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.

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.

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.

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 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.