The summer Olympic Games are renowned for producing the world’s biggest single-city cultural event. While the Olympics and other sport mega-events have received growing levels of academic investigation from a variety of disciplinary approaches, relatively little is known about how such occasions are experienced directly by local host communities and publics. This ethnography examines the everyday policing of the London Borough of Newham in relation to the London 2012 Olympics. It explains how police defined, monitored, prioritized, contained and investigated ‘Olympic-related’ crime, and how ‘Olympic-related’ policing connected to the policing of Newham. The authors examine how the threat of terrorism impacted on the everyday policing of the 2012 Olympics, as well as the exaggeration of other threats to the Games – such as youth gangs – for political reasons. The book also explores local resistance to Olympic policing, and the legacy of the Games with regard to policing, local housing, demographics and social exclusion. Discussing the lessons that can be learned for the future staging of sporting mega-events, this book will appeal to scholars and students with interests in sport, policing, crime and criminology, mega-events, event management, urban studies, global studies and sociology.
A rich, fascinating, enlightening if sometimes slightly terrifying tableau of real life in one of the world's most celebrated cities."--Los Angeles Times
Volume three of a bibliography documenting all that has been written in the English language on the history of sport and physical education in Britain. It lists all secondary source material including reference works, in a classified order to meet the needs of the sports historian.
This is a major reinterpretation of John Bunyan, each of whose works, including the posthumous, is analyzed in its immediate historical context. The author draws on recent literature on depression to demonstrate that Bunyan suffered from this mood disorder as a young man and then used this experience to help mold his literary works.
Maps of Malaya and Borneo: Discovery, Statehood and Progress showcases the extensive map collections of His Royal Highness Sultan Sharafuddin Idris Shah, Sultan of Selangor, and Richard Curtis. The combined collections contain more than 160 maps dating from the 1500s to after Malaysia's formation in 1963. The collections include early Portuguese, Dutch, French and English maps, nautical charts, maps of the interior, maps from atlases and encyclopaedias, maps showing economy, culture and communications and urban maps. Extensive captions highlight key features of the maps, provide insights into their creators and explain the context in which the maps were produced and used. The presentation of the collections is preceded by an authoritative text on the mapping of Malaya and Borneo over the last 1,800 years. This text explains the quest for accurate maps; illustrates how maps showcased the changing economic, cultural and political dynamics within Malaya and Borneo; and describes the evolution of mapping techniques as well as providing insights into the work of leading cartographers.
While full account is taken of authoritative secondary works, including recent scholarly controversies, the book's strength comes from the detailed illustration from original sources of its comparative analysis."--BOOK JACKET.
A fascinating recreation of the world of one of England's most charismatic monarchs, from award-winning author and historian Richard Barber The destruction of the French army at Crécy in 1346 and the subsequent siege and capture of Calais marked a new era in European history. The most powerful, glamorous and respected of all western monarchies had been completely humiliated by England, a country long viewed either as a chaotic backwater or a mere French satellite. The young Edward III's triumph would launch both countries, as we now know, into a grim cycle of some 90 years of further fighting ending with English defeat, but after Crécy anything seemed possible - Edward's claim to be King of France could be pressed home and, in any event, enormous rewards of land, treasure and prestige were available both to the king and to the close companions who had made the victory possible. It was to enshrine this moment that Edward created one of the most famous of all knightly orders, the Company of the Garter. Barber writes about both the great campaigns and the individuals who formed the original membership of the Company - and through their biographies makes the period tangible and fascinating. This is a book about knighthood, battle tactics and grand strategy, but it is also about fashion, literature and the privates lives of everyone from queens to freebooters. Barber's book is a remarkable achievement - but also an extremely enjoyable one. Reviews: 'Barber [has an] infectious passion for and deep knowledge of his subject matter ... elegant prose and rigorous historical analysis ... a valuable and thorough addition to the body of work on this most impressive of English monarchs' Sunday Times 'In Edward III and the Triumph of England [Barber] has written the kind of book that the king would have enjoyed: full of battles, glitter and ceremony ... he has an original eye and an elegant pen' Jonathan Sumption, Literary Review 'Barber share's his hero's love of chivalry ... The book sparkle[s] with some of Edward's own glitz' Telegraph 'This absorbing book is layered rather than linear, sifting with uncommon sensitivity through challenging sources to test the boundaries of what we can and cannot know ... We discover the complexity of the world in which Edward and his commanders lived' Helen Castor, The Times About the author: Richard Barber has had a huge influence on the study of medieval history and literature, both as a writer and as a publisher. His major works include The Knight and Chivalry (winner of the Somerset Maugham Award), Edward Prince of Wales and Aquitaine, The Penguin Guide to Medieval Europe and The Holy Grail: The History of a Legend. He lives in East Anglia.
From New Yorker film critic Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard presents a "serious-minded and meticulously detailed . . . account of the lifelong artistic journey" of one of the most influential filmmakers of our age (The New York Times). When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.
Nico was revered as ‘the most beautiful creature who ever lived’. She was Andy Warhol’s femme fatale and the High Preistess of Weird, yet few knew her real name or her wretched origins. When she called herself ‘a Nazi anarchist junkie’, they thought she was joking. Bob Dylan wrote a song about her, Jim Morrison a poem, Jean Baudrillard an essay, Andy Warhol a film, Ernest Hemingway a story – yet she fought against the idolatry of men to assert her independence as a composer of dissident songs. Nico’s contribution as an artist (17 films and 7 LPs) was smothered by gossip of her alleged affairs with men and women, whether Jimi Hendrix or Jeanne Moreau, Brian Jones of the Rolling Stones or Coco Chanel. She drifted through society like a phantom. Each era celebrated a different Nico – the top covergirl of the Fifties, the Siren of the Sixties (as The Times acclaimed her), the Moon Goddess of the Seventies, and the High Priestess of Punk when rock stars like Siouxsie Sioux and Pattie Smith acknowledged her pre-eminence. Ironically, they did so at the lowest point in her life. For behind the Garbo-esque veneer lived a lonely woman trying to stand autonomous in a fast-changing world, seeking to survive her heroin addiction and to cope with her tormented mother and her troubled son, his existence denied by his film-star father. In this pioneer biography, which Nico asked the author to write shortly before her outlandish death in 1988, Richard Witts uncovers the reasons for her subterfuge, and examines the facts surrounding her encounters with terrorist Andreas Baader, the Black Panthers, and the Society for Cutting Up Men. Exclusive contributions from artists such as Jackson Browne, Iggy Pop, Viva, John Cale, David Bailey, Siouxsie Sioux – and many others including her relatives, friends and enemies – make this the definitive biography of an icon who was not only a testament to an era but hitherto unrecognised influence on popular music and style.
This book offers an entirely new reception history of the myth of Hercules and his wife/killer Deianira. The book poses, and attempts to answer, two important and related questions. First, why have artists across two millennia felt compelled to revisit this particular myth to express anxieties about violence at both a global and domestic level? Secondly, from the moment that Sophocles disrupted a myth about the definitive exemplar of masculinity and martial prowess and turned it into a story about domestic abuse, through to a 2014 production of Handel’s Hercules that was set in the context of the ‘war on terror’, the reception history of this myth has been one of discontinuity and conflict; how and why does each culture reinvent this narrative to address its own concerns and discontents, and how does each generation speak to, qualify or annihilate the certainties of its predecessors in order to understand, contain or exonerate the aggression with which their governors – of state and of the household – so often enforce their authority, and the violence to which their nations, and their homes, are perennially vulnerable?
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