Under glittering lights in the Louvre palace, the French court ballets danced by Queen Marie de Médicis prior to Henri IV’s assassination in 1610 attracted thousands of spectators ranging from pickpockets to ambassadors from across Europe. Drawing on newly discovered primary sources as well as theories and methodologies derived from literary studies, political history, musicology, dance studies, and women’s and gender studies, Dancing Queen traces how Marie’s ballets authorized her incipient political authority through innovative verbal and visual imagery, avant-garde musical developments, and ceremonial arrangements of objects and bodies in space. Making use of women’s "semi-official" status as political agents, Marie’s ballets also manipulated the subtle social and cultural codes of international courtly society in order to more deftly navigate rivalries and alliances both at home and abroad. At times the queen’s productions could challenge Henri IV’s immediate interests, contesting the influence enjoyed by his mistresses or giving space to implied critiques of official foreign policy, for example. Such defenses of Marie’s own position, though, took shape as part of a larger governmental program designed to promote the French consort queen’s political authority not in its own right but as a means of maintaining power for the new Bourbon monarchy in the event of Henri IV’s untimely death.
In this age of internationalisation of higher education, many bilingual teachers from non-English-speaking contexts pursue their postgraduate degrees in English-speaking countries. Most programmes focus on providing content knowledge to them, while neglecting their investments. Furthermore, not much attention is given to what these bilingual teachers expect to gain from studying abroad, as well as their lived experiences and identity construction both inside and outside the classroom in English-speaking countries and when they return home. Nevertheless, these dimensions are crucial to their growth as teachers and users of English. This book explores these neglected aspects through case studies of bilinguals from various backgrounds. Through these case studies, the book examines the hopes, struggles and adaptation of bilinguals. It provides insights into what international students should realistically expect when studying overseas, and how to empower bilingual teachers, users and learners of English.
Neoliberal policies and austerity measures have unequivocally altered the landscape of women’s lives globally. The most detrimental effect has been on mothers as they are faced with increasing responsibility and decreasing resources. Despite mothers being the primary producers, consumers, and repro- ducers of the neoliberal world, their centrality has been largely silenced within economic discourse. Thus, Mothering in the Age of Neoliberalism calls for a new economic framework to counter the individualized neoliberal model, one in which the needs of mothers and children are prioritized. This volume provides a crucial starting point. By identifying the sources of neoliberal failure toward mothers, we can begin to collectively formulate an alternative paradigm in which mothers’ voices are no longer rendered invisible, but rather predominate in the global landscape.
The Lucky Ones is a moving and meticulously researched book of refugee stories from award-winning journalist and former foreign correspondent Melinda Ham. Though they are from different generations, countries and cultures, the families in this book all have one thing in common: they have escaped persecution in their homelands to find safety in Australia. Spanning 70 years, and tracking journeys from Iraq, Afghanistan, Poland, Tibet, Vietnam and Zaire, The Lucky Ones offers a window into the complex history of Australian refugee experiences. More than 35 million refugees around the world are currently waiting to be resettled. In their own words, the people in this book are some of the 'lucky ones' who survived terror, detention, beatings and torture to reach a country that offered them a new beginning.
This book is an analysis of the textual representation of dance in the Australian novel since the late 1890s. It examines how the act of dance is variously portrayed, how the word 'dance' is used metaphorically to convey actual or imagined movement, and how dance is written in a novelistic form. The author employs a wide range of theoretical approaches including postcolonial studies, theories concerned with class, gender, metaphor and dance and, in particular, Jung's concept of the shadow and theories concerned with vision. Through these variegated approaches, the study critiques the common view that dance is an expression of joie de vivre, liberation, transcendence, order and beauty. This text also probes issues concerned with the enactment of dance in Australia and abroad, and contributes to an understanding of how dance is 'translated' into literature. It makes an important contribution because the study of dance in Australian literature has been minimal, and this despite the reality that dance is prolific in Australian novels.
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