The last fifty years have seen dramatic changes in towns and cities. People have moved out of central urban areas, retailing has moved out of towns and jobs have also declined in city centres, particularly with the growth of business and science parks. With the continuing decline of the manufacturing sector and the re-shaping of employment in the service sector, a new force will increasingly dominate urban development, the meritocratic elite. The meritocratic elite are those able to develop and use information technology to generate productivity and wealth. Where they wish to live will increasingly influence future urban development. Towns and Cities - Competing for survival suggests that as public and private corporations continue to downsize, outsource and re-engineer themselves, an increasing amount of expenditure and employment growth will lie with the leisure sector. Herein lies one of the solutions to the decline of towns and cities. Town planners and economists have continually displayed a lack of understanding of these developments and have not anticipated the forces which cause urban change. As the global econonmy, combined with changes in transport and information technology increasingly dominates our lives, local and national governments need a new agenda for the 21st century. If they fail to rise to this challenge many of our town and city centres will continue to decline and may not survive.
Towns and Cities - Competing for survival suggests that as public and private corporations continue to downsize, outsource and re-engineer themselves, an increasing amount of expenditure and employment growth will lie with the leisure sector.
Playing the Canterbury Tales addresses the additions, continuations, and reordering of the Canterbury Tales found in the manuscripts and early printed editions of the Tales. Many modern editions present a specific set of tales in a specific order, and often leave out an entire corpus of continuations and additions. Andrew Higl makes a case for understanding the additions and changes to Chaucer's original open and fragmented work by thinking of them as distinct interactive moves in a game similar to the storytelling game the pilgrims play. Using examples and theories from new media studies, Higl demonstrates that the Tales are best viewed as an "interactive fiction," reshaped by active readers. Readers participated in the ongoing creation and production of the tales by adding new text and rearranging existing text, and through this textual transmission, they introduced new social and literary meaning to the work. This theoretical model and the boundaries between the canonical and apocryphal texts are explored in six case studies: the spurious prologues of the Wife of Bath's Tale, John Lydgate's influence on the Tales, the Northumberland manuscript, the ploughman character, and the Cook's Tale. The Canterbury Tales are a more dynamic and unstable literary work than usually encountered in a modern critical edition.
Shifting ideas about Geoffrey Chaucer's audience have produced radically different readings of Chaucer's work over the course of the past century. Kathy Cawsey, in her book on the changing relationship among Chaucer, critics, and theories of audience, draws on Michel Foucault's concept of the 'author-function' to propose the idea of an 'audience function' which shows the ways critics' concepts of audience affect and condition their criticism. Focusing on six trend-setting Chaucerian scholars, Cawsey identifies the assumptions about Chaucer's audience underpinning each critic's work, arguing these ideas best explain the diversity of interpretation in Chaucer criticism. Further, Cawsey suggests few studies of Chaucer's own understanding of audience have been done, in part because Chaucer criticism has been conditioned by scholars' latent suppositions about Chaucer's own audience. In making sense of the confusing and conflicting mass of modern Chaucer criticism, Cawsey also provides insights into the development of twentieth-century literary criticism and theory.
Combining literary analysis and theoretical linguistics, Tiffany Beechy's timely and engaging study provides a critical reassessment of Old English texts that challenges the distinction between Anglo-Saxon prose and verse, ultimately recognizing an inherent poetic nature present in all Old English texts. While the poetic nature of Beowulf, due to the regular meter and heroic story, is recognized, this study demonstrates that poetry is a more widespread phenomenon than previously thought; poetic patterning can be found across the Old English corpus, both in verse and in so-called prose. Informed by Jakobsonian linguistics and oral theory, Beechy's analysis focuses on the text itself to identify unique poetic strategies. This demonstration includes a comparison between King Alfred's Old English version of Boethius' Consolatio Philosophiae and the Latin original; the poetic quality of prose homilies; poetic epistemology in law codes, riddles, and charms; and unconventional poetics even in traditional verse texts, such as the short lyric 'Deor' and the long poem Christ I. The Poetics of Old English brings interrelated developments in linguistics and literary theory to the study of Anglo-Saxon language and culture, showing that Old English texts, when considered at the level of language, are surprisingly sophisticated.
This book places childbirth in early-modern England within a wider network of social institutions and relationships. Starting with illegitimacy - the violation of the marital norm - it proceeds through marriage to the wider gender-order and so to the ‘ceremony of childbirth’, the popular ritual through which women collectively controlled this, the pivotal event in their lives. Focussing on the seventeenth century, but ranging from the sixteenth to the eighteenth century, this study offers a new viewpoint on such themes as the patriarchal family, the significance of illegitimacy, and the structuring of gender-relations in the period.
Escaping a world of loneliness and cruelty, Brianda Breedon's only source of comfort is her beloved stallion, Dakota. But when her cruel brother loses Dakota in a wager to the Earl of Manseth, Brianda vows to get her horse back. Never did she dream that her visit to the earl's manor would be forever. . . .
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