This history of colonial legacies in UN peacekeeping operations from 1945–1971 reveals how United Nations peacekeeping staff reconfigured the functions of global governance and sites of diplomatic power in the post-war world. Despite peacekeeping operations being criticised for their colonial underpinnings, our understanding of the ways in which colonial actors and ideas influenced peacekeeping practices on the ground has been limited and imprecise. In this multi-archival history, Margot Tudor investigates the UN's formative armed missions and uncovers the officials that orchestrated a reinvention of colonial-era hierarchies for Global South populations on the front lines of post-colonial statehood. She demonstrates how these officials exploited their field-based access to perpetuate racial prejudices, plot political interference, and foster protracted inter-communal divisions in post-colonial conflict contexts. Bringing together histories of humanitarianism, decolonisation, and the Cold War, Blue Helmet Bureaucrats sheds new light on the mechanisms through which sovereignty was negotiated and re-negotiated after 1945.
The closing of the theatres by Parliament in 1642 is perhaps the best-known fact in the history of English drama. As the Parliamentary Puritans were then in power, it is easy to assume that all opponents of the theatre were Puritans, and that all Puritans were hostile to the drama. The reality was more interesting and more complicated. Margot Heinemann looks at Thomas Middleton's work in relation to the society and social movements of his time, and traces the connections this work may have had with radical, Parliamentarian or Puritan groups or movements. In the light of the recent work of seventeenth-century historians we can no longer see these complex opposition movements as uniformly anti-theatre or anti-dramatist. The book suggests fresh meanings and implications in Middleton's own writings, and helps towards rethinking the place of drama in the changing life of early Stuart England.
Victoria BC 1958: A haunting first novel of a privileged, tight-knit neighborhood—an insular world of stifling traditional values; a world where the eccentric and gifted Morgan family doesn’t fit. Eleanor and Hugh have settled into the rhythms of a long rift, bound by history and remnants of love. Their ten year old daughter Myfanwy escapes into the world of her imagination, but as conflicts escalate, her older brother Owen seeks a more desperate escape and the family begins its descent in earnest. The neighborhood watches, hiding secrets of its own, for beneath a veil of civility, all is not as it seems. Rich with period detail, finely drawn characters and withering humor.
Margot Starbuck's story begins with a woman looking for her biological father. But it doesn't end when she finds him. Instead, his rejection punctures her soul and sends her on a different search--one that leads to a different Father. This Father did not just "sacrifice a son" like the parents she knew, but instead gave his own life out of love for her.
A decent, harried young banker, already on the verge of distraction, hurries north to Scotland and his mysteriously troubled sister . . . A “foreign” mother struggles to make a home for her family in a society she only vaguely comprehends . . . A baby girl is abandoned in a bus-station rest room . . . And thus five lives and more are caught up in a binding net of affection and responsibility, of sibling loyalty, romantic longing, and maternal love.
Felicia Londre explores the world of theater as diverse as the Entertainments of the Stuart court and Arthur Miller directing Chinese actors at the Beijing People's Art Theater in "Death of a Salesman." Londre examines: Restoration comedies; the Comedie Francais; Italian "opera seria"; plays of the "Surm und Grand" movement; Russian, French, and Spanish Romantic dramas; American minstrel shows; Brecht and dialectical theater; Dighilev; Dada; Expressionism, Theater of the Absurd productions, and other forms of experimental theater of the late-20th century.>
James Joyce has long been viewed as a literary modernist who helped define and uphold modernism's fundamental concepts of the artist as martyr to bourgeois sensibilities and of an idealistic faith in artistic freedom. In this revolutionary work, however, Margot Norris proposes that Joyce's art actually critiques these modernist tenets by revealing an awareness of the artist's connections to and constraints within bourgeois society. In sections organized around three mythologized and aestheticized figures in Joyce's works—artist, woman, and child—Norris' readings "unravel the web" of Joyce's early and late stories, novels, and experimental texts. She shows how Joyce's texts employ multiple mechanisms to expose their own distortions, silences, and lies and reveal connections between art and politics, and art and society. This ambitious new reading not only repositions Joyce within contemporary debates about the ideological assumptions behind modernism and postmodernism, but also urges reconsideration of the phenomenon of modernism itself. It will be of interest and importance to all literary scholars.
Digital Currents explores the growing impact of digital technologies on aesthetic experience and examines the major changes taking place in the role of the artist as social communicator. Margot Lovejoy recounts the early histories of electronic media for art making - video, computer, the internet - in this richly illustrated book. She provides a context for the works of major artists in each media, describes their projects, and discusses the issues and theoretical implications of each to create a foundation for understanding this developing field. Digital Currents fills a major gap in our understanding of the relationship between art and technology, and the exciting new cultural conditions we are experiencing. It will be ideal reading for students taking courses in digital art, and also for anyone seeking to understand these new creative forms.
The Midwives No memory of her husband—or her child… Ivy Walcott is a midwife. She understands the mysteries of birth, the wonder of babies—yet she doesn't know if she's ever had a baby. Because Ivy only remembers the last ten years of her life. Then, unexpectedly, she learns that her real name is Gina Till. As Gina, she went missing from a West Virginia town and showed up in Colorado with no idea how she got there. She goes back to Cullin Till, the husband she can't remember, and their daughter, Gabriela. She begins to discover that Gina Till did things Ivy Walcott doesn't like. And she falls in love with Cullen, the man she's still married to—the man whose heart she broke all those years ago…. Praise for Margot Early's previous book, Who's Afraid of the Mistletoe? "Wow, does Early pack a punch… Ya gotta get this book." —Alison Cunliffe, The Toronto Star
This text is both about writing up qualitative research and is itself a qualitative study. The written reflections of students on the writing process and the interpretations and presentations of their findings provide a base of data which the authors have, in turn, analyzed and incorporated into their text. They have added accounts of their own experiences, and those of their colleagues and other published authors. All of these are woven into a theoretical framework that discusses them in detail.
Winner of the Popular Culture Association’s Emily Toth Best Book in Women’s Studies Award From an author praised for writing “delicious social history” (Dwight Garner, The New York Times) comes a lively account of memorable Miss America contestants, protests, and scandals—and how the pageant, now in its one hundredth year, serves as an unintended indicator of feminist progress Looking for Miss America is a fast–paced narrative history of a curious and contradictory institution. From its start in 1921 as an Atlantic City tourist draw to its current incarnation as a scholarship competition, the pageant has indexed women’s status during periods of social change—the post–suffrage 1920s, the Eisenhower 1950s, the #MeToo era. This ever–changing institution has been shaped by war, evangelism, the rise of television and reality TV, and, significantly, by contestants who confounded expectations. Spotlighting individuals, from Yolande Betbeze, whose refusal to pose in swimsuits led an angry sponsor to launch the rival Miss USA contest, to the first black winner, Vanessa Williams, who received death threats and was protected by sharpshooters in her hometown parade, Margot Mifflin shows how women made hard bargains even as they used the pageant for economic advancement. The pageant’s history includes, crucially, those it excluded; the notorious Rule Seven, which required contestants to be “of the white race,” was retired in the 1950s, but no women of color were crowned until the 1980s. In rigorously researched, vibrant chapters that unpack each decade of the pageant, Looking for Miss America examines the heady blend of capitalism, patriotism, class anxiety, and cultural mythology that has fueled this American ritual.
From our earliest days we long for love and acceptance. First from our parents, then from peers, and eventually from romantic interests. We look into their faces, searching for a smile, a look that says, I love you exactly as you are. Don't change. We long for the same gracious acceptance from God. But despite the Christian gospel of unearned grace and unconditional love, too many of us feel as though we're still not quite good enough as we are. We can't believe that God accepts us. And often this is because those who represent God to us on earth--our parents, other Christians--have not looked upon us as we are with expressions of unrelenting love. With compassion and wit, Margot Starbuck asks the question, What if God receives me exactly as I am? She explores the unbounded love of God, showing readers a God whose face is open, kind, and gracious, accepting us as we are and freeing us from shame. Anyone who has ever felt as though they don't quite measure up will cherish this liberating message about God's abundant grace.
A rare art history classic that The New York Times calls a “delightful, scholarly and gossipy romp through the character and conduct of artists from antiquity to the French Revolution.” Born Under Saturn is a classic work of scholarship written with a light and winning touch. Margot and Rudolf Wittkower explore the history of the familiar idea that artistic inspiration is a form of madness, a madness directly expressed in artists’ unhappy and eccentric lives. This idea of the alienated artist, the Wittkowers demonstrate, comes into its own in the Renaissance, as part of the new bid by visual artists to distinguish themselves from craftsmen, with whom they were then lumped together. Where the skilled artisan had worked under the sign of light-fingered Mercury, the ambitious artist identified himself with the mysterious and brooding Saturn. Alienation, in effect, was a rung by which artists sought to climb the social ladder. As to the reputed madness of artists—well, some have been as mad as hatters, some as tough-minded as the shrewdest businessmen, and many others wildly and willfully eccentric but hardly crazy. What is certain is that no book presents such a splendid compendium of information about artists’ lives, from the early Renaissance to the beginning of the Romantic era, as Born Under Saturn. The Wittkowers have read everything and have countless anecdotes to relate: about artists famous and infamous; about suicide, celibacy, wantonness, weird hobbies, and whatnot. These make Born Under Saturn a comprehensive, quirky, and endlessly diverting resource for students of history and lovers of the arts. “This book is fascinating to read because of the abundant quotations which bring to life so many remarkable individuals.”–The New York Review of Books
When an old flame comes calling, Hugh Everton is powerless to resist. Hugh Everton was intent on nothing more than quietly drinking in the second-rate hotel he found himself in on England's south coast—and then in walked his old flame Lucy and her new husband and ex-judge, Gregory Bath. Entreated by Lucy to join her party for an evening back at the Bath residence, Hugh is powerless to resist, but when the night ends with the judge's inexplicable murder, he is pitched back into a world of chaos and crime—a world he had tried to escape for good. When Lucy's husband dies of mysterious circumstances, Hugh finds himself questioning whether she is responsible for the untimely death, and if so, how she managed it. First published in 1952, The Widow of Bath offers intricate puzzles, international intrigue, and a richly evoked portrait of post-war Britain, all delivered with Bennett's signature brand of witty and elegant prose. This edition includes an introduction by CWA Diamond Dagger Award-winning author Martin Edwards. "What lingers most in the mind is the arch dialogue, which is so relentlessly witty that some readers will lick their lips with incredulous gusto."— Kirkus Reviews
Originally published in 1985. Beasts of the Modern Imagination explores a specific tradition in modern thought and art: the critique of anthropocentrism at the hands of "beasts"—writers whose works constitute animal gestures or acts of fatality. It is not a study of animal imagery, although the works that Margot Norris explores present us with apes, horses, bulls, and mice who appear in the foreground of fiction, not as the tropes of allegory or fable, but as narrators and protagonists appropriating their animality amid an anthropocentric universe. These beasts are finally the masks of the human animals who create them, and the textual strategies that bring them into being constitute another version of their struggle. The focus of this study is a small group of thinkers, writers, and artists who create as the animal—not like the animal, in imitation of the animal—but with their animality speaking. The author treats Charles Darwin as the founder of this tradition, as the naturalist whose shattering conclusions inevitably turned back on him and subordinated him, the rational man, to the very Nature he studied. Friedrich Nietzsche heeded the advice implicit in his criticism of David Strauss and used Darwinian ideas as critical tools to interrogate the status of man as a natural being. He also responded to the implications of his own animality for his writing by transforming his work into bestial acts and gestures. The third, and last, generation of these creative animals includes Franz Kafka, the Surrealist artist Max Ernst, and D. H. Lawrence. In exploring these modern philosophers of the animal and its instinctual life, the author inevitably rebiologizes them even against efforts to debiologize thinkers whose works can be studied profitably for their models of signification.
When author Margot S. Biestman was born in 1931, her grandmother told her she came into the world beautiful because she’d been kissed by an angel. The proof: her two dimples, one on each blessed cheek. In Becoming Myself, Biestman offers an extensive and insightful commentary on how personal and professional experiences lead to self-examination and growth. Along with examples of her poems and other creative expressions, she reflects on a youth living among a family of artists, growing up in San Francisco, and becoming a teacher. Biestman’s artistic nature has informed her life’s journey as a maverick who chose not to be boxed in by the social environment she was born into. Becoming Myself: An Eighty-Seven-Year Journey of Engaging the Senses through Breath and Creative Expression resonates with the courage to stay true to oneself and to forge a different and inspiring path.
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