Considerations of writing about war, in war, because of war, and against war, in a wide range of texts from the middle ages onwards. War was the first subject of literature; at times, war has been its only subject. In this volume, the contributors reflect on the uneasy yet symbiotic relations of war and writing, from medieval to modern literature. War writing emerges in multiple forms, celebratory and critical, awed and disgusted; the rhetoric of inexpressibility fights its own battle with the urgent necessity of representation, record and recognition. This is shown to be true even to the present day: whether mimetic or metaphorical, literature that concerns itself overtly or covertly with the real pressures of war continues to speak to issues of pressing significance, and to provide some clues to the intricateentwinement of war with contemporary life. Particular topics addressed include writings of and about the Crusades and battles during the Hundred Years War; Shakespeare's "Casus Belly"; Auden's "Journal of an Airman"; and War and Peace. Ian Patterson is a poet, critic and translator. He teaches English at Queens' College, Cambridge. Laura Ashe is Associate Professor of English and a Tutorial Fellow of Worcester College, Oxford. Contributors: Joanna Bellis, Catherine A.M. Clarke, Mary A. Favret, Rachel Galvin, James Purdon, Mark Rawlinson, Susanna A. Throop, Katie L. Walter, Carol Watts, Tom F. Wright, Andrew Zurcher.

During the first two decades of the twentieth century, Britain's imperial power and influence was at its height. These were years of daring, when adventurers sounded the mysteries of the deep sea and the distant poles, aviators sped through the skies, and new media technologies transformed communication. They were years of social upheaval, during which long-suppressed voices - particularly those of women, of the labouring classes, and of colonial subjects - grew louder and demanded to be heard. They were years of violence, of insurrection and political agitation, and of imperial conflicts that would encompass continents. By subjecting specific developments in literature and related culture to a fine-grained and historically-informed analysis, British Literature in Transition, 1900-1920: A New Age? explores the writing of this extraordinary period in all its complexity and vibrancy.

As the twenty-first century unfolds, notions of our cultural past and how our history has influenced our present shift almost daily. Within this, accepted artistic trajectories are being questioned and new connections made. In this wide-ranging and thought-provoking publication, experts in their field address specific aspects of British art of the twentieth century. Presenting new perspectives on established narratives, subjects range from British Surrealism and the rise of corporate and private patronage, to nationality and British identity. Complemented by a range of striking images, this publication succeeds in showing the strength of the British artistic tradition while also encouraging the reader to rethink and explore the existing narrative.

Between steam and cybernetics lies a missing phase in the history of information culture. Beginning in the late nineteenth century, national governments and writers of fiction alike began to take an interest in information not simply as fact, nor yet as effortlessly transmissible data, but as an unusual and destabilizing new phenomenon. For some writers, such as Joseph Conrad and Walter Benjamin, 'information' came to represent not effortless transmissibility, but rather an interruption of meaningful communication. For others - such as Elizabeth Bowen - such interruptions were themselves ways of making new kinds of meaning. The attempt to reimagine and redefine information produced a range of new informatic phenomena dedicated to its control: passports, files, and identity papers; the files of Mass-Observation movement; the literal and figurative blackout procedures of the Blitz; and the government-backed 'information film'. Modernist Informatics traces the effects of these new phenomena in early twentieth-century culture, where experimental approaches to narrative and to subjectivity began to compete with government archives for the right to represent the citizens of the modern security state. It argues that information and literary narrative have a history of entanglement as well as antagonism, and that this double relation was central to the cultural shaping of modernity.

Since the mid-nineteenth century, there has been a notable acceleration in the development of the techniques used to confirm identity. From fingerprints to photographs to DNA, we have been rapidly amassing novel means of identification, even as personal, individual identity remains a complex chimera. The Art of Identification examines how such processes are entangled within a wider sphere of cultural identity formation. Against the backdrop of an unstable modernity and the rapid rise and expansion of identificatory techniques, this volume makes the case that identity and identification are mutually imbricated and that our best understanding of both concepts and technologies comes through the interdisciplinary analysis of science, bureaucratic infrastructures, and cultural artifacts. With contributions from literary critics, cultural historians, scholars of film and new media, a forensic anthropologist, and a human bioarcheologist, this book reflects upon the relationship between the bureaucratic, scientific, and technologically determined techniques of identification and the cultural contexts of art, literature, and screen media. In doing so, it opens the interpretive possibilities surrounding identification and pushes us to think about it as existing within a range of cultural influences that complicate the precise formulation, meaning, and reception of the concept. In addition to the editors, the contributors to this volume include Dorothy Butchard, Patricia E. Chu, Jonathan Finn, Rebecca Gowland, Liv Hausken, Matt Houlbrook, Rob Lederer, Andrew Mangham, Victoria Stewart, and Tim Thompson.