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The 1820s has commonly been overlooked in literary and cultural studies, seen as a barren interregnum between the achievements of Romanticism and the Victorian era proper, or, at best, as a time of transition bridging two major periods of cultural production. This volume contends that the innovations, fears and experiments of the 1820s are both of considerable interest in themselves and vital for comprehending how Victorian and Romantic culture wrote and visioned one another into being. Remediating the 1820s explores the decade's own sense of itself as a period of expansion in terms of the projection of British power and knowledge, but also its tremendous uncertainty about where this left traditional identities and moral values. In doing so, the collection articulates how specific novelties, transformations and anxieties of the time remediated and remade culture and society in manners that continue powerfully to resonate.
The Umayyad Empire (644-750 CE) was the first Islamic empire and one of the largest empires of ancient and medieval times, extending over 5,000 miles between the Atlantic Ocean in the West and the Indian Ocean in the East. This book traces the empire's origins to the Arabian Peninsula and the Syrian Steppe in the centuries before Islam. It explores the dynamics that shaped this formative era for the history of the Mediterranean, North Africa, the Middle East and Central Asia. The century of Umayyad rule witnessed war with the Eastern Roman Empire, against whom the Umayyads defined their claims to rule as God's deputies on Earth. This was the period in which the Qur'an was compiled, monuments such as the Dome of the Rock were built, and new Islamic and Arab identities developed.
The Gibb Memorial Trust, founded at the start of the twentieth century, comprised among its trustees some of the most celebrated and prominent orientalists of their day. Together, they sponsored and supported research on editing and translating Arabic, Persian and Turkish manuscripts on a range of subjects, from history, literature, geography and poetry to Sufism and the Islamic sciences. This volume covers the development of Middle Eastern and Islamic Studies over the last 120 years or so, as seen through the biographies of the leading scholars of the period.It opens with a short history of the Trust, before presenting a series of short biographical and often personal appreciations of these eminent Middle Eastern scholars of the past, written by existing trustees. In providing a history of this important institution, the book shines a light on the history and development of Middle Eastern and Islamic Studies in Britain more broadly.
This collection of essays provides a thorough and probing account of an author who is quickly becoming one of the most read, studied and taught contemporary writers, but whose work remains underrepresented in scholarship. It is broad and ambitious in scope, mirroring the richness of Ward's oeuvre, and it brings together a diverse and dynamic range of approaches that reflect the scholarly conversations in which Ward is embedded.
Since around 2000, there has been a noticeable upsurge in critical work on the visual archive of Atlantic slavery, resulting in a host of important studies. While most of these contributions are weighted towards images created during the era of slavery itself, some critics have adopted a more historically far-reaching approach, exploring the ways in which such images live on beyond the original context of their production, circulation and consumption, returning imaginatively in different forms at different times and in different places. This book shares the fascination with the afterlives which such visual materials have enjoyed, but places the accent on how that posterity has evolved in the realms of literature, especially poetry. It focuses on transactions between texts written between the mid-1990s and 2020 and images of slavery that belong to British, American and (in one case) French traditions, as produced between c. 1779 and 1939.
Derick Thomson was one of the most influential personalities of Gaelic Scotland in the twentieth century. His poetry counts among the best written in the language; he founded the most important modern Gaelic journal, Gairm, and was the force behind many ventures aimed at the preservation and development of Gaelic. He made major contributions to Gaelic studies as an academic subject and his publications are still indispensable to all working in the field. Thomson's vision of the Gaelic revival is characterised by high standards, organisational and economic shrewdness, openness to second-language users, and broad European outlook.
This is the very first book-length study devoted to Thomson and it explores his career within the context of the history of the Gaelic revival in Scotland and other minority-language movements in Europe.
This longitudinal study reveals how the conduct of political leaders has been central to the shortcomings of the Turkey's democratic system. The most prominent political leaders, from the birth of the Republic until today, have all displayed a desire to sustain their rule through authoritarian and undemocratic measures. This has ensured efforts to improve, strengthen and respect democratic institutions and practices have been weak or non-existent across the multi-party era. In turn, the chapters identify how the leaders' values, beliefs and practices underwritten by authoritarianism, have resulted in the tenuous existence of democracy, oscillating between simply enduring and failure during the periods they occupied the seats of political power. By looking at the Turkish experience, the book also offers comparative lessons and insights into the role political leaders play in the survival or failure of democracy.
Abstraction is one of the most important words in modernism and in the critical thought of modernity, yet its complex work is invariably hidden in plain sight. What do we want from abstraction? Does it refer to thought, or to art? Is it a term of reproach, or of affirmation? Beyond these distinctions, Jeff Wallace's new intellectual history of abstraction in modernism and modernity proposes that abstraction is always uniquely concerned with the importance and revaluation of the inhuman in and for the human. Wallace's case studies range across the writings of Raymond Williams and Paul Valéry, Marx and Marxist aesthetics, the discourse on abstract visual art in Cézanne, Kandinsky, Mondrian and Newman, the literary experimentalisms of Gertrude Stein, Wallace Stevens and Samuel Beckett, and the twenty-first century legacies of modernist abstraction in two forms: the post-Deleuzian resurgence of interest in the philosophies of William James, Henri Bergson and A. N. Whitehead; and the act of looking at the abstract canvas in plays by Yasmina Reza, John Logan and Lee Hall. Contrary to habitual associations of abstraction's difficulty with the exclusivity of high modernism, Wallace finds an inclusive and democratic impulse at the heart of the difficulty itself - the promise of an abstraction for all.
Ann Quin's innovative, versatile oeuvre made a vital contribution to 1960s and '70s British experimental writing. While contemporaries praised her vivid and energetic prose, a sustained and in-depth study of Quin has so far been absent from scholarly reassessment of this literary era. As the first comprehensive appraisal of her writing and life, this book redresses that critical neglect, aims to recuperate Quin as a key female experimental writer of the twentieth century, shows how the precarious possibility of her writing is its essential attribute, and demonstrates the lasting importance of her work. Its combination of scholarly analysis and archival expertise investigates her life, writing and forms of experimentation to convey precisely what is striking and significant about Quin.
This book is an account of how American realism in the Progressive Era contributed to debates about modernity. It uses the anthropological theories of Franz Boas, and Jacques Ranciere's work on aesthetics and politics to develop a mode of reading class and culture that challenges conventional interpretations that pit the two modes of representation in opposition. It paints a picture of the late-nineteenth century, prior to modernism, as an aesthetically exciting, original, and politically radical stage in American life to reinvigorate realism as a radical aesthetic practice, with implications for understandings of American literature both in the past and into the future.
A growing flow of visitors in the nineteenth century turned the Alhambra into a touristic destination and a major trope of Orientalism, created by Western authors and artists from François-René de Chateaubriand to Owen Jones and from Washington Irving to Jean-Léon Gérôme. Yet behind this Western infatuation lie scores of 'Oriental' observers of the monument, as revealed by its visitors' book, kept since 1829.
This book uses this untapped source to analyse the perceptions of the Alhambra by multiple actors, including Westerners, Spaniards, Maghrebines, Ottoman Turks, Christian Arabs and Muslim Arabs from the Mashreq. In doing so, it reveals the existence of significant variations in both Western and Oriental perceptions of the monument, from 'Oriental Orientalism' to Arab nationalism. Examining the contemporary press, memoirs, travelogues and photographs - as well as the visitors' book - it uses the Alhambra to build a history of the complex and entangled relations between East and West, North and South, Islam and Christianity, centre and periphery during the heyday of Orientalism and Western hegemony.
Displacement and Erasure in Palestine: The Politics of Hope explores the ways in which Palestinians negotiate physical and symbolic erasures by producing their own archives and historical narratives. With a focus on the city of Jaffa and its displaced Palestinian population, Noa Shaindlinger argues that the Israeli state 'buried' histories of mass expulsions and spatial appropriations. Based on a wide-variety of sources, this book brings together archival, literary, ethnographic and oral research to engage with ideas of settler colonialism and the production of history, violence and memory, refugee-hood and diaspora.
This multi-sited study traces Jaffa's refugee experience beyond 1948 to the West Bank and the diaspora in Toronto and Cape Town, re-inscribing the erased experience of Palestinians into an account of Israeli state practices of dispossession. By integrating rigorous archival research, ethnographic fieldwork, literary and spatial analysis, the book reveals Palestinian's (and their Israeli-Jewish allies') creative responses that challenge displacement and argue for their right to belong to their homeland and their city.
Mission, race and colonialism were three forces shaping Malawi's history during the early years of the twentieth century. These three found a concentrated meeting point in the life of Scottish missionary Alexander Hetherwick, who led Blantyre Mission from 1898 to 1928. This book presents a fresh assessment of this towering figure in Malawi's history, contesting the scholarly consensus that Hetherwick betrayed the early ideals of Blantyre Mission by compromising too much with the colonial system that was in force during his leadership. The book assesses the pervasive influence of colonialism, from which Hetherwick was not exempt, and traces the ways in which he resisted such influence through his relentless commitment to the interests of the African community and the inspiration he found in the emergence of the African church.
Readers encounter the environment through literature in ways not available to everyday perception. This is especially clear when a text integrates the grand vistas of what is known as the bird's-eye view. In this welcome contribution to the contemporary theoretical discussion about storied environments and non-human perceptions, David Rodriguez presents an original interpretation of the aesthetics of the view from above. Focusing on fiction by twentieth-century American writers including Willa Cather, Paul Bowles and Don DeLillo, Rodriguez skilfully combines ecocriticism, narrative theory and phenomenological approaches to literature to develop the term 'form of environment'. This theory of literary fiction foregrounds the environment not as setting or historical context, but as an equal agent with the human figures and scales that are normally the focus of literary analysis.
Although Elizabeth Gaskell was influenced by Mary Russell Mitford, and George Eliot by Gaskell, only a small number of scholars have considered the affinities and resemblances among all three writers of provincial fiction, and none have done so in depth. Establishing a chain of influence, this book considers Mitford, Gaskell, and Eliot's interrelated careers, including the challenges they encountered in achieving distinction within the literary sphere, and the various pressures exerted on them by publishers, reviewers, and editors. It also analyses the career-enhancing possibilities afforded by different modes of publication-including periodicals, anthologies, the three-volume novel, and monthly and bimonthly instalments-as well as their concomitant limitations. In so doing, the book offers a reassessment of Mitford's and Gaskell's provincial fiction, which has been frequently derided as a 'minor literature'. It also demonstrates the importance of their work to the development of Eliot's liberalism in the age of high realism.
Marcos Antonio Norris implements Giorgio Agamben's notion of 'secularized theism' to resolve a critical disagreement among Hemingway scholars who have portrayed the writer as either a Roman Catholic or a secular existentialist. He argues that Hemingway is, properly speaking, neither a secularist nor a theist, but a 'secularised theist', whose 'religion' is practiced through sovereign decision making, which, in its most extreme form, includes the act of killing. This book resolves an important debate in Hemingway studies and uncovers fundamental similarities between theism and atheism, building upon the theoretical undertaking first introduced by 'Agamben and the Existentialists' (EUP, 2021). Bringing Ernest Hemingway, Jean-Paul Sartre and Giorgio Agamben into close conversation, the author reconceptualises existentialism, issues a posthumanist critique of moral authoritarianism and advances an original interpretation of Hemingway as a secularised theist.
Gabriele D'Annunzio was an internationally renowned artist and one of the most prominent public figures in Italy in the late nineteenth and early twentieth centuries. His novels and poetry stirred the enthusiasm of James Joyce and Henry James in the English-speaking world and his repute stretched far beyond - in France, Austria-Hungary, Russia, Japan and South America, D'Annunzio became a pivotal node in the broad networks of decadent exchange. This volume offers an overview of the global dynamics of D'Annunzio's work, from his engagement with multilingualism and translingual writing to the international circulation and reception of his production. Featuring chapters by international scholars, it re-evaluates D'Annunzio with a critical eye and a transnational scope and offers a global assessment of the place that Dannunzian decadence holds in the constitution of a conflicted movement - one that is profoundly cosmopolitan and yet also problematically nationalistic.
In October 1978, a day that started like any other for Ali Mirsepassi - full of anti-Shah protests - ended in near death. He was stabbed and dumped in a ditch on the outskirts of Tehran for having spoken against Khomeini. In this account, Mirsepassi digs up this and other painful memories to ask: How did the Iranian revolutionary movement come to this? How did a people united in solidarity and struggle end up so divided?
In this first-hand account, Mirsepassi deftly weaves together his insights as a sociologist of Iran with his memories of provincial life and radical activism in 1960s and 1970s Iran. Attentive to the everyday struggles Iranians faced as they searched for ways to learn about and make history despite state surveillance and censorship, The Loneliest Revolution revisits questions of leftist failure and Islamist victory and ultimately asks us all to probe the memories, personal and collective, that we leave unspoken.
Walcott's lifelong concern with painting and painters deeply inflected his aesthetics and politics. Walcott's interventions on the relationship between Caribbean and colonial history have been thoroughly scrutinised, but, arguably, Walcott was also keen to address and (re)write an art history 'of which,' paraphrasing a line from 'Omeros', the Caribbean 'too' was/is 'capable'. Contextualising and putting in conversation Walcott's published and unpublished writings (poems, plays, essays, journalism) and his drawings or paintings (privately owned and publicly disseminated) with specific artists from the Caribbean, Europe, South and North America, Derek Walcott's Painters recalibrates and sharpens our understanding of Walcott's articulation of his own politics and poetics and of the Caribbean's contributions to Atlantic and global culture.
This book focuses on the transitional period in late Koryŏ and early Chosŏn dynasty Korea from the 1270s until 1506, situating the Korean peninsula in relation to the neighbouring Mongol Empire and Ming Dynasty China. During this period, Korean statesmen expanded their influence over people and the environment. Human-animal relations became increasingly significant to politics, national security, and elite identities. Animals, both wild and domestic, were used in ritual sacrifices, submitted as tax tribute, exchanged in regional trade, and most significantly, hunted. Royal proponents of the hunt, as a facet of political and military legitimacy, were contested by a small but vocal group of officials. These vocal elites attempted to circumscribe royal authority by co-opting hunting through Confucian laws and rites, either by regulating the practice to a state ritual at best, or, at worst, considering it a barbaric exercise not befitting of the royal family. While kings defied the narrow Confucian views on governance that elevated book learning over martial skills, these tensions revealed how the meaning of political power and authority were shaped. Attention to animals and hunting depicts how a multiplicity of cultural references - Sinic, Korean, Northeast Asian, and steppeland - existed in tension with each other and served as a battleground for defining politics, society, and ritual. Kallander argues that rather than mere resources, animals were a site over which power struggles were waged.