Recent years have witnessed a burgeoning interest in the study of everyday life within the social sciences and humanities. In "Critiques of Everyday Life" Michael Gardiner proposes that there exists a counter-tradition within everyday life theorising. This counter-tradition has sought not merely to describe lived experience, but to transform it by elevating our understanding of the everyday to the status of a critical knowledge. In his analysis Gardiner engages with the work of a number of significant theorists and approaches that have been marginalized by mainstream academe, including: the French tradition of everyday life theorising, from the surrealists to Henri Lefebvre, and from the Situationist International to Michel de Certeau; Agnes Heller and the relationship between the everyday, rationality and ethics; carnival, prosaics and intersubjectivity in the work of Mikhail Bakhtin; and Dorothy E. Smith's feminist perspective on everyday life. It demonstrates the importance of an alternative, multidisciplinary everyday life paradigm and offers a myriad of new possibilities for critical social and cultural theorising and empirical research.

This book describes firstly a Japanese modernity which is readable not only as a modernising, but also as a Britishing, and secondly modernist attempts to overhaul this British universalism in some well-known and some less-known Japanese texts. From the mid-nineteenth century, and particularly as hastened by the spectre of China in the First Opium War, Japan's modernity was bound up with a convergence with British Newtonian cosmology, something underscored by the British presence in Meiji Japan and the British education of key Meiji state-makers. Moreover the thinking behind Britain's own unification in the long eighteenth century, particularly the Scottish Enlightenment, is echoed strikingly faithfully in the 1860s-70s work of Fukuzawa Yukichi, Nakamura Masanao, and other writers in the 'Japanese Enlightenment'. However, from around the end of the Meiji era, we can see a concerted and pointed response to this British universalism, its historiography, its basis in the sovereign individual subject, and its spatial mapping of the world. Elements of this response can be read in texts including Natsume Soseki's Kokoro, Watsuji Tetsuro's Fudo (Climate and Culture), Tanizaki Jun'ichiro's In'ei Raisan (In Praise of Shadows), Kawabata Yasunari's Yukiguni (Snow Country), and various work of the mid-period Kyoto School. Rarely understood in terms of its British specificity, this response should have something to say to modernist studies more generally, since it aimed at a pluralism and de-universalisation that was difficult for mainstream British modernism itself. Indeed the strength of this de-universalisation may be precisely why these 'native' Japanese modernist tendencies have not much been accepted as modernism within the Anglophone academy, despite this field's apparent widening of its ground in the twenty-first century.

Taking a food-forward, modern approach to the laws of kashrut, 100 original recipes showcase the breadth of flavors, textures, ingredients, and techniques available while keeping kosher. Modern Kosher presents culturally Jewish recipes from Ashkenazi, Sephardic, and contemporary Israeli traditions; dishes from Latin, Asian, and other international cuisines for the kosher table; and highly practical pantry recipes, including stocks, sauces, oils, and pickles, plus the ultimate recipes for schmaltz and gribenes to enhance the reader s everyday cooking. Vegans, vegetarians, and gluten-free cooks will all find recipes to share. Whether planning a family holiday or a weeknight dinner with friends, Modern Kosher is elevated comfort food of the most delicious sort.

This book describes firstly a Japanese modernity which is readable not only as a modernising, but also as a Britishing, and secondly modernist attempts to overhaul this British universalism in some well-known and some less-known Japanese texts. From the mid-nineteenth century, and particularly as hastened by the spectre of China in the First Opium War, Japan's modernity was bound up with a convergence with British Newtonian cosmology, something underscored by the British presence in Meiji Japan and the British education of key Meiji state-makers. Moreover the thinking behind Britain's own unification in the long eighteenth century, particularly the Scottish Enlightenment, is echoed strikingly faithfully in the 1860s-70s work of Fukuzawa Yukichi, Nakamura Masanao, and other writers in the 'Japanese Enlightenment'. However, from around the end of the Meiji era, we can see a concerted and pointed response to this British universalism, its historiography, its basis in the sovereign individual subject, and its spatial mapping of the world. Elements of this response can be read in texts including Natsume Soseki's Kokoro, Watsuji Tetsuro's Fudo (Climate and Culture), Tanizaki Jun'ichiro's In'ei Raisan (In Praise of Shadows), Kawabata Yasunari's Yukiguni (Snow Country), and various work of the mid-period Kyoto School. Rarely understood in terms of its British specificity, this response should have something to say to modernist studies more generally, since it aimed at a pluralism and de-universalisation that was difficult for mainstream British modernism itself. Indeed the strength of this de-universalisation may be precisely why these 'native' Japanese modernist tendencies have not much been accepted as modernism within the Anglophone academy, despite this field's apparent widening of its ground in the twenty-first century.

Boredom Studies is an increasingly rich and vital area of contemporary research that examines the experience of boredom as an importan - even quintessential - condition of modern life. This anthology of newly commissioned essays focuses on the historical and theoretical potential of this modern condition, connecting boredom studies with parallel discourses such as affect theory and highlighting possible avenues of future research. Spanning sociology, history, art, philosophy and cultural studies, the book considers boredom as a mass response to the atrophy of experience characteristic of a highly mechanised and urbanised social life.

George Orwell, perhaps one of the most perceptive writers of the twentieth century, wrote extensively about English life and politics. This selection of his essays and journalism brings together his most provocative and insightful writing on England and Englishness.

Part of the Macmillan Collector’s Library; a series of stunning, clothbound, pocket-sized classics with gold foiled edges and ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition is edited and introduced by Professor Michael Gardiner.

Orwell’s interests were broad. He often wrote about everyday concerns such as transport, food and the weather. Turning to social issues, he exposed the plight of the poor and the unemployed. He dissected the idea of nationalism and he examined the failings of the Left. What emerges from his acute observation of English rituals, habits and attitudes is his belief that these are the very things with which the English people can defend themselves against oppression. His writing remains insightful and prescient to this day.

The Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo's expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the work's musical design and text. This is achieved primarily through Gardiner's musical network model, which implicates mode into a networked system of nodes, and draws upon parallels with the medieval interpretation of Platonic ontology and Hildegard's correlative realization through sound, song, and voice.

This book takes the works of Mikhail Bakhtin as its inspiration in the contemplation of the potential of dialogic scholarship for philosophy of education. While Bakhtin's work has been widely received in educational studies in recent years, the academic literature does not sufficiently convey the sophistication of his cultural-historical works. Selected works on the limits and perspectives of Mikhail Bakhtin are presented in the book. In doing so, the contributors seek to interpret the work of the Bakhtin Circle in a complex contemporary world. Layering and drawing from the many ideas explored by the Circle during their collective lifetimes and those that influenced their work, each chapter offers a different dimension of thought concerning issues facing societies remote (or perhaps not so remote) from the world of post-revolutionary Russia. In the post-2008 era, during which financial crises have morphed into global recession and which characterise growing social inequities, widespread political instabilities and further environmental decline and resource depletion, what is needed more than ever is a twenty-first century Bakhtin, one that is occupied with the distinct challenges our times present to all of us. The individual contributors to Bakhtin in the Fullness of Time aim to contribute to a revisioning and reassessment of Bakhtin, through a diverse series of engagements with both his legacy and future promise. In contemplating Bakhtin in the fullness of time, historical perspectives and contributions must be encountered in a contemporary understanding that will contribute to philosophy of education today. The chapters in this book were originally published in the journal Educational Philosophy and Theory.

The Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon. Not only does the Ordo's expansive duration set it apart from its precursors, but also its complex imagery and non-biblical narrative have raised various questions concerning its context and genre. As a poetic meditation on the fall of a soul, the Ordo deploys an array of personified virtues and musical forces over the course of its eighty-seven chants. In this ambitious analysis of the work, Michael C. Gardiner examines how classical Neoplatonic hierarchies are established in the music-drama and considers how they are mediated and subverted through a series of concentric absorptions (absorptions related to medieval Platonism and its various theological developments) which lie at the core of the work's musical design and text. This is achieved primarily through Gardiner's musical network model, which implicates mode into a networked system of nodes, and draws upon parallels with the medieval interpretation of Platonic ontology and Hildegard's correlative realization through sound, song, and voice.

This study attempts to challenge the literary appropriation of Bakhtin's ideas by exploring his (and his circle's) insights on the terrain of critical social and cultural theory, encompassing a broad range of interpretive, methodological and epistemological concerns that centre on the theory and critique of ideology. Chapters one and two serve to introduce Bakhtin's core concepts (diaologism, polyphony, carnival) through the auspices of a synoptic and exegitical examination of the Bakhtin circle's major writings. In the second part of the book, the focus is narrowed considerably. Chapter three explores Bakhtin's hermeneutik with respect to three central members of the hermeneutic tradition (Gadamer, Habermas and Ricouer) and also to elucidate the difficult problem of the justification of ideological critique. In chapter five, Bakhtin's concepts are considered in relation to two contemporary attempts to fuse a theory of ideology with discourse - that of Roland Barthes and Michel Foucault respectively - and the attempt is made to vindicate the superiority of a Bakhtinian inspired approach in certain key areas. This book should be of interest to undergraduates and postgraduates in the

This book describes the recent Scottish independence referendum as the latest incarnation of a contest between two times on one hand, an ideally continuous time beyond determination underpinning financial sovereignty, on the other the interruptions to this ideal continuity inherent in human action.

As interest in the work of Bakhtin grows there is an increasing demand for a well organized, readable text which explains his main ideas and relates them to current social and cultural theory. This book is designed to supply this demand. Elegantly written with the needs of the student coming to Bakhtin for the first time in mind, it provides the essential guide to this important and neglected thinker.

Boredom Studies is an increasingly rich and vital area of contemporary research that examines the experience of boredom as an importan - even quintessential - condition of modern life. This anthology of newly commissioned essays focuses on the historical and theoretical potential of this modern condition, connecting boredom studies with parallel discourses such as affect theory and highlighting possible avenues of future research. Spanning sociology, history, art, philosophy and cultural studies, the book considers boredom as a mass response to the atrophy of experience characteristic of a highly mechanised and urbanised social life.

Recent years have witnessed a burgeoning interest in the study of everyday life within the social sciences and humanities. In Critiques of Everyday Life Michael Gardiner proposes that there exists a counter-tradition within everyday life theorising. This counter-tradition has sought not merely to describe lived experience, but to transform it by elevating our understanding of the everyday to the status of a critical knowledge.
In his analysis Gardiner engages with the work of a number of significant theorists and approaches that have been marginalized by mainstream academe, including:
*The French tradition of everyday life theorising, from the surrealists to Henri Lefebvre, and from the Situationist International to Michel de Certeau
*Agnes Heller and the relationship between the everyday, rationality and ethics
*Carnival, prosaics and intersubjectivity in the work of Mikhail Bakhtin
*Dorothy E. Smith's feminist perspective on everyday life.
Critiques of Everyday Life demonstrates the importance of an alternative, multidisciplinary everyday life paradigm and offers a myriad of new possibilities for critical social and cultural theorising and empirical research.

What are we to make of Bakhtin? Nearly 20 years after his death, the full richness of his ideas has still not been digested. For many people working in the sicial sciences, he remains a mysterious and impenetrable writer. Many are conscious that his ideas are relevant for sociology and cultural studies, but would be hard pressed to give chapter and verse. Others regard Bakhtin as a figure who contributed to the literary and philologic fields of study. This accessible and thoughtful text aims to demonstrate the relevance of Bakhtin to the human sciences. It argues that most of the current literature has been characterized by a superficial appropriation of Bakhtinian ideas and neologisms. What has been neglected is a serious engagement with his core ideas and a sustained reflection on their implications for social and cultural theory. The book aims to extend BakhtinÆs ideas into the mainstream social sciences and to reconsider Bakhtin as a social thinker, not just as a literary theorist. The contributors have diverse backgrounds in the social and human sciences. The contributions are organized around the four main themes in BakhtinÆs work: dialogics, carnivals, conversations, and ethics and everyday life. The book is equipped with a lively introduction that discusses the importance of Bakhtin as a major intellectual figure and attempts to situate his ideas in current theoretical trends and developments. Suggestive, accurate, and insightful, this book will be of interest to students and researchers working in the fields of the sociology of culture and cultural studies.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. In this extended essay, Michael Gardiner examines the ideology of the discipline of English Literature in the light of the serious redefining work on England and Englishness that has been conducted in Political Studies in the last decade. He argues that English Literature emerges from the development of the state and that consequently it has suppressed the idea of the nation. His claim is that English Literature has lost its form since its methodology and canonicity depended so heavily on a constitutional form which can no longer be defended. He calls upon those working in English Literature to recognise that they are not really participating in the same discipline, defined by the Burkean constitutional settlement, even if they think of themselves as writing 'within the canon'. His view is that a lack of appreciation of 'hard-edged' political factors have led to a 'continuant' and regressive form of English Literature which tends to hang on to stifling methodologies. In its place, he appeals for the creation of a more open-ended, inclusive, internationalist, and comparative 'literature of England'.

In this extended essay, Michael Gardiner examines the ideology of the discipline of English Literature in the light of the serious redefining work on England and Englishness that has been conductedin Political Studiesin the last decade. He argues that English Literature emerges from the development of the state and that consequently it has suppressed the idea of the nation. His claim is that English Literature has lost its form since its methodology and canonicity depended so heavily on a constitutional form which can no longer be defended.

He calls upon those working in English Literature to recognise that they are not really participating in the same discipline, defined by the Burkean constitutional settlement, even if they think of themselves as writing 'within the canon'. His view is that a lack of appreciation of 'hard-edged' political factors have led to a 'continuant' and regressive form of English Literature which tends to hang on to stifling methodologies. In its place, he appeals for the creation of a more open-ended, inclusive, internationalist, and comparative 'literature of England'.

This volume explores the connection between two phenomena usually thought to be utterly incongruous, even antithetical: 'utopia' and 'everyday life'. It presents a series of essays, written over the last twenty years, which rethink the nature and prospects of utopianism in a world that has grown increasingly sceptical as to the possibility of systemic socio-political transformation in a positive direction. Through critical interdisciplinary engagements with a wide variety of thinkers ranging from Mikhail Bakhtin to Henri Lefebvre and beyond, many of whom are often read as anti-utopian figures, the essays argue that it is possible to locate utopian promises buried deep within the embodied rituals, practices and symbolic forms associated with everyday existence, in a manner that reveals the essential openness of the present day to momentous future change.

This Companion brings together an international 'Brodie set' of critics to trace the history, impact, reception and major themes of Spark's work, from her early poetry to her last novel. It encompasses the range of Spark's output, pursuing contextual lines of approach including biography, geography, gender, identity, nation and religion, and considering her legacy and continuing influence in the twenty-first century. Spark emerges here as a serious thinker on issues as diverse as the Welfare State, secularisation, decolonisation, and anti-psychiatry, and a writer whose work may be placed alongside Proust, Joyce, Nabokov, and Lessing. The critics collected here are mindful of how, although overwhelmingly known as a novelist, by the time of her first novel, The Comforters, in 1957, Spark already had a significant profile through poetry, biographical criticism, and literary journalism, as chair of the Poetry Society and editor of the Poetry Review, and as author or co-author of a number of scholarly studies of writers including Wordsworth, Mary Shelley, the Brontes, Cardinal Newman, and John Masefield. Within a relatively modest space this Companion touches on the whole range of Spark's work and, in introducing the oeuvre thematically for those looking to explore this elegant and challenging author further, also sets the agenda for future Spark studies. Key Features * A collection of original, specially commissioned chapters by leading experts in the field * Covers the whole spectrum of Spark's work * Addresses the key issues and themes in Spark's work without losing sight of the questions of form and content * Provides original insights into the contexts of Spark's work as viewed through literary theory

Bakhtin and the Human Sciences demonstrates the abundance of ideas Bakhtin's thought offers to the human sciences, and reconsiders him as a social thinker, not just a literary theorist. The contributors hail from many disciplines and their essays' implications extend into other fields in the human sciences. The volume emphasizes Bakhtin's work on dialogue, carnival, ethics and everyday life, as well as the relationship between Bakhtin's ideas and those of other important social theorists.

In a lively introduction Gardiner and Bell discuss Bakhtin's significance as a major intellectual figure and situate his ideas within current trends and developments in social theory.