At least 200,000 people died from hunger or malnutrition-related diseases in Spain during the 1940s. This book provides a political explanation for the famine and brings together a broad range of academics based in Spain, the United Kingdom, the United States and Australia to achieve this. Topics include the political causes of the famine, the physical and social consequences, the ways Spaniards tried to survive, the regime's reluctance to accept international relief, the politics of cooking at a time of famine, and the memory of the famine. The volume challenges the silence and misrepresentation that still surround the famine. It reveals the reality of how people perished in Spain because the Francoist authorities instituted a policy of food self-sufficiency (or autarky): a system of price regulation which placed restrictions on transport as well as food sales. The contributors trace the massive decline in food production which followed, the hoarding which took place on an enormous scale and the vast and deeply iniquitous black market that subsequently flourished at a time when salaries plunged to 50% below their levels in 1936: all contributing factors in the large-scale atrocity explored fully here for the first time.

In the late seventeenth century, a team of scientists managed to free, for the first time, the soft tissues of the brain and nerves from the hard casing of the skull. In doing so, they not only engendered modern neuroscience, and with it the promise of knowing the mind through empirical study of the brain; they also unleashed a host of questions, problems, paradoxes, and--strangest of all--literary forms that are still with us today. Nervous Fictions is the first account of early neuroscience and of the peculiar literary forms it produced. Challenging the divide between science and literature, philosophy and fiction, Jess Keiser draws attention to a distinctive, but so far unacknowledged, mode of writing evident in a host of late seventeenth and eighteenth-century texts: the nervous fiction. Apparent not just in scientific work, but also in poetry (Barker, Blackmore, Thomson), narrative (Sterne, Smollett, ""it-narratives""), philosophy (Hobbes, Cavendish, Locke), satire (Swift, Pope, Arbuthnot), and medicine (Mandeville, Boswell), nervous fictions dissect the brain through metaphor, personification, and other figurative language. Nervous fictions stage a central Enlightenment problematic: the clash between mind and body, between our introspective sense of self as beings endowed with thinking, sensing, believing, willing minds and the scientific study of our brains as simply complex physical systems.

In an era haunted by its past, modern Europe sought to break with the old; the future and the new became the ideal. In Italy however, where the remains of the past dominated the landscape, ruins were a token both of decadence and of the inspiring legacy of tradition. Sabrina Ferri proposes a counter-narrative to the European story of progress by focusing on the often-marginalized and distinctive case of Italy. For Italians, ruins uncovered the creative potential of the past, transforming it into an inexhaustible source of philosophical speculation and poetic invention whilst simultaneously symbolizing decay, loss and melancholy. Focusing on the representation of ruins by Italian writers, scientists, and artists between the mid-eighteenth and early nineteenth centuries, Sabrina Ferri explores the culture of the period and traces Italy's complex relationship with its past. Combining the analysis of major works, from Vico's New science to Leopardi's Canti, with that of archival sources and little-studied materials such as scientific travel journals, letters, and political essays, the author reveals how: the ruin became a figure for Italy's uneasy transition into modernity; the interplay between reflections on the processes of history and speculations on the laws of nature shaped the country's sense of the past and its vision of the future; the convergence of narratives depicting historical and natural change influenced both the creative arts and the emerging sciences of geology, biology, and archaeology; the temporal crisis at the dawn of the nineteenth century called into question traditional models for investigating the past and understanding the present.

Celeste de Chabrillan, former courtesan and widow of the first French Consul to Melbourne, became the most prolific female stage writer in nineteenth-century France. Forever haunted by her scandalous past, Celeste fought to hold her place in an artistic world dominated by men. Courtesan and Countess tells the story not only of her struggle as a creative artist to survive and earn a living, but also of her fascinating life at the centre of the bohemian circles of Paris, surrounded by friends such as Alexandre Dumas pere, Georges Bizet and Prince Napoleon. Courtesan and Countess paints a portrait of a remarkable woman and of the turbulent world of Paris during the Belle Epoque. Lost for more than eighty years until discovered by the authors in the attic of a French country manor, these are the unpublished and final set of memoirs from Celeste de Chabrillan.

Samizdat, the production and circulation of texts outside official channels, was an integral part of life in the final decades of the Soviet Union. But as Josephine von Zitzewitz explains, while much is known about the texts themselves, little is available on the complex communities and cultures that existed around them due to their necessarily secretive, and sometimes dissident, nature. By analysing the behaviours of different actors involved in Samizdat - readers, typists, librarians and the editors of periodicals in 1970s Leningrad, The Culture of Samizdat fills this lacuna in Soviet history scholarship. Crucially, as well as providing new insight into Samizdat texts, the book makes use of oral and written testimonies to examine the role of Samizdat activists and employs an interdisciplinary theoretical approach drawing on both the sociology of reading and book history. In doing so, von Zitzewitz uncovers the importance of 'middlemen' for Samizdat culture. Diligently researched and engagingly written, this book will be of great value to scholars of Soviet cultural history and Russian literary studies alike.