Canadians have been involved in, intrigued by, and frustrated with Irish politics, from the Fenian Raids of the 1860s to the present day. Yet, until now, scholarly interest in Canada’s relationship with Ireland has focused largely on the years leading to the consolidation of the Irish Free State in the 1920s. Relying on extensive archival research, Canada and Ireland authoritatively assesses political relations between the two countries, from partition to the signing of the Good Friday Agreement in 1998. It reveals how domestic controversies and international concerns have moulded Ottawa’s response to developments such as Ireland’s neutrality in the Second World War, its unsettled relationship with the Commonwealth, and the always contentious issue of Irish unification. In Canada and Ireland, Philip J. Currie painstakingly investigates the origins, trials, and successes of the sometimes turbulent connection between the two countries to shed new light on an important relationship.
Pol Pot was an idealistic, reclusive figure with great charisma and personal charm. He initiated a revolution whose radical egalitarianism exceeded any other in history. But in the process, Cambodia desended into madness and his name became a byword for oppression. In the three-and-a-half years of his rule, more than a million people, a fifth of Cambodia's population, were executed or died from hunger and disease. A supposedly gentle, carefree land of slumbering temples and smiling peasants became a concentration camp of the mind, a slave state in which absolute obedience was enforced on the 'killing fields'. Why did it happen? How did an idealistic dream of justice and prosperity mutate into one of humanity's worst nightmares? Philip Short, the biographer of Mao, has spent four years travelling the length of Cambodia, interviewing surviving leaders of Pol Pot's Khmer Rouge movement and sifting through previously closed archives. Here, the former Khmer Rouge Head of State, Pol's brother-in-law and scores of lesser figures speak for the first time at length about their beliefs and motives.
Susan Burney (1755-1800) was the third daughter of the music historian Charles Burney and the younger sister of the novelist Frances (Fanny) Burney. She grew up in London, where she was able to observe at close quarters the musical life of the capital and to meet the many musicians, men of letters, and artists who visited the family home. After her marriage in 1782 to Molesworth Phillips, a Royal Marines officer who served with Captain Cook on his last voyage, she lived in Surrey and later in rural Ireland. Burney was a knowledgeable enthusiast for music, and particularly for opera, with discriminating tastes and the ability to capture vividly musical life and the personalities involved in it. Her extensive journals and letters, a selection from which is presented here, provide a striking portrait of social, domestic and cultural life in London, the Home Counties and in Ireland in the late eighteenth century. They are of the greatest importance and interest to music and theatre historians, and also contain much that will be of significance and interest for Burney scholars, social historians of England and Ireland, women's historians and historians of the family.
This is a book written by those at the sharp end of leisure service contract management. The lessons that can be learned from it are of value to everyone involved in, or studying, all forms of contract management. Readers will be able to benefit from examples of best, and worst, practice. The book will be especially valuable for clients, contractors, and students, directors and consultants.
This book shows how Rwanda’s development model and the organisation of genocide are two sides of the same coin. In the absence of mineral resources, the elite organised and managed the labour of peasant producers as efficient as possible. In order to stay in power and benefit from it, the presidential clan chose a development model that would not change the political status quo. When the latter was threatened, the elite invoked the preservation of group welfare of the Hutu, called for Hutu unity and solidarity and relied on the great mass (rubanda nyamwinshi) for the execution of the genocide. A strategy as simple as it is horrific. The genocide can be regarded as the ultimate act of self-preservation through annihilation under the veil of self-defense. Why did tens of thousands of ordinary people massacred tens of thousands other ordinary people in Rwanda in 1994? What has agricultural policy and rural ideology to do with it? What was the role of the Akazu, the presidential clan around president Habyarimana? Did the civil war cause the genocide? And what insights can a political economy perspective offer ? Based on more than ten years of research, and engaging with competing and complementary arguments of authors such as Peter Uvin, Alison Des Forges, Scott Strauss, René Lemarchand, Filip Reyntjens, Mahmood Mamdani and André Guichaoua, the author blends economics, politics and agrarian studies to provide a new way of understanding the nexus between development and genocide in Rwanda. Students and practitioners of development as well as everyone interested in the causes of violent conflict and genocide in Africa and around the world will find this book compelling to read. .
Race, Nation, and Capital in the Modern World is a comprehensive yet concise book that traces the history of racism, nationalism and capitalism from their combined origins at the end of the fifteenth century to the present. This book describes the development of legal codes and institutional practices that brought vast wealth and power to their chief beneficiaries, along with great suffering, exploitation and destruction to its victims. Instead of understanding racism as an aberration or dark flaw in the troubled past of a world power like the United States, this synthesis places race and racism in the forefront of the unfolding history of nationalism and capitalism. The work de-emphasizes the uniqueness of each nation’s particular experience by showing the interdependence of capitalist and racist practices. The narrative follows the leading hegemonic national powers as they expanded from mercantile conquests through plantation enslavement, massive displacement of populations, colonialism, global warfare and finally the tenacious contemporary aftermath. There are no comparable surveys for undergraduates or general readers seeking a unified historical understanding of these primary drivers of modernity. It is a provocative introductory guide and not a work of political theory. This volume will appeal to students, scholars and those interested in studies on racism, race, capital, the history of inequality and human and civil rights.
Concerns about rights in the United States have a long history, but the articulation of global human rights in the twentieth century was something altogether different. Global human rights offered individuals unprecedented guarantees beyond the nation for the protection of political, economic, social and cultural freedoms. The World Reimagined explores how these revolutionary developments first became believable to Americans in the 1940s and the 1970s through everyday vernaculars as they emerged in political and legal thought, photography, film, novels, memoirs and soundscapes. Together, they offered fundamentally novel ways for Americans to understand what it means to feel free, culminating in today's ubiquitous moral language of human rights. Set against a sweeping transnational canvas, the book presents a new history of how Americans thought and acted in the twentieth-century world.
Picturesque Rio Vista was first named Los Brazos del Rio (The Arms of the River) for its proximity to the confluence of the Sacramento River, Steamboat Slough, and Cache Slough. The river was once its reason for being, and the town's huge wharf welcomed steamers like the New World and Eclipse that moved mail, freight, and passengers between Sacramento and San Francisco. The same river rose up to destroy the town after a massive flood in 1862. Although many decamped, a few determined survivors stayed on after the disaster and managed to secure a safer site for "New" Rio Vista, reborn as a thriving agricultural community. In the same spirit, Rio Vista incorporated as a city in December 1893, just 17 months after a fire burned most of its downtown. Now this growing city, close to luxury residential developments, sits atop the largest dry gas reserve in California.
A blood-chilling true-crime account from former district attorney and New York Times bestselling author Robert K. Tanenbaum BADGE OF THE ASSASSIN They were just doing their jobs -- serving and protecting -- when the unimaginable happened: Officers Waverly Jones and Joseph Piagentini became moving targets, ambushed from behind at a Manhattan housing project. Jones lay dead in a pool of his own blood, and Piagentini lived long enough to beg for his life -- before he was riddled with twenty-two bullet holes by members of a deadly hit squad hell-bent on taking out the men and women of law enforcement. Masterfully building suspense on every page, Robert K. Tanenbaum reconstructs the vicious murders of Jones and Piagentini and the manhunt for the suspects, and brings to life his courtroom prosecution of the killers -- revealing the triumphs and failures of America's legal system.
Philip Goldstein is fast establishing himself as the doyen of 'reception study, ' a discipline that assumes that the reader's interpretive practices explain a text's import. In his latest work, Communities of Cultural Value, Goldstein delves again into the realm of literary criticism, painting an absorbing picture of the changing nature of a growing, more diversified readership and its challenge to professional literary study. Goldstein's PostMarxist approach investigates how interpretive communities govern the reader's practices, through lucid case studies that analyze the reception of texts and authors ranging from Jane Austen to John Le CarrZ. Communities of Cultural Values is an important addition to the continuing debate over art's aesthetic autonomy and the role of literary criticism in the 1990s, and it will be most valuable to readers seeking to chart the changing socio-historical condition of literary study.
Modernist literature at the end of the British empire challenges conventional notions of homeland, heritage, and community. Finalist of the MSA First Book Prize by The Modernist Studies Association The waning British empire left behind an abundance of material relics and an inventory of feelings not easily relinquished. In The Obsolete Empire, Philip Tsang brings together an unusual constellation of writers—Henry James, James Joyce, Doris Lessing, and V. S. Naipaul—to trace an aesthetics of frustrated attachment that emerged in the wake of imperial decline. Caught between an expansive Britishness and an exclusive Englishness, these writers explored what it meant to belong to an empire that did not belong to them. Thanks to their voracious reading of English fiction and poetry in their formative years, all of these writers experienced a richly textured world with which they deeply identified but from which they felt excluded. The literary England they imagined, frozen in time and out of place with the realities of imperial decline, in turn figures in their writings as a repository of unconsummated attachments, contradictory desires, and belated exchanges. Their works arrest the linear progression from colonial to postcolonial, from empire to nation, and from subject to citizen. Drawing on a rich body of scholarship on affect and temporality, Tsang demonstrates how the British empire endures as a structure of desire that outlived its political lifespan. By showing how literary reading sets in motion a tense interplay of intimacy and exclusion, Tsang investigates a unique mode of belonging arising from the predicament of being conscripted into a global empire but not desired as its proper citizen. Ultimately, The Obsolete Empire asks: What does it mean to be inside or outside any given culture? How do large-scale geopolitical changes play out at the level of cultural attachment and political belonging? How does literary reading establish or unsettle narratives of who we are? These questions preoccupied writers across Britain's former empire and continue to resonate today.
The plays of Tennessee Williams are some of the greatest triumphs of the American theatre. If Williams is not the most important American playwright, he surely is one of the two or three most celebrated, rivaled only by Eugene O'Neill and Arthur Miller. In a career that spanned almost five decades, he created an extensive canon of more than 70 plays. His contributions to the American theatre are inestimable and revolutionary. The Glass Menagerie (1945) introduced poetic realism to the American stage; A Streetcar Named Desire (1947) explored sexual and psychological issues that had never before been portrayed in American culture; Cat on a Hot Tin Roof (1955) dared to challenge the political and sexual mores of the Eisenhower era; and his plays of the 1970s are among the most innovative works produced on the American stage. But Williams was far more than a gifted and prolific playwright. He created two collections of poetry, two novels, four collections of stories, memoirs, and scores of essays. Because of his towering presence in American drama, Williams has attracted the attention of some of the most insightful scholars and critics of the twentieth century. The 1990s in particular ushered in a renaissance of Williams research, including a definitive biography, a descriptive bibliography, and numerous books and scholarly articles. This reference book synthesizes the vast body of research on Tennessee Williams and offers a performance history of his works. Under the guidance of one of the leading authorities on Williams, expert contributors have written chapters on each of Williams' works or clusters of works. Each chapter includes a discussion of the biographical context of a work or group of writings; a survey of the bibliographic history; an analysis of major critical approaches, which looks at themes, characters, symbols, and plots; a consideration of the major critical problems posed by the work; an overview of chief productions and film and television versions; a concluding interpretation; and a bibliography of secondary sources. The volume concludes with a selected, general bibliography and a comprehensive index.
A finalist for the Sheridan Morley Prize that has been called "probably the best Olivier book for general readers" (Kirkus Reviews), Philip Ziegler's Olivier provides an incredibly accessible and comprehensive portrait of this Hollywood superstar, Oscar-winning director, and one who is considered the greatest stage actor of the twentieth century. The era abounded in great actors--Gielgud, Richardson, Guinness, Burton, O'Toole--but none could challenge Laurence Olivier's range and power. By the 1940s he had achieved international stardom. His affair with Vivien Leigh led to a marriage as glamorous and as tragic as any in Hollywood history. He was as accomplished a director as he was a leading man: his three Shakespearian adaptations are among the most memorable ever filmed. And yet, at the height of his fame, he accepted what was no more than an administrator's wage to become the founding Director of the National Theatre. In 2013 the theatre celebrates its fiftieth anniversary; without Olivier's leadership it would never have achieved the status that it enjoys today. Off-stage, Olivier was the most extravagant of characters: generous, yet almost insanely jealous of those few contemporaries whom he deemed to be his rivals; charming but with a ferocious temper. With access to more than fifty hours of candid, unpublished interviews, Ziegler ensures that Olivier's true character--at its most undisguised--shines through as never before.
James Joyce's Ulysses, once regarded as obscure and obscene, is now viewed as one of the masterpieces of world literature. Yet Joyce's final novel, Finnegans Wake, to which he devoted seventeen years, remains virtually unread, except by scholarly specialists. Its linguistic novelties, apparently based on an immense learning that few can share, make it appear impenetrable. Joyce's Kaleidoscope attempts to dissolve the darkness and to invite lovers of literature to engage with Finnegans Wake. Philip Kitcher proposes that the Wake has at its core an age-old philosophical question, "What makes a life worth living?", and that Joyce explores that question from the perspective of someone who feels that a long life is now ending. So the complex dream language is a way of investigating issues that are hard to face directly; the reader is invited to struggle with the novel's aging dreamer who seeks reassurance about the worth of what he has done and been. Joyce finds his way to reassurance. The sweeping music and the high comedy of Finnegans Wake celebrate the ordinary doings of ordinary people. With great humanity and a distinctive brand of humanism, Joyce points us to the things that matter in our lives. His final novel is a festival of life itself. From this perspective, the supposedly opaque, or nonsensical, language opens up as a rich source for the reader's reflections: though readers won't all approach it the same way, or with the same set of references, there is meaning in it for everyone. Kitcher's detailed study of the entire text brings out its musical resonances and its musical structures. It analyzes the novel overall while bringing deep insight to the reading of key individual passages. This engaging guide will aid readers not just to make sense of the novel, but to relish the remarkable accomplishment of Joyce's least appreciated work.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1988.
This work examines the dialectic of desire and value, as it affects the protagonist's identity, in fiction from Dickens and George Eliot through Hardy and Conrad to Lawrence and Joyce. Philip Weinstein describes the growing sexualization of the imagined body--the transformation of the protagonistic self from a figure defined by semantics, signification, and cultural value to one characterized by desire, force, and natural impulse. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Shows how Joyce's narrative styles and his protagonists' perceptions are shaped by visual technologies, including dioramas, stereoscopes, mutoscopes and film.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.