While the two modernist novels considered in this book, Samuel Beckett's Murphy and Malcolm Lowry's Under the Volcano, were initially understood within the categories of stoic and tragic despair, more recent criticism has focused upon their carnivalesque dimension. The identification of these hermeneutic polarities presented the author with the challenging problem which underlies the present analysis, namely the question concerning the structural relationship between the contesting thematics. Drawing upon the paradigm of oscillation as established within the natural sciences, and adding a figurative dimension to the concept, the author has adapted this model as a key to unravelling the narrative buoyancy and structural coherence which sustain these novels of Modernism. The book elucidates how the carnivalesque challenge to despair contributes towards innovative narrative configurations, galvanizing the thematic antipodes into vertiginous microcosms of defiant selfhood.
While the two modernist novels considered in this book, Samuel Beckett's Murphy and Malcolm Lowry's Under the Volcano, were initially understood within the categories of stoic and tragic despair, more recent criticism has focused upon their carnivalesque dimension. The identification of these hermeneutic polarities presented the author with the challenging problem which underlies the present analysis, namely the question concerning the structural relationship between the contesting thematics. Drawing upon the paradigm of oscillation as established within the natural sciences, and adding a figurative dimension to the concept, the author has adapted this model as a key to unravelling the narrative buoyancy and structural coherence which sustain these novels of Modernism. The book elucidates how the carnivalesque challenge to despair contributes towards innovative narrative configurations, galvanizing the thematic antipodes into vertiginous microcosms of defiant selfhood.
This book explores the role of music in the some five hundred feature-length films on the Middle Ages produced between the late 1890s and the present day. Haines focuses on the tension in these films between the surviving evidence for medieval music and the idiomatic tradition of cinematic music. The latter is taken broadly as any musical sound occurring in a film, from the clang of a bell off-screen to a minstrel singing his song. Medieval film music must be considered in the broader historical context of pre-cinematic medievalisms and of medievalist cinema’s main development in the course of the twentieth century as an American appropriation of European culture. The book treats six pervasive moments that define the genre of medieval film: the church-tower bell, the trumpet fanfare or horn call, the music of banquets and courts, the singing minstrel, performances of Gregorian chant, and the music that accompanies horse-riding knights, with each chapter visiting representative films as case studies. These six signal musical moments, that create a fundamental visual-aural core central to making a film feel medieval to modern audiences, originate in medievalist works predating cinema by some three centuries.
This collection of naval court martial transcripts and related documents from the time of the French Revolutionary and Napoleonic Wars contributes not only to our understanding of military jurisprudence in the late eighteenth and early nineteenth centuries but also to our knowledge of Georgian and Regency criminal law in general. Each chapter presents transcripts relating to different groups of offences. Chapter one deals with procedural matters; Chapter Two covers trails arising from transgressions of the laws of Georgian and Regency society like drunkenness, theft, violence and homosexuality. Chapter Three is devoted to proceedings against types of naval offence, such a mutiny, insolence, desertion or loss of ship. Chapter Four treats of cases involving adjudications for multiple infractions. These transcripts are presented in their entirety and offer a unique window to the social conditions and behaviour aboard the King's ships at the time.
This reference work chronicles and categorizes more than 23,000 Union casualties at Gettysburg by generals and staff and by state and unit. Thirteen appendices also cover information by brigade, division and corps; by engagements and skirmishes; by state; by burial at three cemeteries; and by hospitals. Casualty transports, incarceration records and civilian casualty lists are also included.
This first volume of clasic articles by the Glasgow University Media Group focuses on issues of news content, language and the role of visual images in news reporting. It also includes an introduction to the Group's work by John Eldridge.
Wildlife forensics is the application of forensic science to the conservation and protection of non-domesticated animals, both in the wild and in captivity. Providing an in-depth introduction to this rapidly evolving field, Wildlife Forensic Investigation: Principles and Practice also chronicles aspects of the history of management, conservation, and environmental protection, with an emphasis on their global importance in the twenty-first century. The book examines the crucial role of wildlife forensic investigation with regard to live animals, dead animals and samples and covers national, regional, and international legislation. While the text particularly focuses on forensic science as it relates to wild animals, it also includes mention of plants and habitats because of their relevance to conservation. The book discusses animal welfare as well as the damage that can be inflicted on humans and property by wildlife. Offering access to sound evidence based on good science and obtained using the best available practices, the book is enhanced by case studies from experts who describe some of their own work. This resource is essential for those involved in a range of endeavours, including investigating wildlife crime, identifying animal remains, ascertaining the circumstances of death of wild species, and other legal proceedings and activities concerning wildlife. The forensic skills described in this book can be applied to a wide range of activities (not necessarily involving the legal process), including environmental impact assessments, insurance claims, governmental and other enquiries, checking of trading standards and the inspection of (for instance) pet-shops, animal boarding establishments, and zoological collections. The authors point out that one of the most important requirements of those persons involved in wildlife forensic work is to retain an open mind. Such personnel should also be conscious of new developments and evolving techniques and be able to anticipate situations where their investigative and scientific skills might be used to advantage—so-called "horizon scanning". Examples of these are given.
Music and Identity in Ireland and Beyond represents the first interdisciplinary volume of chapters on an intricate cultural field that can be experienced and interpreted in manifold ways, whether in Ireland (The Republic of Ireland and/or Northern Ireland), among its diaspora(s), or further afield. While each contributor addresses particular themes viewed from discrete perspectives, collectively the book contemplates whether ’music in Ireland’ can be regarded as one interrelated plane of cultural and/or national identity, given the various conceptions and contexts of both Ireland (geographical, political, diasporic, mythical) and Music (including a proliferation of practices and genres) that give rise to multiple sites of identification. Arranged in the relatively distinct yet interweaving parts of ’Historical Perspectives’, ’Recent and Contemporary Production’ and ’Cultural Explorations’, its various chapters act to juxtapose the socio-historical distinctions between the major style categories most typically associated with music in Ireland - traditional, classical and popular - and to explore a range of dialectical relationships between these musical styles in matters pertaining to national and cultural identity. The book includes a number of chapters that examine various movements (and ’moments’) of traditional music revival from the late eighteenth century to the present day, as well as chapters that tease out various issues of national identity pertaining to individual composers/performers (art music, popular music) and their audiences. Many chapters in the volume consider mediating influences (infrastructural, technological, political) and/or social categories (class, gender, religion, ethnicity, race, age) in the interpretation of music production and consumption. Performers and composers discussed include U2, Raymond Deane, Afro-Celt Sound System, E.J. Moeran, Séamus Ennis, Kevin O’Connell, Stiff Little Fingers, Frederick May, Arnold
Music, the Moving Image and Ireland, 1897–2017 constitutes the first comprehensive study of music for screen productions from or relating to the island. It identifies and interprets tendencies over the first 120 years of a field comprising the relatively distinct yet often overlapping areas of Irish-themed and Irish-produced film. Dividing into three parts, the book first explores accompaniments and scores for 20th-century Irish-themed narrative features that resulted in significant contributions by many Hollywood, British, continental European and, to a lesser extent, Irish composers, along with the input of many orchestras and other musicians. Its second part is framed by a consideration of various cultural, political and economic developments in both the Republic of Ireland and Northern Ireland from the 1920s (including the Troubles of 1968–1998). Focusing on scoring and other aspects of soundtrack production for domestic newsreel, documentary film and TV programming, it interprets the substantial output of many Irish composers within this milieu, particularly from the 1960s to the 1990s. Also referring to broader cultural and historical themes, the book’s third and final part charts approaches to and developments in music and sound design over various waves of Irish cinema, from its relatively late emergence in the 1970s to an exponential growth and increasingly transnational orientation in the early decades of the 21st century.
The Christian rosary is a devotion in which a set of beads is used to keep tally of the prescribed prayers while pondering with Mary, the Mother of the Lord, on the significant events in the life of her son, Jesus Christ. The most popular of all Catholic devotions rosaries are also well known in other religious traditions beginning in ancient times. A detailed and readable study of the Rosary in its various forms has long been needed. Devotion to the Blessed Virgin Mary is at an all time high, judging by the popularity of parish Rosary groups, pilgrimages to Marian shrines and the many alleged apparitions of Our Lady around the world. Dr. Miller's book will fill a real need for the many who wish to take their devotion and their prayer life to new depths, to understand the perennial importance of Christian meditation, and to understand more fully the tradition to which they belong.
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