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This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
In a unique approach to historical representations, the central
question of this book is 'what is history?' By describing 'history'
through its supplementary function to the field of history, rather
than the ground of a study, this collection considers new insights
into historical thinking and historiography across the humanities.
It fosters engagement from around the disciplines in historical
thinking and, from that, invites historians and philosophers of
history to see clearly the impact of their work outside of their
own specific fields, and encourages deep reflection on the role of
historical production in society. As such, Theories of History
opens up for the first time a truly cross-disciplinary dialogue on
history and is a unique intervention in the study of historical
representation. Essays in this volume discuss music history,
linguistics, theater studies, paintings, film, archaeology and
more. This book is essential reading for those interested in the
practice and theories of history, philosophy, and the humanities
more broadly. Readers of this volume are not only witness to, but
also part of the creation of, radical new discourses in and ways of
thinking about, doing and experiencing history.
In his philosophical project, aesthetic orientation and political
leanings, Alain Badiou is a product of, and a leading advocate for,
European modernism. From the milieu of May 1968 to the contemporary
‘postmodern’ ethos, Badiou returns, time and again, to
avant-garde modernist texts – aesthetic, political, philosophical
and scientific – as inspiration for his response to present
situations. Drawing upon disciplines as varied as architecture,
cinema, theatre, music, history, mathematics, poetry and
philosophy, Understanding Badiou, Understanding Modernism shows how
Badiou’s contribution to philosophy must be understood within the
context of his decades-long conversation with modernist thinking.
As with other volumes in the series, Understanding Badiou,
Understanding Modernism follows a three part structure. The first
section explores Badiou’s readings of aesthetic, political and
scientific modernities; both introducing his system and pointing to
how Badiou offers manifold readings of modernism. The middle
portion of the book connects Badiou’s thought with the various
strands of aesthetic, philosophical, amorous and political
modernisms in relation to which it can be extended. The final
section is a glossary of key concepts and categories that Badiou
uses in his interface with modernism.
This open access book examines the various ways that shame, shaming
and stigma became an integral part of the United Kingdom's public
health response to COVID-19 during 2020. As the Covid-19 pandemic
unfolded in 2020, it quickly became clear that experiences of
shame, shaming and stigma dominated personal and public life. From
healthcare workers insulted in the streets to anti-Asian racism,
the online shaming of "Covidiots" to the identification of the
"lepers of Leicester", public animus about the pandemic found
scapegoats for its frustrations. Interventions by the UK government
maximised rather than minimized these phenomena. Instead of
developing robust strategies to address shame, the government's
healthcare policies and rhetoric seemed to exacerbate experiences
of shame, shaming and stigma, relying on a language and logic that
intensified oppositional, antagonistic thinking, while
dissimulating about its own responsibilities. Through a series of
six case studies taken from the events of 2020, this
thought-provoking book identifies a systemic failure to manage
shame-producing circumstances in the UK. Ultimately, it addresses
the experience of shame as a crucial, if often overlooked,
consequence of pandemic politics, and advocates for a "shame
sensitive" approach to public health responses. The open access
edition of this book is available under a CC BY NC ND 4.0 licence
on www.bloomsburycollections.com Open access was funded by The
Wellcome Trust.
Focusing on work by Jorge Luis Borges, Samuel Beckett and J.M.
Coetzee, Literary Cynics explores the relationship between
literature and cynicism to consider what happens when authors write
themselves into their art, against the rhetoric of authority. Rose
takes as his starting point three moments of aesthetic crisis in
the careers of these literary cynics: Borges's parables of the
1950s, Beckett's plays of the 1980s, and Coetzee's pedagogic novels
of the 2000s. In their transition to 'late style', the works
reflect their writers' abiding concern with particular conceptions
of rhetoric and aesthetic form. Literary Cynics combines accounts
of these 'late' works with classic, lesser known, and archival
texts by the three writers, from Coetzee's Disgrace to Beckett's
letters, as well as detailed analysis of cynicism, both ancient and
modern, as a philosophical and political movement.
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Me and My Girl (Paperback)
Arthur Rose, Douglas Furber; Volume editing by Stephen Fry, Mike Ockrent; Noel Gay, …
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R380
Discovery Miles 3 800
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Ships in 12 - 17 working days
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Bill Snibson, a Lambeth costermonger, is revealed to be the New
Earl of Hareford and his newly-discovered aristocratic relations
are horrified. Bringing him to Hareford Hall, they attempt to
educate Bill into the ways of the gentry and seperate him from his
cockney girlfriend. This "comical cockney comedy" features an
abundance of well-known "toe -tapping" songs (including "Lambeth
Walk", "The Sun Has Got His Hat On" and "Leaning On A Lamppost").
This version was rewritten by Stephen Fry and Mike Ockrent and
first presented at the Leicester Haymarket Theatre in 1985 with
Robert Lindsay and Emma Thompson.
This open access book presents five different approaches to reading
breath in literature, in response to texts from a range of
historical, geographical and cultural environments. Breath, for all
its ubiquity in literary texts, has received little attention as a
transhistorical literary device. Drawing together scholars of
Medieval Romance, Early Modern Drama, Fin de Siecle Aesthetics,
American Poetics and the Postcolonial Novel, this book offers the
first transhistorical study of breath in literature. At the same
time, it shows how the study of breath in literature can contribute
to recent developments in the Medical Humanities.
This open access book examines the various ways that shame, shaming
and stigma became an integral part of the United Kingdom's public
health response to COVID-19 during 2020. As the Covid-19 pandemic
unfolded in 2020, it quickly became clear that experiences of
shame, shaming and stigma dominated personal and public life. From
healthcare workers insulted in the streets to anti-Asian racism,
the online shaming of "Covidiots" to the identification of the
"lepers of Leicester", public animus about the pandemic found
scapegoats for its frustrations. Interventions by the UK government
maximised rather than minimized these phenomena. Instead of
developing robust strategies to address shame, the government's
healthcare policies and rhetoric seemed to exacerbate experiences
of shame, shaming and stigma, relying on a language and logic that
intensified oppositional, antagonistic thinking, while
dissimulating about its own responsibilities. Through a series of
six case studies taken from the events of 2020, this
thought-provoking book identifies a systemic failure to manage
shame-producing circumstances in the UK. Ultimately, it addresses
the experience of shame as a crucial, if often overlooked,
consequence of pandemic politics, and advocates for a "shame
sensitive" approach to public health responses. The open access
edition of this book is available under a CC BY NC ND 4.0 licence
on www.bloomsburycollections.com Open access was funded by The
Wellcome Trust.
Few modern materials have been as central to histories of
environmental toxicity, medical ignorance, and legal liability as
asbestos. A naturally occurring mineral fibre once hailed for its
ability to guard against fire, asbestos is now best known for the
horrific illnesses it causes. This book offers a new take on the
established history of asbestos from a literary critical
perspective, showing how literature and film during and after
modernism responded first to the material's proliferation through
the built environment, and then to its catastrophic effects on
human health. Starting from the surprising encounters writers have
had with asbestos Franz Kafka's part-ownership of an asbestos
factory, Primo Levi's work in an asbestos mine, and James Kelman's
early life as an asbestos factory worker the book looks to
literature to rethink received truths in historical, legal and
medical scholarship. In doing so, it models an interdisciplinary
approach for tracking material intersections between modernism and
the environmental and health humanities. Asbestos The Last
Modernist Object offers readers a compelling new method for using
cultural objects when thinking about how to live with the legacies
of toxic materials.Arthur Rose is a Senior Research Fellow at the
University of Exeter.
Focusing on work by Jorge Luis Borges, Samuel Beckett and J.M.
Coetzee, Literary Cynics explores the relationship between
literature and cynicism to consider what happens when authors write
themselves into their art, against the rhetoric of authority. Rose
takes as his starting point three moments of aesthetic crisis in
the careers of these literary cynics: Borges's parables of the
1950s, Beckett's plays of the 1980s, and Coetzee's pedagogic novels
of the 2000s. In their transition to 'late style', the works
reflect their writers' abiding concern with particular conceptions
of rhetoric and aesthetic form. Literary Cynics combines accounts
of these 'late' works with classic, lesser known, and archival
texts by the three writers, from Coetzee's Disgrace to Beckett's
letters, as well as detailed analysis of cynicism, both ancient and
modern, as a philosophical and political movement.
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
This book is open access and available on
www.bloomsburycollections.com. It is funded by Knowledge Unlatched.
In a unique approach to historical representations, the central
question of this book is 'what is history?' By describing 'history'
through its supplementary function to the field of history, rather
than the ground of a study, this collection considers new insights
into historical thinking and historiography across the humanities.
It fosters engagement from around the disciplines in historical
thinking and, from that, invites historians and philosophers of
history to see clearly the impact of their work outside of their
own specific fields, and encourages deep reflection on the role of
historical production in society. As such, Theories of History
opens up for the first time a truly cross-disciplinary dialogue on
history and is a unique intervention in the study of historical
representation. Essays in this volume discuss music history,
linguistics, theater studies, paintings, film, archaeology and
more. This book is essential reading for those interested in the
practice and theories of history, philosophy, and the humanities
more broadly. Readers of this volume are not only witness to, but
also part of the creation of, radical new discourses in and ways of
thinking about, doing and experiencing history.
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