Bøger udgivet af Palgrave MacMillan

Animals and Science Fiction is the first edited collection to be published focusing on the intersection of animal studies and science fiction studies. It offers a broad range of theoretical approaches and primary source texts--including novels, short stories, poetry, film and TV, photography, erotica, video games, and urban planning documents--that explore the ways works of science fiction can transform how we see and interact with nonhuman others. With an eye toward more just multispecies futures, it argues that speculative imaginaries can be pivotal in changing attitudes toward and understandings of nonhuman animals in our world today. Chapters appeal to those interested in biopolitics, posthumanism, new materialism, ecocriticism and the environmental humanities, ocean humanities, postcolonial studies, critical race studies, Indigenous studies, global sf studies, film studies, and food studies. Taken together, the collection works to showcase a diverse and growing field ofscholarly inquiry into animals and science fiction.

This edited book gives an updated overview of methods of analysis of academic and non-academic genres in a digital era. The advent of digital and social media has deeply transformed academic and non-academic communication practices in the past two decades. The linguistic landscape is now a multilayered one; multicultural issues and cross-linguistic aspects are addressed in a way to understand how linguistically and culturally diverse identities try to find pathways. The communicative immediacy of digital media and the spectrum of genres/hybridized forms now available has inevitably influenced the way we communicate and the way we create meaning-making in a multimodal environment. The book contains nine chapters divided into two main sections corresponding to academic and non-academic texts where written, spoken and digital genres are examined from different perspectives. Cross-linguistic studies, multilingual approaches or disciplinary variations are analyzed in detail. This book provides and up-to-date and innovative view of Metadiscourse research and develops new research methodologies, drawing on visual research methods and combinations of qualitative and quantitative approaches from fields including Discourse Analysis, Corpus Linguistics, and Genre Analysis.

This book explores (mis)representations of two female claimants to the Tudor throne, Lady Jane Grey and Mary I of England. It places Jane's attempted accession and Mary I's successful accession and reign in comparative perspective, and illustrates how the two are fundamentally linked to one another, and to broader questions of female kingship, precedent, and legitimacy. Through ten original essays, this book considers the nature and meaning of mid-Tudor queenship as it took shape, functioned, and was construed in the sixteenth century as well as its memory down to the twenty-first, in literary, musical, artistic, theatrical, and other cultural forms. Offering unique comparative insights into Jane and Mary, this volume is a key resource for researchers and students interested in the Tudor period, queenship, and historical memory.

The Testing of Barbara Pym, a companion volume to The Making of Barbara Pym (Palgrave Macmillan, 2021), completes a comprehensive analysis of Pym's novels and her life, focusing on her complex view of the necessity of change at both the individual and cultural levels. Newly published archival material supports this treatment of Pym's vision of a changing world - a vision premised upon the principle of continuity, a linking together of past, present, and future. In her novels published from 1955-1980, beginning with Britain's emergence from post-war austerity, Pym portrays, in an optimistic fashion, several changing aspects of British culture: expansion of the suburbs, acceptance of homosexual men, erosion of the class system, inclusivity in the Anglican Church. But with these changes, new strains emerge as well; the principle of continuity undergoes radical testing and is then emphatically reasserted. Likewise, despite upheavals to established patterns in her life, chiefly the inability to publish her work, Pym persisted in cultivating such elements of continuity as she could, an effort rewarded, while she was in rural retirement, by a return to the publishing world. Thus, in both Pym's novels and her life, continuity survives the duress of testing circumstances.

This monograph centres on the history of musical theatre in a space of cultural significance for British identity, namely the Theatre Royal, Drury Lane, which housed many prominent American productions from 1924-1970. It argues that during this period Drury Lane was the site of cultural exchanges between Britain and the United States that were a direct result of global engagement in two world wars and the evolution of both countries as imperial powers. The critical and public response to works of musical theatre during this period, particularly the American musical, demonstrates the shifting response by the public to global conflict, the rise of an American Empire in the eyes of the British government, and the ongoing cultural debates about the role of Americans in British public life. By considering the status of Drury Lane as a key site of cultural and political exchanges between the United States and Britain, this study allows us to gain a more complete portrait of the musical'scultural significance in Britain.

Deaf Walls Speak presents an insider's view of artmaking in Guantánamo, the world's most notorious prison, as self-expression and protest, and to stage a fundamental human rights claim that has been denied by law and politics: the right to be recognized as human. The book juxtaposes detainee artist Moath al-Alwi's testimony and artwork with essays that situate his work within legal, political, aesthetic, and material contexts to demonstrate that artwork at Guantánamo constitutes important forms of material witnessing to human rights abuses perpetrated and denied by the U.S. government.

This edited collection conceptualizes professional basketball not just as a sport but as an historically, culturally, and economically embedded entity. The chapters analyse the fact that the sport of basketball contains alternative logics that can easily clash, and by treating professional basketball as the negotiation place of these multiple demands, ideas, and logics, the editors have identified three areas in which these clashes manifest: the realization of the game; the cultural impact of professional basketball and the global outreach of professional basketball. The book is explanatory and qualitative, offering new perspectives and touching on topics including gender, diversity, racism, and minority experiences within professional basketball. As such it will be of interest to sport sociologists, as well as those researching the history of sport, sports marketing and cultural studies.

The Financial Image: Finance, Philosophy, and Contemporary Film draws on a broad range of narrative feature films, documentaries, and moving image installations in the US, Europe, and Asia. Using frameworks from contemporary philosophy and critical finance studies, the book explores how contemporary cinema has registered recent financial and economic issues. The book focuses on how filmmakers have found formal means to explore, celebrate, and critique the increasingly important role that the financial sector plays in shaping global economic, political, ethical, and social life.

This book introduces English-speaking audiences to tsūji, who were interpreters in different contexts in Japan and then the Ryukyu Kingdom from the late 16th to the mid-19th century. It comprises seven historical case studies on tsūji in which contributors adopt a context-oriented approach. They aim to explore the function of these interpreters in communication with other cultures in different languages, including Japanese, Dutch, Chinese, Korean, Ryukyuan, English, Russian and Ainu. Each chapter elucidates the tsūji and the surrounding social, political and economic conditions. The book will be of interest to students and scholars of translation and interpreting, but also readers interested in the early modern history of interpreting and cultural exchange. It will similarly appeal to those interested in the Japanese language, but with limited access to books written in Japanese.

This book offers an in-depth analysis of the work of prolific writer, activist and publisher, Jack Lindsay (1900-1990). It maps the development of his ideas across the twentieth century by reference to the five British writers about whom he published major studies: William Blake, John Bunyan, Charles Dickens, George Meredith and William Morris. At the same time it maps the formation through the twentieth-century of Left cultural politics, which Lindsay repeatedly anticipated in areas such as the fundamental interconnectedness of human beings and the natural world, the formative role of culture in both social and individual being, the crucial role of the senses in embodied being and the rejection of mind/body dualism. Through his analysis Lindsay foretold both the social alienation and the environmental degradation that characterise the beginning of the twenty-first century, while his interdisciplinary research and transdisciplinary analysis provide models for how we might address these critical concerns.

This book examines how proverbs can carry ethnonyms and contradictory oppositions in everyday speech, and interrogates the belief that such nuances are national in nature by comparing across languages and cultures. The authors bring together linguistic terms and typologies from Slavonic, Germanic, Romance, Finno-Ugric and Somali proverbs (with their English parallels) to enrich contrastive paremiology. The book pushes the thematic boundaries of the paremiological minima of languages by drawing on fields including sociolinguistics, and it will be of interest to students and scholars of cultural linguistics, comparative cultural studies, sociolinguistics, social identity, anthropology, cognitive semiotics, and the history of words and concepts.

Music, Words and Nationalism: National Anthems and Songs in the Modern Era considers the concept of nationalism from 1780 to 2020 through anthems and national songs as symbolic and representative elements of the national identity of individuals, peoples, or collectivities. The volume shows that both the words and music of these works reveal a great deal about the defining features of a nation, its political and cultural history, and its self-perception. The book takes an interdisciplinary approach that provides a better understanding of the role of national anthems and songs in the expression of national identities and nationalistic goals. From this perspective, the relationship between hymns and political contexts, their own symbolic content (both literary and musical) and the role of specific hymns in the construction of national sentiments are surveyed.

This book is the first study of the vampires in silent cinema, presenting a detailed academic yet accessible discussion of the films themselves and their sources. For the very first time, The Fire Elemental from the Wharton brothers' The Mysteries of Myra (1916) is identified as cinema's original vampire, his appearance initiating a rich and variegated period of film production that is currently missing from studies of horror cinema. Exciting and ground-breaking, Vampires on the Silent Screen also discusses Drakula Halála / Dracula's death (1920), the first ever filmic female vampire in Erich Kober's Lilith and Ly (1919), and the Dracula lookalike, Count Merlin in Alexander Korda's Magic (1917) as well as many other productions. A socio-cultural framework with critical highlighting of eco-horror theory is used throughout to draw these unique discoveries together. This project is a must read for any horror enthusiasts out there.

Mental Health Symptoms in Literature since Modernism looks at various ways of treating symptoms of psychological disorders in the literature of the long twentieth century. This book shows that literature can, in its questioning of commonly accepted views of this lived experience of psychic symptoms, help engender new theories about the functioning of subjective cases. Modernism emerged at about the same time as Freudian psychoanalysis did and the aim of this book is to also show that to a certain extent, Woolf preceded Freud in her exploration of the symptom and contributed to fashioning another approach that is now more common, especially in writers from the 1990s-onwards.

Multilingual Dramaturgies provides a study of dramaturgical practices in contemporary multilingual theatre in Europe. Featuring interviews with international theatremakers, the book gives an insight into diverse approaches towards multilingual theatre and its dramaturgy that reflect cultural, political, and economic landscapes of contemporary Europe, its inhabitants, and its theatres. First-hand accounts are contextualized to reveal a complex set of negotiations involved in the creative and political tasks of staging multilingualism and engaging the audience, as well as in practical issues like funding and developing working models. Using interviews with practitioners from a diverse range of theatrical backgrounds and career levels, and with various models of financial support, Multilingual Dramaturgies also offers an insight into different attitudes towards multilingualism in European theatres. The book illuminates not only the potential for multilingual dramaturgies, but also the practical and creative difficulties involved in making them. By bringing the voices of artists together and providing a critical commentary, the book reveals multilingual dramaturgies as webbed practices of differences that also offer new ways of understanding and performing identity in a European context. Multilingual Dramaturgies sheds light on an exciting theatre practice, argues for its central role in Europe and highlights potential directions for its further development.

This book project unfolds and analyzes the work of Moroccan director, producer, and scriptwriter Farida Benlyazid, whose career extends from the beginning of cinema in independent Morocco to the present. This study of her work and career provides a unique perspective on an under-represented cinema, the gender politics of cinema in Morocco, and the contribution of Arab women directors to global cinema and to a gendered understanding of Muslim ethics and aesthetics in film. A pioneer in Moroccan cinema, Farida Benlyazid has been successful at negotiating the sometimes abrupt turns of Morocco's rocky 20th century history: from Morocco under French occupation to the advent of Moroccan independence in 1956; the end of the international status of Tangier, her native city, in 1959; the "years of lead" under the reign of Hassan II; and finally Mohamed VI's current reign since 1999. As a result, she has a long view of Morocco's politics of self-representation as well as of the representation of Moroccan women on screen

¿The Palgrave Handbook of Religion and State Volume II: Global Perpectives addresses issues of Religion and State from a multitude of disciplines. The volume begins with the philosophical discussion of perennial issues that have to do with the origin and nature of rights. One question centers on the right to use one¿s religious beliefs to enact laws. This discussion alone sets this handbook apart from other handbooks of its type. While addressing these perennial questions, this volume includes authors who interact with the work of John Rawls, Hobbes, Rousseau, and a host of contemporary philosophers. The subsequent sections address the American Constitutional Experiment, religion, state, and law in the Americas.

This book examines the rising global prominence of China's art market throughout the twentieth and twenty-first centuries. To understand the far-reaching impact of Chinese art on global consumption, this book traces the shift from regional markets to global markets. It asks how the Chinese art market re-emerged from its politicized past, innovated within the private economy boom, remained resilient despite the global financial crisis, and flourished on the global stage despite the COVID-19 pandemic. Ultimately, it argues that cultural entrepreneurship enabled Chinese art professionals to reinvent their space and to participate in the global artworld.

This edited collection examines a new phase in the creation of transnational high-end drama in television's current multiplatform era. Fuelled by the wider international exposure that internet distribution has brought to TV shows, this phase for high-end drama is one of unprecedented budgets and costs, frequent transnational coproduction and increased cultural diversification. While this drama continues to be facilitated by national broadcasters, fuelling the above trio of influences upon it has been the commissioning activity of multinational subscription-video-on-demand (SVoD) providers. This book showcases leading examples of transnational TV drama, produced outside the US, yet involving collaboration with US-owned SVoDs. It foregrounds some new potentials for drama creation in the context of its strategic importance to providers as different as national broadcasters and multinational SVoDs. This book helps to explain why today's high-end dramas are demonstrating new elements of cultural specificity despite their common objective to engage a diverse international audience.

This volume explores the reception, development and construction of Eastern practices in the Nordic countries. The focus is on spirituality, medicine and healing from a lived religion perspective. Besides a geographical focus on the Nordic countries and their characteristics, this collection examines the embodied practices aligned with different expressions of religiosity, alternative medicine, spirituality and healing practices. By addressing questions about how so-called Eastern practices are embodied, spread and materialized, the contributors shed light on a cultural change in Nordic societies regarding religious, spiritual and alternative health practices, that are sometimes at odds with the dominant medical discourse about life-threatening diseases and other types of conditions.

This book investigates how work ethics in Europe were conceptualised from the Middle Ages to the nineteenth century. Through analysis of a range of discourses, it focuses on the roles played by intellectuals in formulating, communicating, and contesting ideas about work and its ethical value. The book moves away from the idea of a singular Weberian work ethic as fundamental to modern notions of work and instead emphasises how different languages of work were harnessed for a variety of social, intellectual, religious, economic, political, and ideological objectives. Rather than a singular work ethic that left a decisive mark on the development of Western culture and economy, the volume stresses plurality. The essays draw on approaches from intellectual, social, and cultural history. They explore how, why, and in what contexts labour became an important and openly promoted value; who promoted or opposed hard work and for what reasons; and whether there was an early modern break with ancient and medieval discourses on work. These historicized visions of work ethics help enrich our understanding of present-day changing attitudes to work.

Queering W. B. Yeats and Gabriele D'Annunzio: Modernist Playwrights challenges the general resistance in scholarship and queer studies to approach Yeats and D'Annunzio through a queer lens because of their controversial affiliations with fascism and elitism, their heterosexuality and their venerated canonical status. This book provides the first fully theorised queer and comparative reading of Yeats's and D'Annunzio's drama. It offers the novel contention that due to their increasing involvement in queer and feminist subcultures, their plays feature feelings that are associated with queer historiography and generate ideas that began to be theorised by queer studies more than half a century after the composition of the plays. Moreover, it uncovers an alert, subversive and often coded social commentary in eight key dramatic texts by each playwright and at the same time highlights the thus far neglected commonalities between the plays and the queer historical as well as cultural contexts of these two prominent modernists.

This handbook critically analyzes cross‐border news production and "transnational journalism cultures" in the evolving field of cross-border journalism. As the era of the internet hasfurther expanded the border‐transcending production, dissemination andreception of news, and with transnational co‐operations like the European Broadcasting Union and BBC World News demonstrating different kinds of cross‐border journalism, the handbook considers the field with a range of international contributions. It explores cross-border journalism from conceptual and empirical angles and includes perspectives on the the systemic contexts of cross‐border journalism, its structures and routines, changes in production processes, and the shifting roles of actors in digital environments. It examines cross-border journalism across regions and concludes with discussions on the future of cross-border journalism, including the influence of automation, algorithmisation, virtual reality and AI.

This book looks at contemporary autobiographical works by writers with African backgrounds in relation to the idea of 'place'. It examines eight authors' works - Helen Cooper's The House at Sugar Beach, Sisonke Msimang's Always Another Country, Leila Ahmed's A Border Passage, Noo Saro-Wiwa's Looking for Transwonderland, Douglas Rogers's The Last Resort, Elamin Abdelmahmoud's Son of Elsewhere, Clemantine Wamariya and Elizabeth Weil's The Girl Who Smiled Beads and Aminatta Forna's autobiographical writing - to argue that place is particularly central to personal narrative in texts whose authors have migrated multiple times. Spanning Liberia, Nigeria, Sierra Leone, Egypt, Rwanda, Zambia, and Zimbabwe, this book interrogates the label 'African' writing which has been criticized for ignoring local contexts. It demonstrates how in their works these writers seek to reconnect with a bygone 'Africa', often after complex experiences of political upheavals and personal loss. The chapters also provide in-depth analyses of key concepts related to place and autobiography: place and privilege, place and trauma, and the relationship between place and nation.

Literature, Science, and Animal Advocacy in Canada: Practical Zoocriticism is the first book-length study of animals in Canadian literature. Using a historical approach, it offers a much-needed alternative to existing models of animals as symbols of Canadian victimhood. Spanning more than a century, the scope of this book includes classic writers, Ernest Thompson Seton and Charles G. D. Roberts, as well as popular contemporary authors, such as Barbara Gowdy, Yann Martel, Margaret Atwood, and many others. By recontextualizing these works with closer attention to contemporary scientific and animal advocacy debates, this book offers a fresh new perspective on a wide range of texts.

This book, the first of its kind, investigates the historical trajectory and current situation of popular journalism in the People's Republic of China. Taking a popular cultural perspective, the book redefines ¿popular journalism¿ as a particular journalistic genre and media form and applies it to conceptualize popular journalism in the Chinese context. In particular, it examines how the dynamic and complex interplay of politics, the market, culture, and communication technology in shifting contexts has shaped the changing landscape of popular journalism in contemporary China. Meanwhile, regardless of how these factors might have changed over time, the fundamental nature of popular journalism as a source of fun and a troublemaker against elite powers in China, as in other places, has remained. The book further argues that the historical development of popular journalism in China forms an important and integral part of the country's social-cultural fabric and ultimately illustrates the mediated ideological and cultural struggle between popular/public and elite/state discourses in the country¿s everyday social life in its challenging and discursive transition to modernity.