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A fresh study of creative practice and exchange in theatre and the visual arts in eighteenth-century France, nourished by archival research and by histories of innovation, community and knowledge transfer in the Enlightenment.

The social conditions in Punjab at the outbreak of World War I in 1914 were rapidly improving and the locals were happy about the economic benefits that their farmers were reaping. When the British government sought manpower to fight their war against Germany in France Indians made themselves readily available. Within six weeks of the war breaking out, two divisions from Punjab were sent to France under the command of the British. There they fought bravely and stopped the German advance in France. After serving about 18 months in France, most of the forces were deployed in other spheres of war in the Eastern Mediterranean. Kamaljit Sood's play 'Forgotten Blood' recounts the story of the war and the subsequent treatment of the Indians in India leading to the Jallianwala Bagh massacre.

This book examines contemporary globalization, its local impact and counter-reactions to it both thematically and epistemologically. The starting point is an outline of the distinguishing features of contemporary globalization, their (dis)continuities with historically earlier forms of long-distance connections, and their relevance to both recent and long-established sociological debates. Through a series of thematic case studies, Sociology in Times of Glocalization traces the methodological and conceptual innovations underway to capture the politically heterogeneous responses to our global interconnectedness, which are (re)shaping individual and collective self-understandings, localities, regions, nation-states, as well as diasporic communities at present. The discussion thereby also shows that multiple global 'flows', neo-nationalist as well as other forms of identity politics jointly constitute our era's constitutive, if highly contradictory characteristics.The book's most distinguishing feature is to be found in its central analytical move. Having identified the building blocks of today's complex, multi-dimensional and contradictory forms of 'glocalization', it approaches those epistemologically: that is, by asking how globalization and the various reactions to it can be approached, captured and understood sociologically. This requires nuanced methodological reflections on how social scientific claims to knowledge are generated in the specific contexts under investigation. Put differently, the book unfolds around two core-issues: first, the question as to what contemporary, 'glocalizing' realities entail; second, the yet more challenging, hitherto underexplored question as to how social scientists can recognize, depict and make sense of such historically novel realities and experiences.Located in the interface between the thematic and the methodological, the book offers discussions of particular global flows and of specific reactions to them. The thematic foci in question pertain to localities affected by rapid infrastructural change; the economic realm and consumerism; experiences of migration; social change in urban settings; cultural practices such as street art that negotiate both global and local events and phenomena; and digital technology. The critical discussions offered underscore that contemporary globalization cannot be understood as merely a set of new structures of globally interconnected 'nodes'. Instead, enduring, often deepening inequalities and ever more rigid exclusions, the fears and anxieties they generate, and the identity politics they give rise to, are all shown to be defining features of our world today. To develop these insights, the book draws on and critically synthesizes a range of existing social theory, relevant empirical studies and illustrations, and ongoing methodological debates.

How are breasts and breastfeeding shown in literature? Why does the depiction of breastfeeding in literature matter? What messages do we get from literature about the feeding of infants and children and about women's bodies? Is this different in different cultures? What causes cultural and historical differences and what can we learn from them?This cross-cultural study analyses images and descriptions of breasts and breastfeeding in children's books and literature for adults, in both English and Swedish. It explores how breastfeeding is depicted in literature in the two languages and discusses why there are differences in the cultures. Literary, feminist, anthropological, sociological, historical, and cultural research is used to support this analysis and to suggest explanations for the differing depictions. For example, the book discusses the concepts of women being nude versus women being naked; nakedness, the book argues, is more acceptable in Swedish literature and society, whereas a naked female is immediately perceived as nude in English-speaking cultures, and nudity is always sexualised. It discusses the male gaze and challenges ways of seeing women's bodies in literature; a question here is whether women can see their bodies without being influenced by the pervasiveness of the male gaze. Another example of a difference between the two cultures is the rise of formula-feeding and supposedly scientific ways of understanding and managing bodies in many Western countries, including English-speaking ones, and this in turn influences decreasing familiarity and comfort with seeing breasts and breastfeeding in literature, whereas rates of breastfeeding are still high in Scandinavia, which suggests more understanding, acceptance and support of natural bodily functions. In addition, issues such as whether a more feminist political approach might affect how breastfeeding is depicted and how it is treated in society are considered.While this intercultural exploration of breasts and breastfeeding in literature is academic and relies on extensive research, the book also suggests that this reflects popular culture today. Given the rise of the #MeToo movement and our new awareness of people's rights to their own bodies and to consent, it is important that we explore depictions in the media of women's bodies and encourage positive representations. Avoiding naked females in literature or primarily showing them in sexualised contexts suggests a sense of shame and fear about female bodies, or emphasises the idea that women are to be objectified.In short, this book will focus on a topic not yet seen in any depth in academic research and will raise fresh awareness of the power of literature to influence how readers see their own and other people's bodies, and will also illuminate cultural and historical differences that affect what writers describe and illustrators depict in literature when it comes to breasts and breastfeeding. The book challenges the currently prevailing ways of depicting female bodies in literature and discusses the way societal norms influence the writing and illustrating of literature.

The essays gathered in Magazines and Modernity in Brazil explore transnational topics such as architecture; cosmopolitanism and universalism; antisemitism, anti-war movements; visual artistic movements; advertising; anti-racism; avant-garde; class; consumer society; design; ethnicity and race; fascism and anti-fascism; intellectual elites; literature; modernity; publishing; translation, as well as book and periodical exchange, which is the main focus of this collection.Together, these essays propose a critique of traditional comparatist approaches, promoting instead the study of contact zones and intersections, highlighting the place of production and reception of cultural products, as well as the role of mediators. What guide these analyses of magazines are concepts such as connected and shared histories, which emphasize transnational interactions. Within the spectrum of global history, this collection is related to a recent body scholarship on cultural transfers, which opened a fertile field for new research based on the analysis of transnational movements not only of ideas but also of networks and magazines.Organized chronologically, the chapters explore a period from the mid-nineteenth century to the aftermath of World War II, always having key magazines as the focus of analysis. The authors deliberately move away from traditional comparative approaches, in which two or more nations are set as a parameter, leading to emphasize their similarities and differences in a rigid framework that does not take into account interactions and cross-pollination of cultures and ideas. Some of the keywords that appear here are transnational models, global, circulation, mediation, hybridity, mestizaje, as well as histories that are shared and connected. These keywords help the authors to analyse the formation and development of the participation of Brazil in the global, modern periodical print culture. However, it should be noted that the purpose of this book is not to suggest a supposed singularity of the Brazilian case. The contribution of this volume of essays is precisely the opposite of this, showing how modernity in Brazil, including what is conventionally called modernism, is a complex expression of transnational movements and cross-cultural exchanges.

'Rabindranath Tagore's Drama in the Perspective of Indian Theatre' maps Tagore's place in the Indian dramatic/performance traditions by examining unexplored critical perspectives on his drama such as his texts as performance texts; their exploration in multimedia; reflections of Indian culture in his plays; comparison with playwrights; theatrical links to his world of music and performance genres; his plays in the context of cross-cultural, intercultural theatre; the playwright as a poet-performer-composer and their interconnections; and his drama on the Indian stage.The book explores both dramatic as well as theatrical traditions in Tagore's plays by discussing vital issues on Tagore's drama including gender politics; Tagore's poetic tradition of dramatic action, time and space; his use of myth humour and satire in the Indian dramatic milieu and discussing Tagore and his contemporaries; modern Indian drama and also the nation and Tagore's drama. The book also identifies Tagore's drama of performance art; his stories that inspired many film creations; furthers the view of Tagore's theatre as the creations of a poet-dramatist, poet-translator, dramatist-producer, actor-singer-choreographer and dramatist-scenographer, all the while not missing the vitality of the dramatist as seen in his intercultural performance/s; his use of environ, mise en scène and the theatrical milieu and last but not the least, the modern productions of Tagore plays.

The gothic is a dark mirror of the fears and taboos of a culture. This collection brings together a dozen chilling tales of the nineteenth-century American South with non-fiction texts that illuminate them and ground them in their historical context. The tales are from writers with enduring, world-wide reputations (Edgar Allan Poe), and others whose work will be unknown to most readers. Indeed, one of the stories has not been reprinted for nearly a hundred years, and little is known about its author, E. Levi Brown.Similarly, the historical selections are from a range of authors, some canonical, others not, ranging from Thomas Jefferson and the great historian and sociologist W. E. B. DuBois to the relatively obscure Leona Sansay. Some of these readings are themselves as disturbingly gothic as any of the tales. Indeed, the boundaries between fiction and non-fiction are tenuous in the gothic South. It is our contention that southern gothic fiction is in many ways realistic fiction, and, even at its most grotesque and haunting, is closely linked to the realities of southern life.In America, and in the American South especially, the great fears, taboos, and boundaries often concern race. Even in stories where black people are not present, as in Poe's "The Fall of the House of Usher" and "The System of Professor Tarr and Dr. Fether," slavery hangs in the background as a ghostly metaphor. Our background readings place the fiction in the context of the South and the Caribbean: the revolution in Haiti, Nat Turner's rebellion, the realities of slavery and the myths spun by its apologists, the aftermath of the Civil War, and the brutalities of Jim Crow laws.

'Music Scenes and Migrations' brings together new work from Brazilian and European scholars around the themes of musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe. Moving beyond now-contested models for conceptualizing international musical relations and hierarchies of powers and influence, such as global/local or centre/periphery, the volume draws attention instead to the role of the city, in particular, in producing, signifying and mediating music-making in the colonial and post-colonial Portuguese-speaking world. In considering the roles played by cities as hubs of cultural intersection, socialization, exchange and transformation; as sites of political intervention and contestation; and as homes to large concentrations of consumers, technologies and media, Rio de Janeiro necessarily figures prominently, given its historical importance as an international port at the centre of the Lusophone Atlantic world. The volume also gives attention to other urban centres, within Brazil and abroad, towards which musicians and musical traditions have migrated and converged - such as São Paulo, Lisbon and Madrid - where they have reinvented themselves; where notions of Brazilian and Lusophone identity have been reconfigured; and where independent, peripheral and underground scenes have contested the hegemony of the musical 'mainstream'.The contributions to the volume are grouped according to three key thematic areas. 'Colonial and Post-Colonial Transnationalisms, Migrations and Diasporas' focuses on the musical movements and fluxes that have traversed the Atlantic world since the colonial period, including the diasporic extensions of African music-making; the role of early forms of mechanical music-recording in mediating between Portuguese and Brazilian popular songs in nineteenth-century Rio de Janeiro; the story of música caipira in articulating the 'rooting' and 'uprooting' migratory experience of the São Paulo peasantry in the twentieth century; and the contemporary phenomenon of Brazilian musicians living in the cities of Lisbon and Madrid, where they negotiate the needs and expectations of their expatriate communities, tourists and local audiences.'Relocating Rio de Janeiro' considers how, in its identification with key musical traditions such as samba, pagode and choro, the city has been a contested space - geographically, symbolically and politically - whether in the memories and mythologies of key neighbourhoods and locations of music-making as expressed in the musical discourses themselves, through music's involvement in the material forms of community life and popular culture, including religion, carnival and other festivals, or through the competing claims of official state institutions and policies, the recording industry and grassroots communitarian initiatives.The essays in 'Demetropolitanizing the Musical City: Other Scenes, Industries, Technologies' explore how contemporary developments in the independent, underground and peripheral music scenes in Brazil and Portugal have challenged traditional narratives and hierarchies that dichotomized the field in terms of national tradition v. internationalism, mainstream v. margins, pop v. popular. Genres such as sertaneja universitária, funk, heavy metal, Brazilian jazz and instrumental music, post-Vanguarda Paulista MPB and rap are considered in the light of profound shifts in the economy and technology of the music industry, including fluctuations in the recording sector, the internationalization of audiences, and the rise of YouTube, among other video-based digital platforms, as a predominant medium for the consumption of music.

¿The Status of Religion and the Public Benefit in Charity Law¿ is an apologetic for maintaining the presumption of public benefit for the charitable category ¿advancement of religion¿ in democratic countries within the English common law tradition.

This study offers a comprehensive account of Samuel Richardson's numerous editorial interventions in producing books and pamphlets from his press.

In 1955 'Jedda' was released in Australian cinemas and the international film world, starring Indigenous actors Rosalie Kunoth and Robert Tudawali. That year Eric Bell watched the film in the Liberty Cinema in Yass. Twelve years later he was dismayed to read a newly erected plaque in the main street of the Yass Valley village of Bowning. It plainly stated that the Ngunnawal people, on whose country Bowning stood, had been wiped out by an epidemic of influenza. The local Shire Council was responsible for the plaque; they also employed Bell's father. The Bells were Ngunnawal people. The central paradox of 'Dispossession and the Making of Jedda (1955)' is the enthusiasm of a pastoral community, made wealthy by the occupation of Ngunnawal land, for a film that addressed directly the continuing legacy of settler-colonialism, a legacy that was playing out in their own relationships with the local Ngunnawal people at the time of their investment in the film. While the local council and state government agencies collaborated to minimize the visibility of Indigenous peoples, and the memory of the colonial violence at the heart of European prosperity, a number of wealthy and high-profile members of this pastoral community actively sought involvement in a film that would bring into focus the aftermath of colonial violence, the visibility of its survivors and the tensions inherent in policies of assimilation and segregation that had characterized the treatment of Ngunnawal people in their lifetimes. Based on oral histories, documentary evidence, images and film, 'Dispossession and the Making of Jedda (1955)' explores the themes of colonial nostalgia, national memory and family history. Charles Chauvel's 'Jedda' (1955), a shared artefact of mid-twentieth-century settler-colonialism, is its fulcrum. The book newly locates the story of the genesis of 'Jedda' and, in turn, 'Jedda' becomes a cultural context and point of reference for the history of race relations it tells.

Offering the first comparative study of 1920s' US and Canadian print cultures, 'Imagining Gender, Nation and Consumerism in Magazines of the 1920s' examines the highly influential 'Ladies' Home Journal' (1883-2014) and the often-overlooked 'Canadian Home Journal' (1905-1958). American magazines were, in the main, established earlier than their Canadian counterparts, and the 'Ladies' Home Journal' was pioneering in the development of the stylistic and economic model of the modern mass-market magazine. Unsurprisingly the 'Canadian Home Journal' - and Canadian magazines more generally - made use of the tried-and-tested methods developed south of the 49th parallel. This, combined with comparatively far smaller circulations, has led to the unflattering assumption that Canadian magazines were merely derivative of their American predecessors. The present book argues that this is not the case, but that both magazines make use of - and manipulate - the conventions of the magazine form in notably different ways, as they work to construct their imagined audiences. The issues published during the 1920s are particularly fascinating in this respect, since at this time both magazines were changing rapidly in response to technological modernity, altering gender economies and the burgeoning of consumer culture. This context underpins the presentation of ideals in each magazine: of self-improvement and aspiration, the home and domesticity, and fashion and beauty. Through detailed multilevel analysis, the book uncovers the complexities of the two magazines, opening out into broader conclusions about interwar mainstream magazines more generally. In the process, it also demonstrates the value of working at the intersection of humanities and social science disciplines. Engaging with the latest advances in periodical studies, 'Imagining Gender, Nation, and Consumerism in Magazines of the 1920s' considers these magazines as collaborative literary texts, cultural artefacts and commercial products. It brings together literary perspectives with consumer culture theory in order to analyse how the 'Ladies' Home Journal' and 'Canadian Home Journal' negotiated competing literary and commercial demands and how they constructed their imagined audience as readers, consumers and citizens.