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For the people of early modern England, the dividing line between
the natural and supernatural worlds was both negotiable and porous
- particularly when it came to issues of authority. Without a
precise separation between 'science' and 'magic' the realm of the
supernatural was a contested one, that could be used both to
bolster and challenge various forms of authority and the exercise
of power in early modern England. In order to better understand
these issues, this volume addresses a range of questions regarding
the ways in which ideas, beliefs and constructions of the
supernatural threatened and conflicted with authority, as well as
how the power of the supernatural could be used by authorities
(monarchical, religious, legal or familial) to reinforce
established social norms. Drawing upon a range of historical,
literary and dramatic texts the collection reveals intersecting
early modern anxieties in relation to the supernatural, issues of
control and the exercise of power at different levels of society,
from the upper echelons of power at court to local and domestic
spaces, and in a range of publication contexts - manuscript
sources, printed prose texts and the early modern stage. Divided
into three sections - 'Magic at Court', 'Performance, Text and
Language' and 'Witchcraft, the Devil and the Body' - the volume
offers a broad cultural approach to the subject that reflects
current research by a range of early modern scholars from the
disciplines of history and literature. By bringing scholars into an
interdisciplinary dialogue, the case studies presented here
generate fresh insights within and between disciplines and
different methodologies and approaches, which are mutually
illuminating.
Critics abhorred it, audiences loved it, and Hammer executives
where thrilled with the box office returns: The Curse of
Frankenstein was big business. The 1957 film is the first to bring
together in a horror movie the 'unholy two', Christopher Lee and
Peter Cushing, together with the Hammer company, and director
Terence Fisher, combinations now legendary among horror fans. In
his Devil's Advocate, Marcus Harmes goes back to where the Hammer
horror production started, looking at the film from a variety of
perspectives: as a loose literaryadaptation of Mary Shelley's
novel; as a film that had, for legal reasons, to avoid adapting
from James Whale's 1931 film for Universal Pictures; and as one
which found immediate sources of inspiration in the Gainsborough
bodice rippers of the 1940s and the poverty row horrors of the
1950s. Later Hammer horrors may have consolidated the reputation of
the company and the stars, but these works had their starting point
in the creative and commercial choices made by the team behind The
Curse of Frankenstein. In the film sparks fly, new life is created
and horrors unleashed but the film itself was a jolt to 1950s
cinema going that has never been entirely surpassed.
This book will be the first systematic and comprehensive text to
analyze the many and contrasting appearances of the Church of
England on television. It covers a range of genres and programs
including crime drama, science fiction, comedy, including the
specific genre of 'ecclesiastical comedy', zombie horror and
non-fiction broadcasting. Readers interested in church and
political history, popular culture, television and broadcasting
history, and the social history of modern Britain will find this to
be a lively and timely book. Programs that year after year sit
enshrined as national favourites (for example Dad's Army and
Midsomer Murders) foreground the Church. From the Queen's Christmas
Message to royal weddings and Coronation Street, the clergy and
services of England's national church abound in television. This
book offers detailed analysis of landmark examples of small screen
output and raises questions relating to the storytelling strategies
of program makers, the way the established Church is delineated,
and the transformation over decades of congregations into
audiences.
This is a contemporary legal history book for Australian law
students, written in an engaging style and rich with learning
features and illustrations. The writers are a unique combination of
talents, bringing together their fields of research and teaching in
Australian history, British constitutional history and modern
Australian law. The first part provides the social and political
contexts for legal history in medieval and early modern England and
America, explaining the English law which came to Australia in
1788. This includes: The origins of the common law The growth of
the legal profession The making of the Magna Carta The English
Civil Wars The Bill of Rights The American War of Independence. The
second part examines the development of the law in Australia to the
present day, including: The English criminal justice system and
convict transportation The role of the Privy Council in 19th
century Indigenous Australia in the colonial period The federation
movement Constitutional Independence The 1967 Australian referendum
and the land rights movement. The comprehensive coverage of several
centuries is balanced by a dynamic writing style and tools to guide
the student through each chapter including learning outcomes,
chapter outlines and discussion points. The historical analysis is
brought to life by the use of primary documentary evidence such as
charters, statutes, medieval source books and Coke's reports, and a
series of historical cameos - focused studies of notable people and
issues from King Edward I and Edward Coke to Henry Parkes and Eddie
Mabo - and constitutional detours addressing topics such as the
separation of powers, judicial review and federalism. A Legal
History for Australia is an engaging textbook, cogently written and
imaginatively resourced and is supported by a companion website:
https://www.bloomsburyonlineresources.com/a-legal-history-for-australia
The Handbook of Incarceration in Popular Culture will be an
essential reference point, providing international coverage and
thematic richness. The chapters examine the real and imagined
spaces of the prison and, perhaps more importantly, dwell in the
uncertain space between them. The modern fixation with 'seeing
inside' prison from the outside has prompted a proliferation of
media visions of incarceration, from high-minded and worthy to
voyeuristic and unrealistic. In this handbook, the editors bring
together a huge breadth of disparate issues including women in
prison, the view from 'inside', prisons as a source of
entertainment, the real worlds of prison, and issues of race and
gender. The handbook will inform students and lecturers of media,
film, popular culture, gender, and cultural studies, as well as
scholars of criminology and justice.
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