Russia in Britain offers the first comprehensive account of the breadth and depth of the British fascination with Russian and Soviet culture, tracing its transformative effect on British intellectual life from the 1880s, the decade which saw the first sustained interest in Russian literature, to 1940, the eve of the Soviet Union's entry into the Second World War. By focusing on the role played by institutions, disciplines and groups, libraries, periodicals, government agencies, concert halls, publishing houses, theatres, and film societies, this collection marks an important departure from standard literary critical narratives, which have tended to highlight the role of a small number of individuals, notably Sergei Diaghilev, Constance Garnett, Theodore Komisarjevsky, Katherine Mansfield, George Bernard Shaw and Virginia Woolf. Drawing on recent research and newly available archives, Russia in Britain shifts attention from individual figures to the networks within which they operated, and uncovers the variety of forces that enabled and structured the British engagement with Russian culture. The resulting narrative maps an intricate pattern of interdisciplinary relations and provides the foundational research for a new understanding of Anglo-Russian/Soviet interaction. In this, it makes a major contribution to the current debates about transnationalism, cosmopolitanism and 'global modernisms' that are reshaping our knowledge of nineteenth- and early twentieth-century British culture.

A timely attempt to re-map a critical appreciation of early twentieth-century modernism through a Nordic lens. Following the end of the Cold War, a former East-West binary model of European identity has been replaced with a series of more complex and variegated patterns. Northern Europe is one such territory, and the idea of the 'North' more generally has come in for increased critical scrutiny. This volume reappraises the work of Sibelius, Nielsen and their contemporaries, but it also reassesses the wider implications of the 'Nordic Breakthrough' for fields such as the visual arts, theatre, literature and architecture. Music's Nordic Breakthrough adopts an interdisciplinary methodology and expands the geographical reach of the 'Nordic zone' to include interactions with Russia, the Baltic states and Great Britain; a new understanding of the region emerges as an arena of artistic affinity, cutural exchange and shared preoccupations. At the same time, the book constitutes an attempt to re-map and recentre early twentieth-century European modernism through a distinctively Nordic lens. The thematic approach on display reveals the complex interaction of networks, individuals, ideologies and the transfer of ideas. The book will beof interest to musicologists working in late nineteenth- and early twentieth-century repertoires, as well as those more broadly interested in modernism in music and its neighbouring arts. The book also offers important reading forart historians, theatre scholars and literary critics. CONTRIBUTORS: Charlotte Ashby, Leah Broad, Daniel M. Grimley, Louise Hardiman, Kevin Karnes, Pirjo Lyytikäinen, Tomi Mäkelä, Julia Mannherz, Arnulf Christian Mattes, Philip Ross Bullock, Kirsten Rutschmann, and Mikkel Zangenberg.

Why is finance so important? How do stock markets work and what do they really do? Most importantly, what might finance be and what could we expect from it? Exploring contemporary finance via the development of stock exchanges, markets and the links with states, Roscoe mingles historical and technical detail with humorous anecdotes and lively portraits of market participants. Deftly combining research and autobiographical vignettes, he offers a cautionary tale about the drive of financial markets towards expropriation, capture and exclusion. Positioning financial markets as central devices in the organisation of the global economy, he includes contemporary concerns over inequality, climate emergency and (de)colonialism and concludes by wondering, in the market's own angst-filled voice, what the future for finance might be, and how we might get there.

Creativity is at the vanguard of contemporary capitalism, valorised as a form of capital in its own right. It is the centrepiece of the vaunted 'creative economy', the creative industries, and is increasingly a focus of public policy. But what is economic about creativity? How can creative labour become the basis for a distinctive global industry? And how has the solitary artist, a figment of the romantic thought, become the creative entrepreneur of twenty-first century economic imagining? This book offers a fresh approach to this topic within the creative industries through a focus on intellectual property. It follows IP and its associated rights (IPR) through the creative economy, showing how it shapes creative products and configures the economic agency of creative producers. IP helps to manage risk, settle what is valuable, extract revenues, and protect future profits. It is the central mechanism in organising the market for creative goods. Most importantly, it shows that IP/IPR is crucial in the dialectic between symbolic and economic value on which the creative industries depend; IP/IPR hold the creative industries together. This book is based on a detailed empirical study of creative producers in the UK, extending the sociological studies of markets to an analysis of the UK's creative industries. In doing so, it makes an important, empirically grounded contribution to debates around creativity, entrepreneurship, and uncertainty in creative industries, and will be of interest to scholars and policymakers alike.

Why is finance so important? How do stock markets work and what do they really do? Most importantly, what might finance be and what could we expect from it? Exploring contemporary finance via the development of stock exchanges, markets and the links with states, Roscoe mingles historical and technical detail with humorous anecdotes and lively portraits of market participants. Deftly combining research and autobiographical vignettes, he offers a cautionary tale about the drive of financial markets towards expropriation, capture and exclusion. Positioning financial markets as central devices in the organisation of the global economy, he includes contemporary concerns over inequality, climate emergency and (de)colonialism and concludes by wondering, in the market's own angst-filled voice, what the future for finance might be, and how we might get there.

Within classical music, much writing on the Western song tradition since 1800 has assumed a direct link between musical cultures and national literatures, and song has typically been interpreted as one of the means by which constructions of nationalism and nationhood have been pursued in the cultural sphere. Yet song can also be a mobile and cosmopolitan genre and form of cultural practice, able - through performance, publication, and translation - to cross boundaries between cultures and languages. This volume brings together musicologists, literary scholars, linguists, and cultural historians to examine the ways in which song creation, practice, and interpretation has been defined by, and in turn defines, conceptions of nationalism and the transnational. It focuses on four key poets - the Persian Hafiz, German Heine, American Whitman, and French Verlaine - and examines how their poems have been 'translated' into song, and how music can challenge the seemingly organic relationship between language and nation.

Drawing extensively on Tchaikovsky's uncensored letters and diaries, this biography explores the composer's life in the artistic culture of nineteenth-century Russian society, revealing how he became a figure of international renown. Yet his success came at a price, and Tchaikovsky found the social obligations that his fame entailed burdensome. Setting aside cliches of the composer as a tortured homosexual and naively confessional artist, this engaging biography paints a vivid picture of Tchaikovsky. It contains accessible introductions to his key compositions, as well as suggesting less familiar works for readers to explore, making it essential reading for all those who enjoy classical music.

A biography of composer Sergei Rachmaninoff, published in collaboration with the Bard Music Festival. One of the most popular classical composers of all time, Sergei Rachmaninoff (1873-1943) has often been dismissed by critics as a conservative, nostalgic holdover of the nineteenth century and a composer fundamentally hostile to musical modernism. The original essays collected here show how he was more responsive to aspects of contemporary musical life than is often thought, and how his deeply felt sense of Russianness coexisted with an appreciation of American and European culture. In particular, the essays document his involvement with intellectual and artistic circles in prerevolutionary Moscow and how the form of modernity they promoted shaped his early output. This volume represents one of the first serious explorations of Rachmaninoff's successful career as a composer, pianist, and conductor, first in late Imperial Russia, and then after emigration in both the United States and interwar Europe. Shedding light on some unfamiliar works, especially his three operas and his many songs, the book also includes a substantial number of new documents illustrating Rachmaninoff's celebrity status in America.

The number of self-employed has risen from 3.3 million people (12.0% of the labour force) in 2001 to 4.8 million (15.1% of the labour force) in 2019. It is estimated that they contribute some GBP2.71bn annually to the economy. Self-employment takes many forms and is across all sectors of our economy. While Labour is naturally concerned about issues of bogus and forced self-employment, and tax avoidance, but it is equally concerned about providing support and encouragement to those who are self-employed. The Off-payroll regulations which are scheduled to be applied to the private sector are of great concern. Labour Business recognises the value and contribution that freelancers make to our economy. We want some common-sense proposals which aren't just about squeezing out taxes but are about making self-employment sustainable and prosperous so that it benefits those engaged in the model, the clients that use it and our economy as a whole.

What is a Garden City? How do you become one? This book draws on the history of the garden city movement and the experiences of Letchworth - the first Garden City - and combines these with contemporary international experiences and good practices to propose a manifesto for future garden cities. It defines a Garden City as a place that brings together the best elements of town and country through the implementation of 12 core principles. Written by Philip Ross, former Mayor of Letchworth Garden City and Prof. Yves Cabannes, Chair of the Development Planning at DPU at University College London. Foreword by Rod Hackney, former President of the Royal Institute of British Architects. Postscript by John Emmeus Davis, former Dean, National Community Land Trust Academy, USA

A first hand account of the on-line revolution that created the PCG and the fight against IR35.

History of start of the fight against IR35. (Based on the second edition and parts 1-3 of Freedom to Freelance) Part 1 - Forming the PCG -the original formation of the PCG following the announcement of IR35 Part 2 - The Parliamentary Battle - the initial Parliamentary battle in both the House of Commons and the House of Lords Part 3 - Judicial Review - how we raised the money and took the Government to the High Court for a judicial review hearing over IR35 It is not the full story you need to read all eight parts for that. It has proved hard to find any division, but this is the clearest place to divide it as it was the first phase in the development of the PCG when the movement was very much united and I think it is the part that interests people the most. Parts 4 - 8 (in the next edition) deal with what followed after the judicial review hearing and I think are even more interesting and that edition follows this one.

A biography of composer Sergei Rachmaninoff, published in collaboration with the Bard Music Festival. One of the most popular classical composers of all time, Sergei Rachmaninoff (1873-1943) has often been dismissed by critics as a conservative, nostalgic holdover of the nineteenth century and a composer fundamentally hostile to musical modernism. The original essays collected here show how he was more responsive to aspects of contemporary musical life than is often thought, and how his deeply felt sense of Russianness coexisted with an appreciation of American and European culture. In particular, the essays document his involvement with intellectual and artistic circles in prerevolutionary Moscow and how the form of modernity they promoted shaped his early output. This volume represents one of the first serious explorations of Rachmaninoff's successful career as a composer, pianist, and conductor, first in late Imperial Russia, and then after emigration in both the United States and interwar Europe. Shedding light on some unfamiliar works, especially his three operas and his many songs, the book also includes a substantial number of new documents illustrating Rachmaninoff's celebrity status in America.

Over the past hundred years, the office has been integral to the development of modern society. It has shaped the architecture of our cities, the behaviour of our organizations and the everyday movements of millions of people. In 2020, however, the global pandemic brought our attendance in the office to an abrupt halt and triggered a complete re-evaluation of the purpose of the workplace. This book offers a panoramic view of the office and explores what happens next. The authors advance a manifesto for ‘unworking’ – unlearning old habits and rituals established for an outdated office and creating new ones fit for an age of digital technology, design innovation and diverse workforces.

The mob offers the young mayor of Fort Lee, New Jersey, a $500,000 bribe to rezone land adjacent to the George Washington Bridge. Risking his life, the mayor pretends to go along with the plan but wears a wire. His efforts lead to the convictions of seven people.

Philip Ross Bullock looks at the life and works of Rosa Newmarch (1857-1940), the leading authority on Russian music and culture in late nineteenth- and early twentieth-century England. Although Newmarch's work and influence are often acknowledged - most particularly by scholars of English poetry, and of the role of women in English music - the full range of her ideas and activities has yet to be studied. As an inveterate traveller, prolific author, and polyglot friend of some of Europe's leading musicians, such as Elgar, Sibelius and JanA!cek, Newmarch deserves to be better appreciated. On the basis of both published and archival materials, the details of Newmarch's busy life are traced in an opening chapter, followed by an overview of English interest in Russian culture around the turn of the century, a period which saw a long-standing Russophobia (largely political and military) challenged by a more passionate and well-informed interest in the arts Three chapters then deal with the features that characterize Newmarch's engagement with Russian culture and society, and - more significantly perhaps - which she also championed in her native England; nationalism; the role of the intelligentsia; and feminism. In each case, Newmarch's interest in Russia was no mere instance of ethnographic curiosity; rather, her observations about and passion for Russia were translated into a commentary on the state of contemporary English cultural and social life. Her interest in nationalism was based on the conviction that each country deserved an art of its own. Her call for artists and intellectuals to play a vital role in the cultural and social life of the country illustrated how her Russian experiences could map onto the liberal values of Victorian England. And her feminism was linked to the idea that women could exercise roles of authority and influence in society through participation in the arts. A final chapter considers how her late interest in the music of Czechoslovakia picked up and developed these themes in the context of interwar Europe.