Bøger udgivet af Liverpool University Press

Derek Mahon (1941-2020) is widely recognized as one of the most important Irish poets of his generation. This collection of new critical essays offers an important retrospective assessment of the nature of his poetic achievement. Bringing together many leading scholars of modern and contemporary Irish poetry, including a notable number of accomplished poet-critics, its contributors range widely across Mahon's body of work. Their essays offer fresh considerations of the biographical, geographical and literary contexts that shaped his poetic voice. This includes paying attention not only to more familiar influences but also to previously little considered interlocutors. The stylistic and formal achievement of his voice is re-evaluated in ways that range from attentive close readings to considerations of his controversial practice of self-revision, and his engagements with music and experiments in translation. The politics of a poet often misleadingly considered apolitical are also reframed to take in the engagements of his early work through to the ecocritical commitment of his later poetry. Indeed, a notable aspect of this book is the consideration it gives to all the phases of Mahon's career. As a whole, the collection opens up many new ways of reading and understanding Mahon's important body of work.

During the nineteenth century, local officials sought to deal with their Irish pauper 'problem' by removing these poor migrants back to Ireland under the laws of settlement and removal. Over the course of the century, hundreds of thousands of Irish paupers were forcibly repatriated in this way. Even though the settlement rights of Irish immigrants gradually improved over time, removals were still taking place into the twentieth century.The system was widely recognised as being cruel and unfair, especially in Ireland where the practice garnered considerable political and press attention. Much was made of the illegality of some removals, and of harsh removals involving widowed women, children and the elderly.This book, which is the first sustained study of repatriation from Britain, demonstrates a persistent theme: the marginal nature of Irish life on the larger island. Drawing on extensive research in newspaper sources and parliamentary papers, it presents an original and richly detailed perspective on Irish immigration, poverty and pauperism in nineteenth-century Britain.

The Stereoscopic Picturesque is an interdisciplinary study of nineteenth-century 3D photography and its relation to the picturesque tradition in art, literature, and tourism. The study focuses on the invention of the stereoscope, originally a laboratory device for demonstrating the nature of three-dimensional vision, and the simultaneous invention of photography, in order to show how early stereo photographers used the optics of the stereoscope to extend the possibilities of picturesque representation. Their images also made "virtual travel" possible for an international mass audience, allowing millions of people to explore places and natural wonders that they would otherwise never have seen. Many of these places had deep literary associations - Wordsworth's Lake District, for instance, or Scott's Trossachs - and the stereography of these regions constitutes an important, yet largely unexplored, chapter in the reception history of these authors. Many of the photographs were deliberate attempts to encourage the preservation of environmentally sensitive sites, something the realism of photography and the 3D presentation of the stereoscope made especially effective. The Stereoscopic Picturesque combines fields of study that have rarely been brought into such close contiguity: the history of science, art history, the history of photography, literature, and environmentalism. The result is an unprecedented look at Victorian popular culture and the way stereo photography shaped their ways of seeing the world.

This collection of essays offers an image of Byron not only as a poet - for which he is best known - but as a translator of foreign literature and culture. To recover this underexplored element of Byron's work, the contributors examine his translated pieces in both textual and extra-textual contexts, including analysis of manuscripts, composition history, publishing history, and other literary and historical factors. They explore the motives behind Byron's choice to translate in the first place, as well as reconstructing the translational methods he applied, and his ideas on translation and the role of the translator in general.The book focuses too on Byron's 'geographical mobility', which also involved the act of translation, though in a metaphorical sense. The cosmopolitan poet mediated and interpreted all the time: foreign cultures, behaviours, modes of living, customs and habits. In this sense, translation becomes for the poet a dynamic 'movement' between languages, across texts and around various contexts, offering Byron a vital space for the articulation of his ideas. Byron's translation work reminds us how Romantic writers and readers sought to learn about and engage with the wider world and its various languages.

Maxims I and Maxims II, which comprise a seemingly haphazard assortment of Old English poetic gnomes (sayings put into verse to aid memory), are intriguing yet mysterious compositions. While they are interesting in that they might represent various facets of the values and worldview that were prevalent in early medieval England, they are puzzling, lacking both thematic or aesthetic coherence and identifiable goals. Nevertheless, these works must have had significance, as reflected in the fact that they are recorded among other significant works in two highly esteemed manuscripts: the Exeter Book and the C-manuscript of the Anglo-Saxon Chronicle. This volume investigates how these works function both independently and within the context of these manuscripts by analysing the works themselves and their places within these codices. This volume also addresses the following long-standing issues: linguistic features and dates and places of origin of these works; the use of ljóðaháttr- and galdralag-like constructions in Maxims I; the gnome on soð in Maxims II; and the use of gnomic bið and sceal. A new critical edition of Maxims I and II, complete with English translations, full commentary and glossary, is also included in the volume.

What do we gain from watching a familiar play for the nth time? This was a crucial question for Romantic-period theatre managers, who, to deliver varied programmes, relied on a repertoire of 'stock' entertainments performed in alternation with the latest plays. Repertory theatre was not new to the Romantic period, but it took on additional purchase at a time when the playhouse was not simply a site for entertainment but a government-controlled cultural institution and business subject to sometimes extreme financial, political, and ideological pressures.Through an innovative selection of case studies drawn from deep archival research, Stock Pieces juxtaposes canonical with otherwise forgotten entertainments; unites the period's professional and amateur dramatic cultures; and spans British metropolitan, provincial and imperial geographies. The picture that emerges is fresh and compelling. It is not Shakespeare who takes centre stage here, but the near contemporaries whose repertoire status he came to undermine, and the adaptors of his work (from pantomime arrangers to enslaved performers in Jamaica) who transformed its aesthetic and cultural values; while it is the revival and reenactment of the horrific, violent spectres of the slave trade and slavery that recur again and again. Stock Pieces gives powerful testimony of how the Romantic-period dramatic repertoire could be mobilised to signify social and political practices that operated outside the theatrical institution, crossed national borders, and dared to effect real change.

L'Écriture est la peinture de la voix honours and celebrates the inestimable contributions that Professor Nicholas Cronk has made to our understanding of the Enlightenment. As director of the University of Oxford's Voltaire Foundation, he has played a decisive role in eighteenth-century studies. In particular he has shaped our knowledge of Voltaire as a writer, celebrity and era-defining figure whose influence has continued to be felt through the centuries. Comprising essays by a host of internationally eminent scholars, this volume is a fitting tribute to the esteem and affection in which Nicholas Cronk is held as a colleague, teacher and mentor. These sixteen essays reflect his varied research interests, exploring questions central to the eighteenth century, such as the writing process, justice, revolution, as well as the legacy of the Enlightenment, and focussing on the central figure in Nicholas Cronk's research: Voltaire. In sections devoted to Voltaire's writing practices, to his involvement in political, literary and religious polemics, and finally to his legacy, the essays build on Nicholas Cronk's scholarship and editorial achievements, opening up a new chapter in research on Voltaire. This volume is complemented by an online collection of essays which speak to other topics central to Nicholas Cronk's interests, such as authorial identities, correspondence and aesthetics.

At the end of 'Ode to a Nightingale', Keats's speaker famously asks of the foregoing reverie: 'Was it a vision, or a waking dream?' This book is concerned with such 'enchanted' imaginings and the intimations of transcendence they convey, along with the suspicions they reflexively engender and the uncertainties with which they invite us to dwell.The book argues that it is necessary to think anew about the Romantics' 'imaginative metaphysics' on account of recent theoretical developments -- to do with such things as affect theory, eco-theology, new materialism and the re-enchantment of the West -- but also due to a lingering allergy to ideas of transcendence, which can be traced back to the 'demystifying' materialist approaches to Romanticism that dominated post-1960s criticism.It is further suggested that under the gaze of these critical approaches, Romantic literature has been consciously cut off from the life of the reader and its affective, epiphanic and utopian dimensions have been neglected. What The Enchanted Moment proposes instead is a 'post-secular' approach that seeks to preserve the ontological hospitality of Romantic literature, whilst also endorsing a more participatory engagement with the text, in which the act of reading is allowed to become an existentially relevant exploration of the possible, which can transfigure our vision and open up new ways of being in the world.Although in one sense the study is a work of 'meta-criticism', which seeks to recover excluded possibilities and facets of Romanticism that have been discredited by some of its most influential critics, its contentions are illustrated and their cogency explored by way of provocatively new close readings of works by Barbauld, Blake, Byron, Coleridge, Keats, Radcliffe, P.B. Shelley, Wollstonecraft and Wordsworth.

Theater and performance have played vital political and pedagogical roles in the history of HIV/AIDS advocacy and activism in the Global North. From the shoestring dissident work of the 1980s and '90s to the contemporary educational plays challenging extant stigma surrounding HIV, the stage has long provided a space for identificatory community and activism. However, the nature and purpose of HIV/AIDS theater has changed significantly over the past four decades or so. While the introduction of protease inhibitors in the 1990s altered the trajectory of the pandemic and positively impacted many lives, the simultaneous consolidation of neoliberal hegemony generated a range of new and heightened challenges for theater-makers, activists, and advocates hoping to improve the lives of people with HIV. Drawing on cultural materialist and Western Marxist traditions - most notably Gramscian political theory - this book examines the extent to which the stage has been able to offer a space for counterhegemony in the context of the pandemic. In establishing a genealogy of HIV/AIDS theatre that incorporates both close dramaturgical analysis and wider materialist considerations, it elucidates how neoliberalism has established an ever-stronger grip on the genre and its messaging. In so doing, it poses wider questions about theater's role in political strategy in the contemporary context of neoliberal hegemonic crisis.

Throughout much of history, imperial China has exhibited a seemingly capricious relationship with the sea. At times, it has welcomed commerce and travel across its vast waters with open arms, yet at others, it has sought to completely cordon off the littoral and the waters beyond. This intermittent approach has fostered a maritime community that, over time, has become increasingly estranged from the dominating Confucian society. Consequently, this has led to behaviours among the coastal residents that pose challenges for those attempting to govern them, with each influencing the other in turn.In Shaping the Blue Dragon, Ronald Po examines China's relationship with the maritime world from the Ming through the Qing by following the stories of ordinary and extraordinary people engaging with the blue domain. Pirates, cartographers, administrators, naval generals, maritime writers, emperors, visionaries, and travellers. Most of their stories are unheard in the Anglophone community. Despite the range of their backgrounds and expertise, their cumulative lives were all bounded to the sea. They bared their own souls and mirrored their own logics and reflections in their actions, yet in doing so their characters, identities, and life histories were largely shaped by a maritime China that was in transition between the fourteenth and early nineteenth centuries

Despite Dorothy Wordsworth's having long ago entered the pantheon of English diarists, only brief segments of the fifteen notebook diaries that she filled between 1824 and 1835 - known collectively as the Rydal Journals - have appeared in previous collections of her works. This scholarly edition of the entirety of these later journals therefore represents a signal event for the field of British Romanticism in general and researchers of Dorothy Wordsworth in particular, as it makes available what may be the last great trove of unpublished life writing by a major writer of early nineteenth-century Britain. The Rydal Journals cover a pivotal decade in Dorothy's life, chronicling her transition from an indefatigable fifty-three-year-old in her physical and intellectual prime to a rapidly declining sixty-three-year-old confined to an upstairs sickroom at Rydal Mount. Accordingly, they offer both a heightened appreciation of her remarkable gift for capturing the pleasures of everyday life and an affecting account of the onset of disability and old age. Besides providing a reliable transcription of the complete contents of the Rydal Journals - including not only Dorothy's diary entries but also miscellaneous materials like her expense ledgers, Bible study notes, and poetry drafts - this edition also features thousands of contextual footnotes and detailed introductions to important people, places, and events referenced across the fifteen notebooks.

Books I-II of Julius Caesar's The Gallic War narrate the campaigns of Caesar's first two years in Gaul (58-57 BCE). These first years saw great success for Caesar. He repelled the Helvetii, who were attempting to migrate through Roman territory; he defeated the German tribes who had crossed the Rhine under the leadership of the arrogant Ariovistus, who had designs on conquering all of Gaul in his own name; and he suppressed an uprising among the Belgic tribes. Caesar portrays these victories as hard-fought against fierce enemies; through reported speeches and dispatches he demonstrates Ariovistus' bold ambition, and he narrates his near-defeat at the Sabis River in vivid detail. Nevertheless, by the end his second year in the province, Caesar claimed that all of Gaul had been pacified, and he was awarded a fifteen-day thanksgiving by the senate.This English translation faithfully represents the clarity and precision of Caesar's Latin while also conveying the drama of Caesar's narrative in a voice that modern readers will find lively and accessible. A substantial introduction orients the reader to the historical and literary context of The Gallic War as well as to the complicated political and authorial career of Julius Caesar. The commentary covers topics of historical, literary, and linguistic interest, providing support to readers of both the English and Latin texts.

In the early 1990s, after the fall of the Berlin Wall and during the process of German re-unification, the city of Berlin commissioned a working group to create a 'Memorial Book for the Jews of Berlin' and their persecution under the Nazi regime. Alongside the necessary archival research, the group also contacted 'former Berliners' - Jewish refugees and their descendants - all across the globe. The response was overwhelming: In hundreds of letters, documents, and poems, the correspondents asked the city to take note of their life stories, their experiences, and above all their relationship to the former hometown. They describe their childhood and youth in Berlin, the rise of antisemitism and hatred, the loss not just of property, but also of a feeling of belonging. They report about life in the countries of emigration and show a deep interest in the development of a new, democratic Germany that needs to me made aware of the fate of its Jewish community. The book offers a deep reading and a framework for an understanding of these letters and the emotional 'luggage' they contain: Feelings about the city of Berlin and about the afterlife of a lost Berlin in the memories of the emigré families.

The Stanley Kubrick Archive is a collection held at the University of the Arts London that contains material related to the life and work of Stanley Kubrick. But even though the archive has been branded as being about one man - Kubrick - its contents are much more diverse. There are records and objects about the wider industrial, cultural, and social history of film production in the latter half of the twentieth century; records and objects about the histories of fashion, stationery, photography, communication and media technologies, and urban development; historical resources pertaining to events such as the Holocaust, the life of Napoleon, and the American Civil War; and ephemera that has no immediately obvious research use.Media historian James Fenwick argues that the Stanley Kubrick Archive has been misunderstood as being solely about Kubrick and that it has much greater interdisciplinary potential. Fenwick opens up the discussion of the meaning and purpose of the Stanley Kubrick Archive by considering its material realities via a critical survey and archaeological analysis of its contents. By undertaking such an analysis, Fenwick moves beyond the mythic status of the archive being Kubrick's archive and instead foregrounds the wider cultural value and significance of the collection and uses the archive to excavate histories, stories, and ideas beyond a focus on Stanley Kubrick, proving that the Stanley Kubrick Archive doesn't just have to be about Stanley.

Given the U.S.A.'s long held "taste for the monstrous in all its forms" (Scott Poole 4) coupled with its love for "the colossal, the exaggerated and the brash" (Tsutsi 166) it is not surprising that the giant monster movie has long been a key part of the nation's cinematic landscape, yet up until recently the genre had been largely neglected by scholars. The U.S. Giant Monster Movie: Size Does Matter addresses this gap, providing a richly detailed and compelling critical account of this vital but often overlooked instance of popular cinema. Using Mikhail Bakhtin's theories of the carnivalesque to help inform a discussion of examples such as The Lost World (1925) and King Kong (1933), up to the latest CGI blockbusters including Cloverfield (2008), Pacific Rim (2013) and Godzilla vs Kong (2021), the book charts chronological developments in the form; examines its' wide-ranging thematic concerns; and explores the reasons for the U.S. giant monster movie's continuing commercial success.This comprehensive study will appeal to those with an interest in Film Studies, American Studies, popular cinema and culture, as well as anyone who wants to know more about this most spectacular and often subversive of genres.

An Open Access edition of this book will be available on publication on the Liverpool University Press website and the OAPEN library.Engaging with previously overlooked diaries by women in Ireland, written between 1760 and 1810, this book opens new avenues concerning authorship and female agency, transforming our understanding of women's contributions to both literature and culture. The result of extensive archival research across multiple international archives, this book presents an entirely new corpus that demonstrates the creativity and literary capabilities of women in this period.The surviving diaries showcase these women's engagement with a form that allowed them to explore their subjectivity and to experiment with the presentation of self. This book demonstrates how these 'bagatelles' should be treated as literary works that were shaped by, and in turn influenced, wider cultures of reading and writing, underlining the generic fluidity at play. The diary form forces a dismantling of the neat binaries of public and private, of imaginative and non-imaginative prose writing, complicating our understandings of each. The content of these diaries prompts a re-evaluation of the very contours of Irish writing and what we consider as literature, while allowing us to rediscover the importance of manuscripts to our explorations of literary culture.

The book examines three expeditions by the Spanish to the borders of Charcas, a district that covers present-day Bolivia and the northwest of Argentina, in the second half of the sixteenth century, through an approach that has not been attempted until now. Scholarship on these events has framed them as part of a gradual top-down process of centralisation driven by the Crown to extend its power and build a colonial 'state' in the Americas. This book challenges this view approaching the expeditions through an analysis of the political culture that underpinned them. It explores the events within the process of installation and consolidation of royal jurisdiction, understood here as the authority to establish law and deliver justice, in a remote area. This was a process done through coercion and violence, as well as negotiation and consensus, that involved both the Spanish and indigenous peoples, and that frequently created overlapped jurisdictions, via downscaling of politics and dispersion of power. Jurisdictional politics were decided and settled in battlefields and courts and involved the theatricalization of power, to make a distant monarch present, which paradoxically, made such absence the more evident. The book is an invitation to re-dimension the scope of Spain's empire.

Actor, memoirist, novelist, playwright and poet, Stephen Haggard was a highly individual figure in the English literature and theatre of the 1930s and Second World War. Haggard was born in Guatemala City in 1911, the son of a British colonial officer - who was a nephew of H. Rider Haggard - and his French-Canadian wife. He died in mysterious circumstances in 1943 while serving with British Army Intelligence in the Middle East.Ross Davies's biography retraces Stephen Haggard's brief yet vivid and crowded life and work. From a colonial childhood and education in England, the Haggard story moves on to prewar theatre studies in Munich, stardom on the London and New York stages and from there to service with the Army, the BBC, the Special Operations Executive and its rival Political Warfare Executive. Davies shows that Haggard felt verse to be his vital outlet, artistic and emotional, although he did not seek publication until the outbreak of Hitler's war. Wartime poems such "The Tear" and "Lotus" struck a chord with the many other young men and women who had to set aside civilian life, and Haggard's widow Morna collected the verse for publication with his memoir I'll Go to Bed at Noon (1944). In this book, Davies traces a fascinating life story that has been largely lost from view and makes a convincing case for Haggard's important contribution to the interwar literary and cultural scene.

In From Dictatorship to Democracy: Confronting the Authoritarian Past in Brazil, Dr Gisele Iecker de Almeida offers a thought-provoking examination of how government initiatives construct representations of the past and can play a crucial role in shaping collective memory. Focusing on Brazil's difficult heritage, this groundbreaking monograph delves into the complex landscape of memory surrounding the dictatorship and its enduring legacies.Through a critical analysis of Brazilian policies implemented between 1995 and 2016, including the Special Commission on Political Deaths and Disappearances, the Amnesty Commission, Revealed Memories, and the Brazilian National Truth Commission, de Almeida unveils how these initiatives have attempted to influence the understanding and perception of the dictatorship.This book challenges the notion of a purely factual and neutral approach to remembering the past, illuminating how memory, policymaking, and historical interpretation are intricately intertwined. It examines the interplay between memory and politics, shedding light on how government initiatives actively participate in the process of constructing representations of the past. From the selective portrayal of events to the formulation of grand narratives about the past, de Almeida presents a comprehensive analysis of the discursive mechanisms and rhetorical patterns employed by Brazilian transitional justice initiatives.This monograph is an indispensable resource for scholars, policymakers, and anyone interested in memory politics, transitional justice, and the construction of representations of the past. It offers a fresh perspective on the power dynamics involved in memory-making and invites readers to critically reflect on how the past is represented.

An exciting new contribution to the expanding but still largely uncharted territory of collaboration studies, Late Victorian Literary Collaboration is the first book-length study of the trend for collaborative writing that emerged in the last decades of the nineteenth century.As a result of the rapidly growing literary market, the years between 1870 and the turn of the century witnessed an unprecedented flow of collaboratively written novels. In the 1890s, co-authorship became a craze, with literary partnerships multiplying and fiction co-written by twenty and more authors appearing in the pages of popular magazines. By 1900, however, the trend had already reversed, and it quickly slipped into oblivion. Late Victorian Literary Collaboration investigates the factors that made the period so conducive to collaboration, tracing the reasons for its success and subsequent decline. Drawing on a vast range of original sources, the book discusses and compares different models of collaboration, from life-long, exclusive partnerships to one-time, widely-advertised collaborative ventures between best-selling novelists. It deals with authors such as Walter Besant, Somerville and Ross, Andrew Lang, H.R. Haggard and Rhoda Broughton, all favourites of the Victorian public but subsequently neglected and only recently reevaluated. By unpacking the debate that developed around co-authorship in the periodical press of the time, the book also sheds light on how collaborative authorship was imagined by the general public, and illustrates how the trend effectively - if temporarily - challenged Victorian assumptions about the author as a solitary genius.

The 2008 financial crisis prompted the most significant social protests since 1968 in the Middle East, Europe, and the United States. These protests generated not only social reform but also collaborative and affective affiliations, often seen through artistic and cultural materials. Taking Spain as a focal point, this book examines film production at both points in time, showing how it emerges from simultaneously divergent and comparable economic and political milieux. The book aims to recognize and celebrate the political responsibility exercised and expressed by a new generation of Spaniards deeply immersed in those protests. Through the convergences of two markedly significant periods in two separate centuries, filmmakers expose the deficiencies of Spain's democracy in 2008--the D MOCRAZY in my title, a slogan seen on a banner carried by the protesters--while creating a new sensibility and forms of social life that bring back the notions of community and the common good that had been forgotten in the midst of such a brittle environment.

Addressing the history, impacts, and legacies of the Indian Residential School system, the Canadian Truth and Reconciliation Commission is one of the few commissions to have been established in a Western, long-standing liberal-democratic reality such as Canada's. It thus becomes paramount to examine the extent to which the TRC's core principles of truth-telling, restorative justice, and reconciliation engage in productive dialogue with the settler-colonial context of Canada and, particularly, with Indigenous philosophies and epistemologies. Good Medicine Stories does exactly that through the lens of fiction. Interweaving Indigenous, settler colonial, trauma and gender studies on the one hand, and intersecting literary, political, historical and cultural approaches on the other, Good Medicine Stories explores the capacities of Indigenous fiction for challenging and amplifying the work carried out by the Canadian TRC. Through analysis of a unique selection of Indigenous contemporary literary texts that were produced during and after the completion of the Canadian Commission, the book shows the role of fiction in keeping the dialogue on truth, justice, and reconciliation between Indigenous and non-Indigenous peoples open and relevant to our present and our future. It also demonstrates the role of Indigenous fiction in foregrounding Indigenous healing, spiritual regeneration and resurgence.

In this book Michele Speitz assembles the first full-length scholarly study of the British Romantic technological sublime, addressing a significant gap in scholarship on Romantic literature, technological aesthetics, and the history of science and technology. Speitz shows that it is through a study of technology, and by putting British Romanticism's representations of sublime nature and technology in dialogue, that the broader history and present-day implications of the British Romantic sublime can best be understood.This innovative study foregrounds representations of Romantic machines and tools both aged and new: from the lever and the teacup to modern marvels including the steam engine and the seismograph. Surveyed as well are built environments and vast mechanical and infrastructural systems: mines, canal works, roadways, modern suspension bridges. By grouping together this set of ancient and novel inventions -- sourced from accounts penned by Erasmus Darwin, John Keats, Anna Seward, Robert Southey, Mary Godwin Shelley, Percy Bysshe Shelley and more -- Speitz demonstrates how a comparative study of these technologies relative to their aesthetic presentation and reception uncovers an overlooked iteration of the Romantic sublime, one that reveals fresh accounts of Romantic nature that have a bearing on twenty-first-century debates about the environment. The Romantic Sublime and Representations of Technology is essential reading for literary and aesthetic theorists, historians of science and technology, literary and art historians, and scholars of ecocriticism and literature and the environment.

The Journal of Beatles Studies is the first journal to establish The Beatles as an object of academic research, and will publish original, rigorously researched essays, notes, as well as book and media reviews.The journal aims are; to provide a voice to new and emerging research locating the Beatles in new contexts, groups and communities from within and beyond academic institutions; to inaugurate, innovate, interrogate and challenge narrative, cultural historical and musicological tropes about the Beatles as both subject and object of study; to publish original and critical research from Beatles scholars around the globe and across disciplines.The Journal of Beatles Studies establishes a scholarly focal point for critique, dialogue and exchange on the nature, scope and value of The Beatles as an object of academic enquiry and seeks to examine and assess the continued economic value and cultural values generated by and around The Beatles, for policy makers, creative industries and consumers. The journal also seeks to approach The Beatles as a prism for accessing insight into wider historical, social and cultural issues.

The century between c. 650 and 750 was one of major religious, social and political transformations in northwest Europe. In the Frankish kingdom, clerics from Ireland and Britain played an important role in these processes. One of the most prominent figures to emerge from this period was Willibrord - a Northumbrian educated in Ireland who became the first bishop of Utrecht and founded the monastery of Echternach in modern Luxembourg. Through his involvement in the Christianisation of Frisia, his cooperation with the eastern Frankish elite, including the ancestors of Charlemagne, and his connection with the pope, Willibrord was at the centre of the developments which led to the formation of a new ecclesiastical and political landscape between the North Sea and Thuringia on the eve of the Carolingian period. This book, which represents the first extensive study of the topic in English, extends its analysis of Willibrord's career beyond the mission to Frisia and examines the political dimension of his activity within Merovingian Francia and its border regions. By offering a fresh look the main sources for Willibrord's life, the book explores how Insular clerics shaped their Frankish environment through the creation of networks between Ireland, Britain and the continent and their ability to take on a variety of different roles within Merovingian society.

This book examines coverage of the Spanish Civil War by the leading French and British newspapers, and agencies like Havas and Reuters. Their foundational reporting created a bedrock of 'shared news', which reverberated in places as geographically and ideologically remote as Moscow or Berlin.It focuses on how key events like the mass killings in Badajoz, the siege of the Alcázar of Toledo, the Battle of Madrid, and the bombing of Guernica broke as immensely impactful news stories. By returning to first news, we can view familiar events with fresh eyes. For example, reporting on the siege of the Alcázar was shaped by Republican control of Toledo and had little in common with later Nationalist triumphalism. Guernica is studied as a breaking news story, but also as the culmination of a series of destructive aerial bombardments, including Madrid and Basque towns, which all fed into Picasso's masterpiece. This essay charts the links and transitions between day-to-day reporting, journalistic reportage, and transformative mythmaking.The book utilizes a wide range of material from newspaper libraries, digital resources and extensive archival research. The author draws on his interviews and correspondence with Sir Geoffrey Cox (1910-2008), News Chronicle's Madrid correspondent in November 1936.

This book compares fiction and non-fiction written by two generations of the Vietnamese diaspora, the so-called 1.5 and second generation in France and Canada, namely, Kim Thúy, Doan Bui, Clément Baloup, Hoai Huong Nguyen and Viet Thanh Nguyen (USA) as they grapple with their positionality as refugee(s') children and the attendant problematics of loss. How they recuperate this loss by deploying notions such as home, hauntings and hunger is central to this analysis. Refugee Afterlives identifies the tools deployed by the 1.5 and second generation, tests their limits while understanding that these writers' creations are constantly changing and shifting paradigms and will continue to be so over the next decades. Each writer is finding their own voice and pathway(s) and while these may sometimes overlap and contain commonalities, afterlives by default imply plurality and differences. This book offers ways of examining these texts, juxtaposing them, contrasting them, putting them in dialogue with each other, underlining their differences, but ultimately demonstrating that there is much to be gained in seeing how 1.5ers and the so-called second generation Vietnamese refugee writers contribute to a wider discussion of Vietnamese refugee(s') children and what happens to them after resettlement.

This book argues that literary production in Portuguese-speaking southern Africa has developed distinctive aesthetic idioms that critically respond to crises of global capitalism and related failures of post-colonial governance. Drawing from recent research at the intersection of world-systems analysis and materialist theories of world literature, it identifies and evaluates two generic trends in the post-independence literatures of Mozambique and Angola. From the mid-1980s to the early 1990s, there is a marked tendency in Mozambican literary production towards fictional representations of ghosts, spectral effects and gothic narrative techniques. In Angola, there is an analogous outburst of literary expression from the mid-1990s onwards, in which writers increasingly turn towards dystopian images of apocalypse, ecological crisis, and the disintegration of existing modes of social reproduction. Away from a restricted focus on the decline of the post-independence Marxist-Leninist state, the book contends that the upswing in these two genres of writing functions to critically register a world-systemic horizon that both surpasses and includes locally determined, national realities. The patterned repetition of spectral and dystopian forms in Portuguese-speaking southern Africa occurred at a time of heightened capitalisation, in which the region was subjected to newly expropriative forms of accumulation and ecological enclosure via integration into a reconstellated world-system headed by neoliberal finance capital. Through close readings of texts by authors such as Mia Couto, Suleiman Cassamo, Ungulani Ba Ka Khosa, Pepetela, and Ondjaki, this book asks: What factors drove literary production towards the figure of the spectre in Mozambique and towards dystopia in Angola? What emerging energies and social contradictions found shape in these generic idioms in ways that existing vocabularies were unable to express? What does the geo-temporal passage from spectrality to dystopia tell us about the history of capitalist development in southern Africa, and about the restructuring of political-economic parameters across the globe?

Recent research has revealed that the borrowings in Yambo Ouologuem's epochal novel Le Devoir de violence (Bound to Violence) are far more extensive than was previously thought. Accused of plagiarism, Ouologuem quit the Parisian literary world and returned to a definitive silence in Mali. This book attempts to provide both a complete table of the borrowings in Le Devoir de Violence and a new theory of their meaning. Miller dispels the myth that the borrowings are minor, negligible, or criminal; he argues that they are artful "thresholds," openings to a profound reconsideration of African history. Ouologuem set up this system of borrowings as a way to invite readers down unexpected paths of meaning. The borrowings are not mere stunts; they are inseparable from Ouologuem's radical revision of African history and his rejection of Negritude. The table of borrowings in part three of this book will serve as a resource for readers and scholars.

Community relations policy has been an almost permanent feature in Northern Ireland since 1969, yet it has rarely been considered as an object of study. This book provides historical depth to its analysis, by documenting the various manifestations of the notion of community relations in public policy during the Troubles period. Drawing on a variety of written and oral primary and secondary sources, it offers a unique, rich perspective on the meaning and intent behind community relations policy at certain critical junctures. In addition, by examining this period through the lens of one policy, the book sheds light on important questions such as who intervened in policy-making during the conflict, who sought to influence the process and, eventually, who took the decisions. It also considers the varied roles played by community workers.This meticulous analysis reveals previously unknown aspects of the evolution of community relations policy and presents a compelling micro-history of policy-making and governance during the Troubles in Northern Ireland.