Informed by theories of the visual, knowledge and desire, The Postcolonial Eye is about the 'eye' and the 'I' in contemporary Australian scenes of race. Specifically, it is about seeing, where vision is taken to be subjective and shaped by desire, and about knowing one another across the cultural divide between white and Indigenous Australia. Writing against current moves to erase this divide and to obscure difference, Alison Ravenscroft stresses that modern Indigenous cultures can be profoundly, even bewilderingly, strange and at times unknowable within the terms of 'white' cultural forms. She argues for a different ethics of looking, in particular, for aesthetic practices that allow Indigenous cultural products, especially in the literary arts, to retain their strangeness in the eyes of a white subject. The specificity of her subject matter allows Ravenscroft to deal with the broad issues of postcolonial theory and race and ethnicity without generalising. This specificity is made visible in, for example, Ravenscroft's treatment of the figuring of white desire in Aboriginal fiction, film and life-stories, and in her treatment of contemporary Indigenous cultural practices. While it is located in Australian Studies, Ravenscroft's book, in its rigorous interrogation of the dynamics of race and whiteness and engagement with European and American literature and criticism, has far-reaching implications for understanding the important question of race and vision.
Informed by theories of the visual, knowledge and desire, The Postcolonial Eye is about the 'eye' and the 'I' in contemporary Australian scenes of race. Specifically, it is about seeing, where vision is taken to be subjective and shaped by desire, and about knowing one another across the cultural divide between white and Indigenous Australia. Writing against current moves to erase this divide and to obscure difference, Alison Ravenscroft stresses that modern Indigenous cultures can be profoundly, even bewilderingly, strange and at times unknowable within the terms of 'white' cultural forms. She argues for a different ethics of looking, in particular, for aesthetic practices that allow Indigenous cultural products, especially in the literary arts, to retain their strangeness in the eyes of a white subject. The specificity of her subject matter allows Ravenscroft to deal with the broad issues of postcolonial theory and race and ethnicity without generalising. This specificity is made visible in, for example, Ravenscroft's treatment of the figuring of white desire in Aboriginal fiction, film and life-stories, and in her treatment of contemporary Indigenous cultural practices. While it is located in Australian Studies, Ravenscroft's book, in its rigorous interrogation of the dynamics of race and whiteness and engagement with European and American literature and criticism, has far-reaching implications for understanding the important question of race and vision.
In eighteenth-century England, “variety” became a prized aesthetic in musical culture. Not only was variety—of counterpoint, harmony, melody, and orchestration—expected for good composition, but it also manifested in cultural mediums such as songbook anthologies, which compiled miscellaneous songs and styles in single volumes; pasticcio operas, which were cobbled together from excerpts from other operas; and public concerts, which offered a hodgepodge assortment of different types and styles of performance. I call this trend of producing music through the collection, assemblage, and juxtaposition of various smaller pieces as musical miscellany; like a jigsaw puzzle (also invented in the eighteenth century), the urge to construct a whole out of smaller, different parts reflected a growing desire to appeal to a quickly diversifying England. This book explores the phenomenon of musical miscellany in early eighteenth-century England both in performance culture and as an aesthetic. Chapters offer analyses of concert programming, early music criticism, the compilation of pasticcio operas and songbook miscellanies, and even the ways in which composers and performers shaped their freelancing careers. Musical miscellany, in its many forms, juxtaposed foreign and homegrown musical practices and styles in order to stimulate discourse surrounding English musical culture during a time of cosmopolitan transformation as the eighteenth century unfolded.
The Foundations of Female Entrepreneurship explores the relationship between home, household headship and enterprise in Victorian London. It examines the notions of duty, honor and suitability in how women’s ventures are represented by themselves and others and engages in a comparison of the interpretation of historical female entrepreneurship by contemporaries and historians in the UK, Europe and America. It argues that just as women in business have often been hidden by men, they have often also been hidden by the ‘home’ and the conceptualization of separate spheres of public and private agency and of ‘the’ entrepreneur. Drawing on contextual evidence from 1747 to 1880, including fire insurance records, directories, trade cards, newspapers, memoirs, the census and extensive record linkage, this study concentrates on the early to mid-Victorian period when ideals about gender roles and appropriate work for women were vigorously debated. Alison Kay offers new insight into the motivations of the Victorian women who opted to pursue enterprises of their own. By engaging in empirical comparisons with men's business, it also reveals similarities and differences with the small to medium sized ventures of male business proprietors. The link between home and enterprise is then further excavated by detailed record linkage, revealing the households and domestic circumstances and responsibilities of female proprietors. Using both discourse and data to connect enterprise, proprietor and household, The Foundations of Female Entrepreneurship provides a multi-dimensional picture of the Victorian female proprietor and moves beyond the stereotypes. It argues that active business did not exclude women, although careful representation was vital and this has obscured the similarities of their businesses with those of many male business proprietors.
This is a comprehensive reference guide examining the language employed by Shakespeare to represent women in the full range of his poetry and plays. Including over 350 entries, Alison Findlay shows the role of women within Shakespearean drama, their representations on the Shakespearean stage, and their place in Shakespeare's personal and professional lives.
Many people feel they might have a book in them - but how do you know whether you have what it takes to be a writer, whether your writing is any good, what you should write about and whether you should dedicate proper time to begin your dream? This book asks pertinent questions of you via a questionnaire to help you discover whether there is a talented writer in you. Each chapter provides background to the relevant point in the questionnaire. Packed with advice from experienced writers including known authors; P D James, Philip Pullman, Jacqueline Wilson, Margaret Drabble, Katie Fforde and more. Expert advice from Daniel Roche (BA President), independent booksellers, publishers Helen Fraser (Penguin) and Ian Trewin (Chairman Cheltenham Literary Festival and administrator, Man Booker Prize), agents and creative writing tutors. Foreword by columnist and writer Katharine Whitehorn.
There is a traditional view that women were absent from the field of dramatic production in the early modern period because of their exclusion from professional theatre. Women and Dramatic Production 1550-1700 challenges this view and breaks new ground in arguing that, far from writing in closeted retreat, a select number of women took an active part in directing and controlling dramatic self-representations. Examining texts from the mid-sixteenth century through to the end of the seventeenth, the chapters trace the development of a women-centred aesthetic in a variety of dramatic forms. Plays by noblewomen such as Mary Sidney, Elizabeth Cary, Mary Wroth, Rachel Fane and the women of the Cavendish family, form an alternative dramatic tradition centred on the household. The powerful directorial and performative roles played by queens in royal progresses and masques are explored as examples of women's dramatic production in the royal court. The book also highlights women's performances in alternative venues, such as the courtroom and the pulpit, arguing that the practices of martyrs like Margaret Clitherow or visionaries like Anna Trapnel call into question traditional definitions of theatre. The challenges faced by women who were admitted to the professional theatre companies after 1660 are explored in two chapters which deal with the plays of Katherine Philips, Elizabeth Polwhele, Aphra Behn, and Mary Pix, among others. By considering the theatrical dimensions of a wide range of early modern women's writing, this book reveals the breathtaking panorama of women's dramatic production and will be essential reading for students of women's writing and renaissance drama.
Cultural law is a new and exciting field of study and practice. The core themes of linguistic and other cultural rights, cultural heritage, traditional crafts and knowledge, the performing arts, sports, and religion are of fundamental importance to people around the world, engaging them at the grass roots and often commanding their daily attention. The related legal processes are both significant and complex. This unique collection of materials and commentary on cultural law covers a broad range of themes. Opening chapters explore critical issues involving cultural activities, artifacts, and status as well as the fundamental concepts of culture and law. Subsequent chapters examine the dynamic interplay of law and culture with respect to each of the core themes. The materials demonstrate the reality and efficacy of comparative, international, and indigenous law and legal practices in the dynamic context of culture-related issues. Throughout the book, these issues are presented at multiple levels of legal authority: international, national, and subnational.
This book provides an original contribution to contemporary research surrounding the environmental, humanitarian and socio-political crises associated with contemporary capitalism. Reimagining Labor for a Sustainable Future is guided by the assertion that new systems are always preceded by new ideas and that imagination and experimentation are central in this process. Given the vast terrain of capitalism – processes, institutions, and stakeholders – Vogelaar and Dasgupta have selected labour as the point of engagement in the study of capitalist and alternative imaginaries. In order to demonstrate the importance of labour in rethinking and restructuring our world economy, the authors examine three diverse community projects in Scotland, India and the United States. They reveal the nuanced ways in which each community engages in commoning practices that re-center social reproduction and offer more expansive views of labour that challenge the neoliberal capitalist imaginary. This book will be of great interest to students and scholars of sustainable economics, labour studies and sustainable development.
Why do people become divided? What steps can we all take to reduce hostility and bring about understanding? Poles Apart has the answers. In Poles Apart, an expert on polarisation, a behavioural scientist and a professional communicator explain why we are so prone to be drawn into rival, often deeply antagonistic factions. They explore the shaping force of our genetic make-up on our fundamental views and the nature of the influences that family, friends and peers exert. They pinpoint the economic and political triggers that tip people from healthy disagreement to dangerous hostility, and the part played by social media in spreading entrenched opinions. And they help us to understand why outlooks that can seem so bizarre and extreme to us seem so eminently sensible to those who hold them. Above all, they show what practical and effective steps we can all take to narrow divisions, build respect for others, and create a greater degree of common understanding. ____________________________________________________ 'Poles Apart is an extraordinary achievement: fresh, deeply authoritative, and entertaining on every page. Everyone talks about polarisation, but no one does it like Goldsworthy, Osborne, and Chesterfield. You'll finish this book wiser, kinder, and more hopeful than when you started it.' Jamie Susskind, author of Future Politics 'A fascinating and thought-provoking analysis of the divisions between us, how we bridge them, how we reshape the world - and ourselves too. Essential reading.' Cathy Newman, presenter of Channel 4 News and author 'Asks the best question I have ever heard. And, critically, offers solutions. A must read.' Rory Sutherland, Vice Chairman of Ogilvy UK, and author of Alchemy 'Technology may have connected the world, but it's now being exploited to divide and polarise us. This is a pivotal moment for this book to be written, read and understood.' Peter Gabriel, musician
This book visits the fact that, in the pre-modern world, saints and lords served structurally similar roles, acting as patrons to those beneath them on the spiritual or social ladder with the word "patron" used to designate both types of elite sponsor. Chapman argues that this elision of patron saints and patron lords remained a distinctive feature of the early modern English imagination and that it is central to some of the key works of literature in the period. Writers like Jonson, Shakespeare, Spenser, Drayton, Donne and, Milton all use medieval patron saints in order to represent and to challenge early modern ideas of patronage -- not just patronage in the narrow sense of the immediate economic relations obtaining between client and sponsor, but also patronage as a society-wide system of obligation and reward that itself crystallized a whole culture’s assumptions about order and degree. The works studied in this book -- ranging from Shakespeare’s 2 Henry VI, written early in the 1590s, to Milton’s Masque Performed at Ludlow Castle, written in 1634 -- are patronage works, either aimed at a specific patron or showing a keen awareness of the larger patronage system. This volume challenges the idea that the early modern world had shrugged off its own medieval past, instead arguing that Protestant writers in the period were actively using the medieval Catholic ideal of the saint as a means to represent contemporary systems of hierarchy and dependence. Saints had been the ideal -- and idealized -- patrons of the medieval world and remained so for early modern English recusants. As a result, their legends and iconographies provided early modern Protestant authors with the perfect tool for thinking about the urgent and complex question of who owed allegiance to whom in a rapidly changing world.
Few other books have caused as much stir in the Church of England in recent decades as has For the Parish. Twelve years on from its publication, in the wake of the Covid pandemic and the ‘Save the Parish’ movement much has changed, but much has stayed the same. In this follow up to this influential and controversial book, new and already familiar themes are newly inflected in the debates of the present time: principally minster hubs, the ‘Emerging Church’ programme and the Strategic Development Fund. Alison Milbank challenges the ecclesiology, models of theological anthropology and the analysis of secularism that are present (explicitly or implicitly) in these movements, and offer a striking and encouraging vision of what the parish model could offer to our anxious world.
Based on in-depth research in Poland and Slovakia, Domesticating Neo-Liberalism addresses how we understand the processes of neo-liberalization in post-socialist cities. Builds upon a vast amount of new research data Examines how households try to sustain their livelihoods at particularly dramatic and difficult times of urban transformation Provides a major contribution to how we theorize the geographies of neo-liberalism Offers a conclusion which informs discussions of social policy within European Union enlargement
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