Originally published in 1987, this book compares and contrasts the characters and careers of two great protagonists in the English Civil War and its aftermath. The book shows how Charles I and Oliver Cromwell were confronted with the same problems and therefore, to a surprisingly large extent, were obliged to deal with them in much the same kind of way. The book re-examines their military methods, their approaches to religion, their diplomatic manoeuvres, their domestic policies and the manner in which they handled their parliaments. Above all, it considers how their vastly different personalities determined their actions. Finally it debates how far a revolution, of which Cromwell was the instrument and Charles the victim, can be said to have taken place in the mid-seventeenth century or whether what occurred was simply a political rebellion sparked off by religious passion.

Australia's Jindyworobak Composers examines the music of a historically and artistically significant group of Australian composers active during the later post-colonial period (1930s-c. 1960). These composers sought to establish a uniquely Australian identity through the evocation of the country's landscape and environment, including notably the use of Aboriginal elements or imagery in their music, texts, dramatic scenarios or 'programmes'. Nevertheless, it must be observed that this word was originally adopted as a manifesto for an Australian literary movement, and was, for the most part, only retrospectively applied by commentators (rather than the composers themselves) to art music that was seen to share similar aesthetic aims. Chapter One demonstrates to what extent a meaningful relationship may or may not be discernible between the artistic tenets of Jindyworobak writers and apparently likeminded composers. In doing so, it establishes the context for a full exploration of the music of Australian composers to whom 'Jindyworobak' has come to be popularly applied. The following chapters explore the music of composers writing within the Jindyworobak period itself and, finally, the later twentieth-century afterlife of Jindyworobakism. This will be of particular interest to scholars and researchers of Ethnomusicology, Australian Music and Music History.

History has portrayed Australia’s First Peoples, the Aboriginals, as hunter-gatherers who lived on an empty, uncultivated land. History is wrong.

In this seminal book, Bruce Pascoe uncovers evidence that long before the arrival of white men, Aboriginal people across the continent were building dams and wells; planting, irrigating, and harvesting seeds, and then preserving the surplus and storing it in houses, sheds, or secure vessels; and creating elaborate cemeteries and manipulating the landscape. All of these behaviours were inconsistent with the hunter-gatherer tag, which turns out to have been a convenient lie that worked to justify dispossession.

Using compelling evidence from the records and diaries of early Australian explorers and colonists, he reveals that Aboriginal systems of food production and land management have been blatantly understated in modern retellings of early Aboriginal history, and that a new look at Australia’s past is required ― for the benefit of us all.

Dark Emu, a bestseller in Australia, won both the Book of the Year Award and the Indigenous Writer’s Prize in the New South Wales Premier’s Literary Awards.

American roots music, also known as Americana music, can be challenging to categorize, spanning the genres of jazz, bluegrass, country, blues, rock and roll, and an assortment of variations in between. In The Downhome Sound, Mandi Bates Bailey explores the messages, artists, community, and appeal of this seemingly disparate musical collective. To understand the art form's intended meanings and typical audiences, she analyzes lyrics and interviews Americana artists, journalists, and festival organizers to uncover a desire for inclusion and diversity. Bailey also conducts an experiment to assess listener reception relative to more commercial forms of music. The result is an in-depth study of the political and cultural influence of Americana and its implications for social justice.

The third volume in Marina Amaral and Dan Jones's bestselling Histories in Colour series.

A Woman's World explores the many roles – domestic, social, cultural and professional – played by women across the world from 1850–1960, before second-wave feminism took hold. Using Marina's colorized images and Dan Jones's words, this survey shines a light on the varied pursuits of women both celebrated and ordinary, whether in the home or the science lab, protesting on the streets or performing on stage, fighting in the trenches or exploring the wild.

Each chapter is introduced by a woman who works in that field, offering insights into their job and experiences. The book includes photographs of Queen Victoria, Edith Cavell, Josephine Baker, Mildred Burke, Eva Peron, Eleanor Roosevelt, Virginia Woolf, Clara Schumann, Martha Gellhorn, Simone de Beauvoir, Agatha Christie, Frida Kahlo, Emmeline Pankhurst, Harriet Tubman, Florence Nightingale, Hattie McDaniel and Gertrude Bell; as well as revolutionaries from China to Cuba, Geishas in Japan, protestors on the Salt March, teachers and pilots, nurses and soldiers.

This vivid and unique history brings to life and full color the female experience in a century of extraordinary change.

No, they weren't 'just friends'! Queer women have been written out of history since, well, forever. 'But historians famously care about women!', said no one. From Anne Bonny and Mary Read who sailed the seas together disguised as pirates, to US football captain Megan Rapinoe declaring 'You can't win a championship without gays on your team', via countless literary salons and tuxedos, A Short History of Queer Women sets the record straight on women who have loved other women through the ages. Who says lesbians can't be funny?

Is inclusiveness in the commons and sustainability a paradox? Late medieval and Early Modern rural societies encountered challenges because of growing population pressure, urbanisation and commercialisation. While some regions went along this path and commercialised and intensified production, others sailed a different course, maintaining communal property and managing resources via common pool resource institutions. To prevent overexploitation and free riding, it was generally believed that strong formalised institutions, strict access regimes and restricted use rights were essential. By looking at the late medieval Campine area, a sandy, infertile and fragile region, dominated by communal property and located at the core of the densely populated and commercialised Low Countries, it has become clear that sustainability, economic success and inclusiveness can be compatible. Because of a balanced distribution of power between smallholders and elites, strong property claims, a predominance of long-term agricultural strategies and the vitality of informal institutions and conflict resolution mechanisms, the Campine peasant communities were able to avert ecological distress while maintaining a positive economic climate.

The Color Pynk is a passionate exploration of Black femme poetics of survival. Sidelined by liberal feminists and invisible to mainstream civil rights movements, Black femmes spent the Trump years doing what they so often do best: creating politically engaged art, entertainment, and ideas. In the first full-length study of Black queer, cis-, and trans-femininity, Omise'eke Natasha Tinsley argues that this creative work offers a distinctive challenge to power structures that limit how we color, gender, and explore freedom. Tinsley engages 2017-2020 Black femme cultural production that colorfully and provocatively imagines freedom in the stark white face of its impossibility. Looking to the music of Janelle Monae and Kelsey Lu, Janet Mock's writing for the television show Pose, the fashion of Indya Moore and (F)empower, and the films of Tourmaline and Juliana Huxtable, as well as poetry and novels, The Color Pynk conceptualizes Black femme as a set of consciously, continually rescripted cultural and aesthetic practices that disrupts conventional meanings of race, gender, and sexuality. There is an exuberant defiance in queer Black femininity, Tinsley finds-so that Black femmes continue to love themselves wildly in a world that resists their joy.

When Kapka Kassabova was a child, the borderzone between Bulgaria, Turkey and Greece was rumoured to be an easier crossing point into the West than the Berlin Wall so it swarmed with soldiers, spies and fugitives. On holidays close to the border on the Black Sea coast, she remembers playing on the beach, only miles from where an electrified fence bristled, its barbs pointing inwards toward the enemy: the holiday-makers, the potential escapees.Today, this densely forested landscape is no longer heavily militarised, but it is scarred by its past. In Border, Kapka Kassabova sets out on a journey to meet the people of this triple border - Bulgarians, Turks, Greeks, and the latest wave of refugees fleeing conflict further afield. She discovers a region that has been shaped by the successive forces of history: by its own past migration crises, by communism, by two World wars, by the Ottoman Empire, and - older still - by the ancient legacy of myths and legends. As Kapka Kassabova explores this enigmatic region in the company of border guards and treasure hunters, entrepreneurs and botanists, psychic healers and ritual fire-walkers, refugees and smugglers, she traces the physical and psychological borders that criss-cross its villages and mountains, and goes in search of the stories that will unlock its secrets.Border is a sharply observed portrait of a little-known corner of Europe, and a fascinating meditation on the borderlines that exist between countries, between cultures, between people, and within each of us.

Archiving Cultures defines and models the concept of a cultural archives focusing on how diverse communities express and record their heritage and collective memory and why and how these often-intangible expressions are archival records. Analysis of oral traditions, memory texts and performance arts demonstrate their relevance as records of their communities. Key features of this book include definitions of cultural heritage and archival heritage with an emphasis on intangible cultural heritage. Aspects of cultural heritage such as oral traditions, performance arts, memory texts and collective memory are placed within the context of records and archives. Presents strategies for reconciling intangible and tangible cultural expressions with traditional archival theory and practice. Offers both analog and digital models for constructing a cultural archives through examples and vignettes. Audience includes archivists and other information workers who challenge Western archival theory and scholars concerned with interdisciplinary perspectives on tangible and intangible cultural heritage. Relevant to scholars involved with non-textual materials. Will appeal to a range of academic disciplines engaging with 'the archive'.

What is an art of life for what feels like the end of a world? In Raving McKenzie Wark takes readers into the undisclosed locations of New York's thriving underground queer and trans rave scene. Techno, first and always a Black music, invites fresh sonic and temporal possibilities for this era of diminishing futures. Raving to techno is an art and a technique at which queer and trans bodies might be particularly adept but which is for anyone who lets the beat seduce them. Extending the rave's sensations, situations, fog, lasers, drugs, and pounding sound systems onto the page, Wark invokes a trans practice of raving as a timely aesthetic for dancing in the ruins of this collapsing capital.

Since its first publication in 1984, Night Falls in Ardnamurchan has become a classic account of the life and death of a Highland community. The author weaves his own humorous and perceptive account of crofting with extracts from his father's journal - a terse, factual and down to earth vision of the day-to-day tasks of crofting life. It is an unusual and memorable story that also illuminates the shifting, often tortuous relationships between children and their parents. Alasdair Maclean reveals his own struggle to come to terms with his background and the isolated community he left so often and to which he returned again and again. In this isolated community is seen a microcosm of something central to Scottish identity - the need to escape against the tug of home.

Correcting the omissions of traditional history, this is "a reliable survey of the real and varied roles played by women in the medieval period. . . . Highly recommended."--Choice

This book was commissioned by The Theatres Trust, the body charged by Acts of Parliament with 'the better protection of theatres'. After decades of destruction, theatres are now recognised as significant records of the societies that produced them and valuable cultural resources for the prsent day. This book outlines the history of theatres and music halls from the late sixteenth century to the present time, noting changing fashions in entertainment and evolving official attitudes to safety that have, at various times, influenced the architectural character of the buildings. Particular attention is given to the thirty-five years before the First World War, when music hall and variety entertainment developed rapidly, accompanied by a masive surge in theatre building. The account is enlivened with illustrations of theatres, their architects and their audiences.

A suicide scandal in Shanghai reveals the social fault lines of democratic visions in China's troubled Republic in the early 1920s. On September 8, 1922, the body of Xi Shangzhen was found hanging in the Shanghai newspaper office where she worked. Although her death occurred outside of Chinese jurisdiction, her US-educated employer, Tang Jiezhi, was kidnapped by Chinese authorities and put on trial. In the unfolding scandal, novelists, filmmakers, suffragists, reformers, and even a founding member of the Chinese Communist Party seized upon the case as emblematic of deep social problems. Xi's family claimed that Tang had pressured her to be his concubine; his conviction instead for financial fraud only stirred further controversy. The creation of a republic ten years earlier had inspired a vision of popular sovereignty and citizenship premised upon gender equality and legal reform. After the quick suppression of the first Chinese parliament, commercial circles took up the banner of democracy in their pursuit of wealth. But, Bryna Goodman shows, the suicide of an educated "new woman" exposed the emptiness of republican democracy after a flash of speculative finance gripped the city. In the shadow of economic crisis, Tang's trial also exposed the frailty of legal mechanisms in a political landscape fragmented by warlords and enclaves of foreign colonial rule. The Suicide of Miss Xi opens a window onto how urban Chinese in the early twentieth century navigated China's early passage through democratic populism, in an ill-fated moment of possibility between empire and party dictatorship. Xi Shangzhen became a symbol of the failures of the Chinese Republic as well as the broken promises of citizen's rights, gender equality, and financial prosperity betokened by liberal democracy and capitalism.

Raider. Conqueror. King. Saint. This is the story of Olav Haraldsson, the greatest Viking who ever lived. A ruthless Viking warrior who named his most prized battle weapon after the Norse goddess of death, Olav Haraldsson and his mercenaries wrought terror and destruction from the Baltic to Galicia in the early eleventh century. Thousands were put to the sword, enslaved or ransomed. In England, Canterbury was sacked, its archbishop murdered and London Bridge pulled down. The loot amassed from years of plunder helped Olav win the throne of Norway, and a century after his death he was proclaimed 'Eternal King' and has been a national hero there ever since. Despite his bloodthirsty beginnings, Olav converted to Christianity and, in a personal vendetta against the old Norse gods, made Norway Christian too, thereby changing irrevocably the Viking world he was born into. Told with reference to Norse sagas, early chronicles and the work of modern scholars, Desmond Seward paints an intensely vivid and colourful portrait of the life and times of arguably the greatest Viking of them all.

Set like a stronghold south-west of the Caucasus mountains, Armenia is caught between East and West. Briefly a great empire in the first century BCE under King Tigranes the Great, Armenia was later incorporated first by the Sasanian and then the Byzantine Empires. Armenian art, literature, religion and material culture have reinterpreted elements of a wide variety of cultures. Spanning over two and a half millennia, the history of Armenia and the Armenian people is a series of riveting tales, from its first mention under the Achaemenid King Darius I to the independence of the Republic of Armenia from the Soviet Union. With the help of the Bodleian Libraries' magnificent collection of Armenian manuscripts and early printed books, this volume tells the story of the region through the medium of its cultural output. Together with introductions written by experts in their fields, close to one hundred manuscripts, works of art and religious artefacts serve as a guide to Armenian culture and history. Gospel manuscripts splendidly illuminated by Armenian masters feature next to philosophical tractates and merchants' handbooks, affording us an insight into what makes the Armenian people truly unique, especially in the shadow of the genocide that threatened their annihilation a hundred years ago: namely their spirituality, language and perseverance in the face of adversity. VISIT THE EXHIBITION Armenia: Treasures from an Enduring Culture October 2015 - January 2016 Bodleian Library, Oxford

Based on rigorous film-analysis and historical comparisons, this book explorers the narrative filmmakers create by summarising complex historical issues, but which can lead to misconceptions about the past. Analysis of films such as Alexander Nevsky, Kryzact (1960)-also known as Knights of the Teutonic Order, The Black Knight, El Cid, The Great Warrior Skanderberg, Braveheart, The Seventh Seal, Spartacus, Gladiator, Brother Sun, Sister Moon, Saladin, Kingdom of Heaven and 300 offers students a broad range of examples to consider alongside the history of antiquity and medieval Europe. This book explores how the past is portrayed in the present and offers students and general readers a framework to unpick 'historical' films to see how the facts are woven into fiction.

What did popular song mean to people across the world during the First World War? For the first time, song repertoires and musical industries from countries on both sides in the Great War as well as from neutral countries are analysed in one exciting volume. Experts from around the world, and with very different approaches, bring to life the entertainment of a century ago, to show the role it played in the lives of our ancestors. The reader will meet the penniless lyricist, the theatre chain owner, the cross-dressing singer, fado composer, stage Scotsman or rhyming soldier, whether they come from Serbia, Britain, the USA, Germany, France, Portugal or elsewhere, in this fascinating exploration of showbiz before the generalization of the gramophone. Singing was a vector for patriotic support for the war, and sometimes for anti-war activism, but it was much more than that, and expressed and constructed debates, anxieties, social identities and changes in gender roles. This work, accompanied by many links to online recordings, will allow the reader to glimpse the complex role of popular song in people's lives in a period of total war.

The Afterlife of the Leiden Anatomical Collections starts where most stories end: after death. It tells the story of thousands of body parts kept in bottles and boxes in nineteenth-century Leiden - a story featuring a struggling medical student, more than one disappointed anatomist, a monstrous child, and a glorious past. Hieke Huistra blends historical analysis, morbid anecdotes, and humour to show how anatomical preparations moved into the hands of students and researchers, and out of the reach of lay audiences. In the process, she reveals what a centuries-old collection can teach us about the future fate of the biobanks we build today.

This book, first published in 1977, looks at the two peasant revolts that occurred in 1549, in the troubled period following the death of Henry VIII. The uprisings reveal a harsh background of economic and social injustice, intensified at the time by inflation. Peasants in North Devon rose against the imposition of the English Prayer Book, and with the local authorities paralysed and the government wavering between conciliation and repression, a general rebellion broke out. Reinforced by Cornishmen, rallying to the defence of their national identity, the peasants assembled a formidable army and laid siege to Exeter itself. Only after three major battles was the revolt suppressed. The Norfolk peasants rose against agrarian abuses, routing a small royal force and occupying Norwich. Ably led by Robert Kett, they expelled the gentry and governed the county on a programme of social justice until they were crushed by the forces released by the collapse of the other risings. These revolts display the deep-seated resentments and injustices felt by the peasantry of the sixteenth century.

With a heritage dating back to the mid-seventeenth century, the Royal Marines have accrued a rich history of rituals, artefacts and material culture that is consciously deployed in order to define and shape the institution both historically and going forward into an uncertain future. Drawing upon this heritage, Mark Burchell offers a unique method of understanding how the Royal Marines draw upon this material culture in order to help transform ordinary labour power to political agency comprising acts of controlled and sustained violence. He demonstrates how a barrage of objects and items - including uniforms, weapons, landscapes, architecture, personal kit, drills, rituals, and iconography - are deployed in order successfully to integrate the recruits into the Royal Marines' culture. It is argued that this material culture is a vital tool with which to imprint the military's own image on new recruits as they embark on a process of de-individualisation. Having been granted unprecedented access to the Commando Training Centre at Lympstone as an anthropologist, Burchell observed an intake of recruits throughout their demanding and exhausting year-long training programme. The resulting book presents to the academic community for the first time, a theorised in-depth account of a relatively unexplored social community and how its material culture creates and reifies new military identities. This path-breaking interdisciplinary analysis provides fresh understanding of the multiple processes of military enculturation through a meticulous revision of the relationships that exist between disciplinary and punishment practices; violence and masculinity; narratives and personhood; and will explore how these issues are understood by recruits through their practical application of body to physical labour, and by the cues of their surrounding material culture.

This book analyses the anxiety "well-intentioned" settler Australian women experience when engaging with Indigenous politics. Drawing upon cultural theory and studies of affect and emotion, Slater argues that settler anxiety is an historical subjectivity which shapes perception and senses of belonging. Why does Indigenous political will continue to provoke and disturb? How does settler anxiety inform public opinion and "solutions" to Indigenous inequality? In its rigorous interrogation of the dynamics of settler colonialism, emotions and ethical belonging, Anxieties of Belonging has far-reaching implications for understanding Indigenous-settler relations.