar quandary, owing to the amounts of support required by Beckett's unease with success and with the business of writing, and owing to her deep awareness of the damage that fame can cause to everyday life, friendships, and freedom. This Element offers the first full portrait of this elusive figure. It contextualises the texts she wrote under the name Suzanne Dumesnil, emphasises the significance of her artistic and literary accomplishments, and discusses her steady labour, her uncompromising discretion, and her profound reluctance to ever become a public figure as Beckett's wife.
This Element brings together the problems of economic calculation, institutional diversity, and institutional feasibility, arguing that these themes are deeply interconnected and mutually reinforcing. Building on recent developments in institutional theory, political economy, social philosophy, and logical analysis, the Element revisits the classic debates surrounding alternative economic and governance systems. The discussion is organized around three core elements: (1) an overview of recent developments in institutional theory and social philosophy, that driven by technological advances have revitalized debates on alternative economic and governance systems; (2) a reexamination of the economic calculation debate, tracing its evolution from Austrian economics to a broader theoretical synthesis incorporating institutional political economy and conflict theory; and (3) a discussion of the formal, logical, and philosophical foundations for thinking about feasibility and realizability, offering analytical tools for evaluating the plausibility of institutional alternatives within specific historical and social contexts.
Given the many environmental crises facing the planet, we need to use all tools to address them, including Shakespearean theatre. This Element explains why Shakespeare is well-positioned to be an eco-playwright, how theatre-makers can adapt his plays to matter now, and how to make more ecological the many processes of Shakespearean theatre, from set design to performing outdoors. The co-authors are both directors, and conversations between them about their recent eco-productions of The Tempest for the Royal Shakespeare Company and A Midsummer Night's Dream for Shakespeare in Yosemite (California) give clear examples of both the why and how of eco-theatrical Shakespeare.