Written during the 1970s, John McGrath's winding, furious, innovative play tracks the economic history and exploitation of the Scottish Highlands from the post-Rebellion suppression of the clans to the story of the Clearances: in the nineteenth century, aristocratic landowners discovered the profitability of sheep farming, and forced a mass emigration of rural Highlanders, burning their houses in order to make way for the Cheviot sheep. The play follows the thread of capitalist and repressive exploitation through the estates of the stag-hunting landed gentry, to the 1970s rush for profit in the name of North Sea Oil. Described by the playwright as having a "ceilidh" format, The Cheviot, the Stag and the Black, Black Oil draws on historical research alongside Gaelic song and the Scots' love of variety and popular entertainment to tell this epic story. A totally distinctive cultural and theatrical phenomenon, the play championed several new approaches to theatre, raising its profile as a means of political intervention; proposing a collective, democratic, collaborative approach to creating theatre; offering a language of performance accessible to working-class people; producing theatre in non-purpose-built theatre spaces; breaking down the barrier between audience and performers through interaction; and taking theatre to people who otherwise would not access it. The play received its premiere in 1973 by the agit-prop theatre group 7:84, of which John McGrath was founder and Artistic Director, and toured Scotland to great critical and audience acclaim.

In the 21st Century, the guitar, as both a material object and tool for artistic expression, continues to be reimagined and reinvented. From simple adaptations or modifications made by performers themselves, to custom-made instruments commissioned to fulfil specific functions, to the mass production of new lines of commercially available instruments, the extant and emergent forms of this much-loved musical instrument vary perhaps more than ever before. As guitars sporting multiple necks, a greater number of strings, and additional frets become increasingly common, so too do those with reduced registers, fewer strings, and fretless fingerboards. Furthermore, as we approach the mark of the first quarter-century, the role of technology in relation to the guitar's protean nature is proving key, from the use of external effects units to synergies with computers and AR headsets. Such wide-ranging evolutions and augmentations of the guitar reflect the advancing creative and expressive needs of the modern guitarist and offer myriad new affordances. 21st Century Guitar examines the diverse physical manifestations of the guitar across the modern performative landscape through a series of essays and interviews. Academics, performers and dual-practitioners provide significant insights into the rich array of guitar-based performance practices emerging and thriving in this century, inviting a reassessment of the guitar's identity, physicality and sound-creating possibilities.

Music abounds in twentieth- century Irish literature. Whether it be the "thought-tormented" music of Joyce's "The Dead", the folk tunes and opera that resound throughout Ulysses, or the four- part threnody in Beckett's Watt, it is clear that the influence of music on the written word in Ireland is deeply significant. Samuel Beckett arguably went further than any other writer in the incorporation of musical ideas into his work. Musical quotations inhabit his texts, and structural devices such as the da capo are metaphorically employed. Perhaps most striking is the erosion of explicit meaning in Beckett's later prose brought about through an extensive use of repetition, influenced by his reading of Schopenhauer's philosophy of music. Exploring this notion of "semantic fluidity", John McGrath discusses the ways in which Beckett utilised extreme repetition to create texts that operate and are received more like music. Beckett's writing has attracted the attention of numerous contemporary composers and an investigation into how this Beckettian "musicalized fiction" has been retranslated into contemporary music forms the second half of the book. Close analyses of the Beckett- inspired music of experimental composer Morton Feldman and the structured improvisations of avantjazz guitarist Scott Fields illustrate the cross- genre appeal of Beckett to musicians, but also demonstrate how repetition operates in diverse ways. Through the examination of the pivotal role of repetition in both music and literature of the twentieth century and beyond, John McGrath's book is a significant contribution to the field of Word and Music Studies.

Constant scrutiny by surveillance cameras is usually seen as - at best - an invasion of privacy, and at worst an infringement of human rights. But in this radical new account of the uses of surveillance in art, performance and popular culture, John McGrath sets out a surprising alternative: a world where we have much to gain from the experience of being watched.
In Loving Big Brother the author tackles head on the overstated claims of the crime-prevention and anti-terrorism lobbies. But he also argues that we can and do desire and enjoy surveillance, and that, if we can understand why this is, we may transform the effect it has on our lives. This text looks at a wide range of performance and visual artists, at popular TV shows and movies, and at our day-to-day encounters with surveillance, rooting its arguments in an accessible reading of cultural theory. This iconoclastic book develops a notion of surveillance space - somewhere beyond the public and the private, somewhere we will all soon live. It's a place we're just beginning to understand.

Music abounds in twentieth- century Irish literature. Whether it be the "thought-tormented" music of Joyce's "The Dead", the folk tunes and opera that resound throughout Ulysses, or the four- part threnody in Beckett's Watt, it is clear that the influence of music on the written word in Ireland is deeply significant. Samuel Beckett arguably went further than any other writer in the incorporation of musical ideas into his work. Musical quotations inhabit his texts, and structural devices such as the da capo are metaphorically employed. Perhaps most striking is the erosion of explicit meaning in Beckett's later prose brought about through an extensive use of repetition, influenced by his reading of Schopenhauer's philosophy of music. Exploring this notion of "semantic fluidity", John McGrath discusses the ways in which Beckett utilised extreme repetition to create texts that operate and are received more like music. Beckett's writing has attracted the attention of numerous contemporary composers and an investigation into how this Beckettian "musicalized fiction" has been retranslated into contemporary music forms the second half of the book. Close analyses of the Beckett- inspired music of experimental composer Morton Feldman and the structured improvisations of avantjazz guitarist Scott Fields illustrate the cross- genre appeal of Beckett to musicians, but also demonstrate how repetition operates in diverse ways. Through the examination of the pivotal role of repetition in both music and literature of the twentieth century and beyond, John McGrath's book is a significant contribution to the field of Word and Music Studies.

The classic manifesto on popular theatre reissued.

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Gender impacts significantly on the onset and nature of schizophrenia suffered by women: the female brain develops more rapidly than the male; estrogens produce antipsychotic effects; the female brain ages differently from the male, with a massive preponderance of female very-late-onset schizophrenia that may be related to a relative excess of dopamine D2 receptors. This comprehensive review is as much about women as it is about schizophrenia, encompassing the biological, endocrinological, epidemiological, reproductive, psychological, and social aspects of schizophrenia as experienced by women. An international, multidisciplinary team of clinicians and mental health researchers review past and current literature, and also assess sex-specific issues and evaluate their therapeutic, clinical, and social implications for more appropriate and effective treatments of schizophrenia in women now and in the future. This volume is essential reading for all clinicians, practitioners, and researchers involved with mental health and with women's health.

It's a story that has a beginning, a middle, but as yet, no end. John McGrath's winding, furious, innovative play tracks the economic history and exploitation of the Scottish Highlands from the post-Rebellion suppression of the clans to the story of the Clearances: in the 19th century, aristocratic landowners discovered the profitability of sheep farming, and forced a mass emigration of rural Highlanders, burning their houses in order to make way for the Cheviot sheep. Described by the playwright as having a "ceilidh" format, The Cheviot, the Stag and the Black, Black Oil draws on historical research alongside Gaelic song and the Scots' love of variety and popular entertainment to tell this epic story. A totally distinctive cultural and theatrical phenomenon, the play championed several new approaches to theatre, raising its profile as a means of political intervention; proposing a collective and collaborative approach to creating theatre; offering a language of performance accessible to working-class people; producing theatre in non-purpose-built theatre spaces; breaking down the barrier between audience and performers through interaction; and taking theatre to people who otherwise would not access it. The play received its premiere in 1973 by the agit-prop theatre group 7:84. Methuen Drama's iconic Modern Plays series began in 1959 with the publication of Shelagh Delaney's A Taste of Honey and has grown over six decades to now include more than 1000 plays by some of the best writers from around the world. This new special edition hardback of The Cheviot, the Stag and the Black, Black Oil was published to celebrate 60 years of Methuen Drama's Modern Plays in 2019, chosen by a public vote and features a new foreword by Kate McGrath.

Strathoykel, Sutherland. "When the Sheriff and his men arrived, the women were on the road and the men behind the walls. The women shouted 'Better to die here than America or the Cape of Good Hope'. The first blow was struck by a woman with a stick. The gentry leant out of their saddles and beat at the women's heads with their crops." (John McGrath)

Originally published by the Combat Studies Institute Press. This work provides an organizational history of the maneuver brigade and case studies of its employment throughout the various wars. Apart from the text, the appendices at the end of the work provide a ready reference to all brigade organizations used in the Army since 1917 and the history of the brigade colors.

The woman is accustomed to taking on difficult assignments, to suppressing her feelings in the line of duty, to being responsible disposing of or silencing those the system wants out of the way. However, when her task is to infiltrate the anti-capitalist movement - young, diverse and full of hope for change - the MI5 agent begins to question her role. Are these people valid targets? And aren't they right to protest at the devastation caused by the greed of the multi-nationals, whose power has been allowed to grow unchecked?

The past few years have seen considerable advances in our understanding of the molecular basis underlying cutaneous cell adhesion mechanisms. Co-authored by a number of leading experts in the field DEGREESCell Adhesion and Migration in Skin Disease provides a comprehensive overview of the critical role played by cell adhesion in determining the structure and function of both healthy and diseased human skin.
The book is divided into three main sections, with each one addressing a principal function of adhesion molecules.
The first part focuses on the epidermis, which as the skin's outermost layer, acts as the human body's primary barrier of defence. Roles played by cytoskeletal intermediate filaments and junctional complexes in cutaneous cell adhesion are emphasised with descriptions of blistering skin diseases that can arise if these molecules malfunction.
The second part describes the macromolecular interactions responsible for the anchorage of cells to the underlying extracellular basement membrane. The experimental approaches detailed in the text not only reveal how the molecular components of the dermal-epidermal junction have been elucidated, but also highlight how mutations in the genes which encode these molecules are responsible for many heritable skin diseases. Leukocytes continually infiltrate the skin and patrol it for potentially harmful pathogens. Control of leukocyte adhesion to resident cells within the skin and to the extracellular matrix plays a key role in controlling these processes. These mechanisms constitute the primary focus of the final section. The pivotal role of leukocytes is examined in conjunction with the chronic inflammatory diseases which arise when components of the skin's finely tuned defence strategy go awry and the potential for these anomalies to be pinpointed as important immunotherapeutic targets for skin diseases.