A landmark illustrated anthology of queer Greek and Roman love stories that reclaim and celebrate homosexual love and sensuality, from artist Luke Edward Hall and award-winning poet Seán Hewitt. For centuries, evidence of queer love in the ancient world has either been ignored or suppressed. Even today, only a few narratives are widely known: the wild romance of Achilles and Patroclus; the yearning love of Sappho's lyrics; and the three genders introduced in Plato's Symposium. Yet there is a rich literary tradition of queer Greek and Roman love that extends far beyond the prudish translations of these familiar handful of stories. In 300,000 Kisses, award-winning poet Seán Hewitt and renowned designer Luke Edward Hall collect these stories—including some of the most beautiful and moving in the classical canon—and bring them to vivid life. Alongside celebrated works by Homer, Sappho, Ovid and Catullus, they include a wide range of rarely anthologized sources: raunchy poems, thoughtful dialogues, philosophical treatises, and even a graffiti text salvaged from the ruins of Pompeii. Through Hewitt's contemporary translations and Hall's vibrant illustrations, we encounter relationships that are by turns heartfelt and nourishing, unrequited and lustful, toxic and crude, tender and fulfilling. A groundbreaking anthology that seeks to change the way we see the ancient world, 300,000 Kisses is a fascinating journey through love in all its forms.
Susie, Edwina and Lucy have moved to a new school in a new town. Three very different sisters who will do anything to fit in and yet are desperate to be noticed. But how far will they go to break out of the roles in which they've been cast and will they ever be able to truly change their lives when they're swimming against the tide? A captivating, lively and poignant portrait of the pressures of being a teenager and the fight for acceptance.
A landmark illustrated anthology of queer Greek and Roman love stories that reclaim and celebrate homosexual love and sensuality, from artist Luke Edward Hall and award-winning poet Seán Hewitt. For centuries, evidence of queer love in the ancient world has either been ignored or suppressed. Even today, only a few narratives are widely known: the wild romance of Achilles and Patroclus; the yearning love of Sappho's lyrics; and the three genders introduced in Plato's Symposium. Yet there is a rich literary tradition of queer Greek and Roman love that extends far beyond the prudish translations of these familiar handful of stories. In 300,000 Kisses, award-winning poet Seán Hewitt and renowned designer Luke Edward Hall collect these stories—including some of the most beautiful and moving in the classical canon—and bring them to vivid life. Alongside celebrated works by Homer, Sappho, Ovid and Catullus, they include a wide range of rarely anthologized sources: raunchy poems, thoughtful dialogues, philosophical treatises, and even a graffiti text salvaged from the ruins of Pompeii. Through Hewitt's contemporary translations and Hall's vibrant illustrations, we encounter relationships that are by turns heartfelt and nourishing, unrequited and lustful, toxic and crude, tender and fulfilling. A groundbreaking anthology that seeks to change the way we see the ancient world, 300,000 Kisses is a fascinating journey through love in all its forms.
In 2011, the United Nations Security Council adopted Resolution 1973, authorizing its member states to take measures to protect Libyan civilians from Muammar Gadhafi’s forces. In invoking the “responsibility to protect,” the resolution draws on the principle that sovereign states are responsible and accountable to the international community for the protection of their populations and that the international community can act to protect populations when national authorities fail to do so. The idea that sovereignty includes the responsibility to protect is often seen as a departure from the classic definition, but it actually has deep historical roots. In Sovereignty and the Responsibility to Protect, Luke Glanville argues that this responsibility extends back to the sixteenth and seventeenth centuries, and that states have since been accountable for this responsibility to God, the people, and the international community. Over time, the right to national self-governance came to take priority over the protection of individual liberties, but the noninterventionist understanding of sovereignty was only firmly established in the twentieth century, and it remained for only a few decades before it was challenged by renewed claims that sovereigns are responsible for protection. Glanville traces the relationship between sovereignty and responsibility from the early modern period to the present day, and offers a new history with profound implications for the present.
Based on empirical research, this innovative book explores issues of performativity and authorship in the theatre world under copyright law and addresses several inter-connected questions: who is the author and first owner of a dramatic work? Who gets the credit and the licensing rights? What rights do the performers of the work have? Given the nature of theatre as a medium reliant on the re-use of prior existing works, tropes, themes and plots, what happens if an allegation of copyright infringement is made against a playwright? Furthermore, who possesses moral rights over the work? To evaluate these questions in the context of theatre, the first part of the book examines the history of the dramatic work both as text and as performative work. The second part explores the notions of authorship and joint authorship under copyright law as they apply to the actual process of creating plays, referring to legal and theatrical literature, as well as empirical research. The third part looks at the notion of copyright infringement in the context of theatre, noting that cases of alleged theatrical infringement reach the courts comparatively rarely in comparison with music cases, and assessing the reasons for this with respect to empirical research. The fourth part examines the way moral rights of attribution and integrity work in the context of theatre. The book concludes with a prescriptive comment on how law should respond to the challenges provided by the theatrical context, and how theatre should respond to law. Very original and innovative, this book proposes a ground-breaking empirical approach to study the implications of copyright law in society and makes a wonderful case for the need to consider the reciprocal influence between law and practice.
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