Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Was early Hollywood, with its celluloid dreams and theme-park cemeteries, the beginning of the end of the Western humanist tradition? British Novelists in Hollywood calls attention to the shifting grounds of cultural expression by highlighting Hollywood as a site that unsettled definitions and narratives of colonialism and national identity. Drawn to Los Angeles for a variety of reasons that included everything from easy money, political disaffection, spiritual longing, and the Mediterranean climate, writers such as Aldous Huxley, Christopher Isherwood, Anthony Powell, J.B Priestly, Dodie Smith and Evelyn Waugh, and P.G. Wodehouse represent an incursion of expert settlers representing British culture and civilization. But instead of establishing themselves once again with a mission of colonial superiority, they soon found that their cultural power clashed with the commercially inviolable mass production of American popular culture. Lisa Colletta argues that the British experience in Southern California challenged traditional ideas of national identity and power and implicated them in a complex of choices and influences filtered through the Hollywood dream machine.

Literary modernism traditionally focuses on the writings of self-consciously avant-garde writers who attempted to break with literary and aesthetic forms inherited from the nineteenth-century. This view of Modernism has overlooked much of the social comedy of the period, assessing it as satiric and therefore conservative, reinforcing the very cultural values it sets out to critique. Examining the work of Virginia Woolf, Ivy Compton-Burnett, Evelyn Waugh, and Anthony Powell in light of psychoanalytic theories of joke-work and gallows humor, Colletta claims that dark humor is an important characteristic of Modernism.

The issue of migration and asylum seeking has received increasing attention in the wider arena of international human rights and social service provision practice. Positioned within a liberal understanding of human rights and equality framework, providing asylum seekers with sanctuary is understood as an act of adhering to supranational and international humanitarian obligations. The issues generated by the culturally influenced needs of some asylum seekers have however challenged host countries' social service institutions, where social work interventions and organisational contexts may still be based on the assumptions of European monocultural traditions. These may not be universally appropriate for service provision to all cultures. Colletta Dalikeni supports readers who wish to understand the challenges of culturally different asylum-seeking families. These families engage, or are required to engage, with child protection social workers. She does so by framing such issues as the reception and integration of asylum-seeking families, in the context of social exclusion, marginalisation, mutual cultural incomprehension, health and wellbeing. This book has a clear agenda. On the one hand, it aims to contribute to the field of research by addressing the silence in current literature on the perspective of African asylumseeking families. On the other hand, it allows the voices of those on society's margins to be heard in the creation of knowledge. As such, the author employs a progressive approach to develop understanding of child protection issues within the context of asylum-seeking communities.

Women and Comedy: History, Theory, Practice presents the most current international scholarship on the complexity and subversive potential of women's comedic speech, literature, and performance. Earlier comedy theorists such as Freud and Bergson did not envision women as either the agents or audiences of comedy, only as its targets. Only more recently have scholarly studies of comedy begun to recognize and historicize women's contributions to-and political uses of-comedy. The essays collected here demonstrate the breadth of current scholarship on gender and comedy, spanning centuries of literature and a diversity of methodologies. Through a reconsideration of literary, theatrical, and mass media texts from the Classical period to the present, Women and Comedy: History, Theory, Practice responds to the historical marginalization and/or trivialization of both women and comedy. The essays collected in this volume assert the importance of recognizing the role of women and comedy in order to understand these texts, their historical contexts, and their possibilities and limits as models for social engagement. In the spirit of comedy itself, these analyses allow for opportunities to challenge and reevaluate the theoretical approaches themselves.

The topos of the journey is one of the oldest in literature, and even in this age of packaged tours and mediated experience, it still remains one of the most compelling. This volume examines the ways in which the legacy of the Grand Tour is still evident in works of travel and literature. From its aristocratic origins and the permutations of sentimental and romantic travel to the age of tourism and globalization, the Grand Tour still influences the destinations tourists choose and shapes the ideas of culture and sophistication that surround the act of travel. The essays in this collection examine a wide variety of literature-travel, memoir, and fiction-and explore the ways travel and ideas of "culture" have evolved since the heyday of the Grand Tour in the 18th century. The sites of the Grand Tour remain a powerful cultural draw, and they continue to define ideas of taste and learning for those who visit them.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Women and Comedy: History, Theory, Practice presents the most current international scholarship on the complexity and subversive potential of women's comedic speech, literature, and performance. Earlier comedy theorists such as Freud and Bergson did not envision women as either the agents or audiences of comedy, only as its targets. Only more recently have scholarly studies of comedy begun to recognize and historicize women's contributions to-and political uses of-comedy. The essays collected here demonstrate the breadth of current scholarship on gender and comedy, spanning centuries of literature and a diversity of methodologies. Through a reconsideration of literary, theatrical, and mass media texts from the Classical period to the present, Women and Comedy: History, Theory, Practice responds to the historical marginalization and/or trivialization of both women and comedy. The essays collected in this volume assert the importance of recognizing the role of women and comedy in order to understand these texts, their historical contexts, and their possibilities and limits as models for social engagement. In the spirit of comedy itself, these analyses allow for opportunities to challenge and reevaluate the theoretical approaches themselves.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.