The Myth of Identity in Modern Drama is the first book-length study on existential authenticity and its relation to ontological embodiment treated via analyses of characters of modern drama. Furthermore, it offers new methods of exploring characters and characterization and new ways of thinking about identity. Through its investigations of the plays of Samuel Beckett, Eugene Ionesco and Jean-Paul Sartre, the book shows that the study of embodiment will allow for a new method of analyzing characters and how they form, or attempt to form, ever-changing identities.
Diaphanous Bodies: Ability, Disability, and Modernist Irish Literature examines ability, as a category of embodiment and embodied experience, and in the process opens up a new area of inquiry in the growing field of literary disability studies. It argues that the construction of ability arises through a process of exclusion and forgetting, in which the depiction of sensory information and epistemological judgment subtly (or sometimes un-subtly) elide the fact of embodied subjectivity. The result is what Colangelo calls “the myth of the diaphanous abled body,” a fiction that holds that an abled body is one which does not participate in or situate experience. The diaphanous abled body underwrites the myth that abled and disabled constitute two distinct categories of being rather than points on a constantly shifting continuum. In any system of marginalization, the dominant identity always sets itself up as epistemologically and experientially superior to whichever group it separates itself from. Indeed, the norm is always most powerful when it is understood as an empty category or a view from nowhere. Diaphanous Bodies explores the phantom body that underwrites the artificial dichotomy between abled and disabled, upon which the representation of embodied experience depends.
Are we being played? Is our understanding of the traditionally fixed and static concepts of philosophy based on an oversimplification? This book explores some of the theories of the self since Descartes, together with the rationalism and the empiricism that sustain these ideas, and draws some startling conclusions using Gadamer’s philosophical study of play as its starting point. Gadamer’s ludic theory, Sampson argues, reveals a dynamic of play that exists at the deepest level of philosophy. It is this dynamic that could provide a solution in relation to the Gadamer/Habermas hermeneutics debate and the Gadamer/Derrida relativism debate, together with a theory of totality. Sampson shows how ludic theory can be a game-changer in understanding the relationship between philosophy and literature, exploring the dynamic between the fictive and non-fictive worlds. These worlds are characterized simultaneously by sameness (univocity of Being) and difference (equivocity of Being). The book questions Heidegger’s idea that the univocity of Being is universal, instead maintaining that the relationship between the univocity of Being and equivocity of Being is real, and that ontological mediation is required to present them as a unified whole. Using the works of Shakespeare, Beckett and Wilde, Sampson contends that such a mediation, termed ‘the ludicity of Being’, takes place between literature and its audience. This literary example has profound implications not only for literature and its attendant theories but also for philosophy — in particular, ontology and hermeneutics.
An accessible history of the Roma people in England told from the inside. The Romany people have been variously portrayed as exotic strangers or as crude, violent, delinquent “gypsies.” For the first time, this book describes the real history of the Romany in England from the inside. Drawing on new archival and first-hand research, Jeremy Harte vividly describes the itinerant life of the Romany as well as their artistic traditions, unique language, and flamboyant ceremonies. Travelers through Time tells the dramatic story of Romany life on the British margins from Tudor times through today, filled with vivid insights into the world of England’s large Romany population.
During the Second World War the British army absorbed approximately three million new recruits, the majority of whom were conscripts. Drawn from all occupational groups and social classes, the military authorities were confronted with the task of molding these civilians in uniform into an effective fighting force. This book analyzes the impact of this process of integration on the army as a social institution. Exploring such aspects of the army’s social organization as other rank selection, officer selection, officer promotion, officer-man relations, the soldier’s working life, army welfare, and army education, it assesses the ways in which the army changed in relation to its new intake, what the extent of any change that took place actually was, and how different the army of 1945 was to that of 1939.
Jeremy Dibble has written a book which adds substantially to Stanford's reputation and which greatly enriches both British and Irish musical scholarship. It is brilliantly done.' -Irish TimesJeremy Dibble presents the first authoritative, comprehensive study of the life and works of Charles Villiers Stanford (1852-1924), one of the most gifted and influential composers. Dibble reveals how, although perhaps best known for his church music, Stanford was also an eminent symphonist, songwriter, and author of many fine choral works. Cosmopolitan, ambitious, and pragmatic, he was untiring in his efforts to advance the cause of British music during its renaissance at the end of the nineteenth century, promoting the music of his contemporaries, and the many pupils he taught at Cambridge and the Royal College of Music, including Vaughan Williams, Ireland, Howells, Bliss, Holst, and Gurney.
‘They’re all scared. Everybody’s afraid’ – Eddy Merckx ‘Nothing compares to the Ventoux’ – Lance Armstrong 'Heart-stirring and jaw-dropping in equal measure' – Tim Moore 'A really excellent book' – Richard Williams The French call Ventoux ‘the killer mountain’ and in 1967 it claimed its most famous victim, as former world champion Tom Simpson died near the summit during that year’s Tour de France. The terrible ascent of Ventoux’s south side encapsulates both the brutality and beauty of this cruel sport, but also highlights cycling’s ongoing battle to distance itself from its demons. Yet it was the legendary and extreme climb of Mont Ventoux that first inspired award-winning author Jeremy Whittle’s love of cycling, so much so that he bought a house in its shadows. Ventoux is his memoir to the Giant of Provence in which he reveals the little-known history of the Ventoux, and tells the story of a monstrous climb that has driven riders to near-hysteria and also to wild extremes of doping. It has provided the spectacular backdrop to some of cycling’s most titanic contests, exposing the true character of those who take on the challenge. Through a series of revealing conversations with Lance Armstrong, Dave Brailsford, Alastair Campbell, Nicole Cooke, Tyler Hamilton, Eddy Merckx, Simpson’s daughter, Joanne, and many others, Whittle details the poignancy of bitter memories, flawed obsessions and ruthless ambition that have made the Ventoux so feared and so infamous. 'A terrific book' – Matt Dickinson 'An intense hit. A must read' – Ned Boulting ?'Highly recommend Jeremy Whittle's Ventoux - a fascinating and expert insight into the mountain and into the current state of pro racing' Peter Cossins
While men commit most of Alabama's crimes, women have written some of the darkest chapters in state history. Poisoners who murdered dozens. A mob icon who captivated millions. An anti-government cop killer. A madam whose courage lifted her from shame to legend. A mummified woman shrouded in mystery. Whether they enjoyed the spotlight or weaponized their status as unlikely suspects, these women left scandal and misery in their wake. Journalist Jeremy W. Gray digs into the sordid mess left behind by some of the most notorious women in Alabama history.
The living standards of the rural poor suffered a severe decline in the first half of the nineteenth century as a result of high population growth, changing agricultural practices, enclosure and the decline of rural industries. Allotment provision was the most important counterweight to the pressures. This book offers the first systematic analysis of the early nineteenth-century allotment movement, providing new data on the chronology of the movement and on the number, geographical distribution, size, rents, cultivation yields and effect on living standards of allotments, showing how the movement brought the culture of the rural labouring poor more closely into line with the mainstream values of respectable mid-Victorian England. This book casts new light on central aspects of early and mid-nineteenth-century social and economic history, agriculture and rural society. JEREMY BURCHARDT is lecturer in Rural History, University of Reading.
Providing comprehensive and up-to-date coverage of the licensing legislation in England and Wales, this title is a suitable text for both professionals and students.
What is total war? Definitions abound, but one thing is certain—the concept of total war has come to be seen as a defining concept of the modern age. In The Age of Total War, celebrated historian Jeremy Black explores the rise and demise of an era of total war, which he defines in terms of the intensity of the struggle, the range (geographical and/or chronological) of conflict, the nature of the goals, and the extent to which civil society was involved. He contends that this era (roughly 1860–1945) was markedly different from the warfare that characterized earlier periods, and that it is very different from the situation that has evolved since, with its emphasis on asymmetrical conflict and limited warfare. Acknowledging that various definitions are problematic and often contradictory, Black argues that 1860 to 1945 was an era in which the prospect of war and the consequences of it were crucially important for human history. He focuses primarily on conflict between Western powers, including Japanese participation in the Russo-Japanese War. Trends and developments subsequent to 1945 have combined, Black asserts, to make a return to total war unlikely.
This timely book offers a world history of insurgencies and of counterinsurgency warfare. Jeremy Black moves beyond the conventional Western-centric narrative, arguing that it is crucial to ground contemporary experiences in Afghanistan and Iraq in a global framework. Unlike other studies that begin with the American and French revolutions, this book reaches back to antiquity to trace the pre-modern origins of war within states. Interweaving thematic and chronological narratives, Black probes the enduring linkages between beliefs, events, and people on the one hand and changes over time on the other hand. He shows the extent to which power politics, technologies, and ideologies have evolved, creating new parameters and paradigms that have framed both governmental and public views. Tracing insurgencies ranging from China to Africa to Latin America, Black highlights the widely differing military and political dimensions of each conflict. He weighs how, and why, lessons were “learned” or, rather, asserted, in both insurgency and counterinsurgency warfare. At every stage, he considers lessons learned by contemporaries, the ways in which norms developed within militaries and societies, and their impact on doctrine and policy. His sweeping study of insurrectionary warfare and its counterinsurgency counterpart will be essential reading for all students of military history.
Amid apocalyptic invasions and time travel, one common machine continually appears in H. G. Wells’s works: the bicycle. From his scientific romances and social comedies, to utopias, futurological speculations, and letters, Wells’s texts abound with bicycles. In The War of the Wheels, Withers examines this mode of transportation as both something that played a significant role in Wells’s personal life and as a literary device for creating elaborate characters and complex themes. Withers traces Wells’s ambivalent relationship with the bicycle throughout his writing. While he celebrated it as a singular and astonishing piece of technology, and continued to do so long after his contemporaries abandoned their enthusiasm for the bicycle, he was not an unwavering promoter of this machine. Wells acknowledged the complex nature of cycling, its contribution to a growing dependence on and fetishization of technology, and its role in humanity’s increasing sense of superiority. Moving into the twenty-first century, Withers reflects on how the works of H. G. Wells can serve as a valuable locus for thinking through many of our current issues and problems related to transportation, mobility, and sustainability.
The 'Corner Country', where Queensland, South Australia and New South Wales now converge, was in Aboriginal tradition crisscrossed by the tracks of the mura, ancestral beings, who named the country as they travelled, linking place to language. Reproduced here is the story of the two Ngatyi, Rainbow Serpents, who travelled from the Paroo to the Flinders Ranges and back as far as Yancannia Creek, where their deep underground channels linked them back to the Paroo. Jeremy Beckett recorded these stories from George Dutton and Alf Barlow in 1957. Luise Hercus, who has worked on the languages in the area for many years, has collaborated with Jeremy Beckett to analyse the names and identify the places.
Identity and subjectivity in musical performances Who is the “I” that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice and theory, the question of how a sense of self is manifested through musical performance has been neglected. The authors of Voices, Bodies, Practices are all musician-researchers: the book employs artistic research to explore how embodied performing “voices” can emerge from the interactions of individual performers and composers, musical materials, instruments, mediating technologies, and performance contexts.
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