Bøker utgitt av BLOOMSBURY 3PL

This is a detailed examination of vigilantism in 1970s American film, from its humble niche beginnings as a response to relaxing censorship laws to its growth into a unique subgenre of its own. Cary Edwards explores the contextual factors leading to this new cycle of films ranging from Joe (1970) and The French Connection (1971) to Dirty Harry (1971) and Taxi Driver (1976), all of which have been challenged by contemporary critics for their gratuitous, copycat-inspiring violence. Yet close analysis of these films reveals a recurring focus on the emerging moral panic of the 1970s, a problematisation of Law and Order's role in contemporary society, and an increasing awareness of the impossibility of American myths of identity.

Breaking with linearity - the ruling narrative model in the Jewish-Christian tradition since the ancient world - many 20th-century European writers adopted circular narrative forms. Juan Luis Toribio Vazquez shows this trend was not a unified nor conscious movement, but rather a series of works arising sporadically in different countries at different times, using a variety of circular structures to express similar concerns and ideas about the world. This study also shows how the renewed understanding of narrative form leading to this circular trend was anticipated by Nietzsche's critiques of truth, knowledge, language and metaphysics, and especially by his related discussions of nihilism and the eternal recurrence.Starting with an analysis of the theory and genealogy of linear narrative, the author charts the emergence of Nietzsche's idea of eternal return, before then turning to the history of the circular narrative trend. This history is explored from its inception, in the works of August Strindberg, Gertrude Stein and Azorín; through its development in the interwar years, by writers such as Raymond Queneau and Vladimir Nabokov; to its full flowering in the work of authors James Joyce or Samuel Beckett, among others; and its later employment by post-war writers, including Alain Robbe-Grillet, Italo Calvino and Maurice Blanchot. Through a series of close readings, the book aims to highlight the various ways in which narrative circularity serves to break with an essentially teleological and theological thinking. Finally, Toribio Vazquez concludes by proposing a new typology of non-linear narratives, which builds on the work of recent narratologists.

Since 2006, leading opera companies have beamed their shows to thousands of cinema screens all over the world - live. 'Opera cinema' is the most successful marriage of this elaborate, esoteric art form and the silver screen. In the twenty-first century, more people watch opera on cinema screens than the stage. But what is different about watching Massenet at the multiplex, compared to a traditional stage performance? Is opera cinema a new, hybrid art form in its own right, or merely a new way of engaging with an old one? Is it bringing new opera fans into the fold? Is there a danger it could one day eclipse the stage altogether? This book deals with these questions by charting the history of opera transmissions, exploring how digital media changes our relationship with culture and inviting a group of 'opera virgins' to give their impressions on this developing cultural experience.

In Pentecostal Insight in a Segregated U.S. City, Frederick Klaits compares how members of one majority white and two African American churches in Buffalo, New York receive knowledge from God about their own and others' life circumstances. In the Pentecostal Christian faith, believers say that they acquire divinely inspired insights by developing a "relationship with God." But what makes these insights appear necessary? This book offers a novel approach to this question, arguing that the inspirations believers receive from God lead them to take critical stances on what they regard as ordinary understandings of space, time, care, and personal value. Using a shared Pentecostal language, believers occupying different positions within racial, class, and gender formations reflect in divergent ways on God's designs. In the process, they engage critically with late liberal imaginaries of eventfulness and vitality to envision possibilities of life in a highly unequal society. This text incorporates commentaries on Klaits' ethnography by LaShekia Chatman and Michael Richbart, junior scholars who have also studied and been part of Pentecostal communities in Buffalo.

Recently, scholarship has paid increasing attention to the Soviet dissident movement that emerged in the mid-20th century; but what, Petr A. Druzhinin asks, happened to those academics who did not form part of this circle? Through its intimate portrayal of the persecution of non-dissident literary scholar Konstantin Azadovsky, The Soviet Suppression of Academia sheds new light on the relationship between power and culture in Soviet Russia. Based on rare access to KGB materials and other sources, this book traces Azadovsky's persecution from the 1960s, when he refused to become a KGB informant, to his arrest on trumped-up drug charges and imprisonment in a labour camp in the 1980s, to his struggle for rehabilitation through the early 1990s. Here, for the first time in English, one of the KGB's secret operations against a prominent intellectual is revealed in full, horrific detail. By telling the fascinating story of an individual's struggle with the powerful state machine, this book provides much-needed insight into the experience of life under KGB monitoring and repression and adds nuance to ongoing debates about the relationship between Soviet intellectuals and the state.

Most living forms in nature display various cognitive abilities in their behaviour. However, except for humans, no other animal builds fires and wheels, navigates with maps and tells stories to other conspecifics. We can witness this unique feature of the human mind in almost everything humans do, such as painting, singing and cooking; there is an underlying sense of unity in the generative part of these systems despite wide differences in what they are about.This book introduces, defends and develops a novel philosophical approach to the study of the generative mind. Nirmalangshu Mukherji argues for a single, species-specific generative principle that accounts for the human ability to combine symbolic forms without bound in each domain that falls under the generative mind.

The Distance of Irish Modernism interrogates the paradox through which Irish modernist fictions have become containers for national and transnational histories while such texts are often oblique and perverse in terms of their times and geographies. John Greaney explores this paradox to launch a metacritical study of the modes of inquiry used to define Irish modernism in the 21st century. Focused on works by Samuel Beckett, Elizabeth Bowen, John McGahern, Flann O'Brien and Kate O'Brien, this book analyses how and if the complex representational strategies of modernist fictions provide a window on historical events and realities. Greaney deploys close reading, formal analysis, narratology and philosophical accounts of literature alongside historicist and materialist approaches, as well as postcolonial and world literature paradigms, to examine how modernist texts engage the cultural memories they supposedly transmit. Emphasizing the proximities and the distances between modernist aesthetic practice and the history of modernity in Ireland and beyond, this book enables a new model for narrating Irish modernism.

Colonialism and the Jews in German History brings together new and path-breaking studies on the historical relationship between colonialism and the Jews in Germany. The book considers the mutual influences on the situation of the Jews in Germany, including attitudes towards Jews and anti-Semitism but also Jewish self-conceptions, and the ideology and politics of German colonialism. The contributors discuss the ways in which colonial ideology and practice have affected the position of the Jews in Germany, and the relationship between anti-Semitism and colonial racism. In doing so, the volume introduces German colonialism as a relevant context for German-Jewish history, and it expands the perspective on German colonial history significantly by considering Jews both as distinct objects and also as agents within the field of German colonialism. The volume includes studies on the pre-colonial era, the phase of active German colonialism since the 1880s, and the time after Germany lost its colonies in the First World War. All these studies testify to the fact that German-Jewish history takes on additional significance if seen as part of a global history of collective relationships.

Central to Niccolò Machiavelli's writing is the argument that a successful state is one that prefers to lose with its own arms (arma propriis) than to win with the arms of others (arma alienis). This book sheds light on Machiavelli's critiques of military force and provides an important reinterpretation of his military theory. Sean Erwin argues that the distinction between arma propriis and arma alienis poses a central problem to Machiavelli's case for why modern political institutions offer modes of political existence that ancient ones did not. Starting from the influence of Lucretius and Aelianus Tacticus on the Dell'arte della guerra, Erwin examines Machiavelli's criticism of mercenary, auxiliary, and mixed forces. Giving due consideration to an overlooked conceptual distinction in Machiavelli studies, this book is a valuable and original contribution to the field.

In this highly original book, Obert Bernard Mlambo offers a comparative and critical examination of the relationship between military veterans and land expropriation in the client-army of the first-century BC Roman Republic and veterans of the Zimbabwean liberation war. The study centres on the body of the soldier, the cultural production of images and representations of gender which advance theoretical discussions around war, masculinity and violence. Mlambo employs a transcultural comparative approach based on a persistent factor found in both societies: land expropriation. Often articulated in a framework of patriarchy, land appropriation takes place in the context of war-shaped masculinities.This book fosters a deeper understanding of social processes, adding an important new perspective to the study of military violence, and paying attention to veterans' claims for rewards and compensation. These claims are developed in the context of war and its direct consequences, namely expropriation, confiscation and violence. Land Expropriation in Ancient Rome and Contemporary Zimbabwe contributes to current efforts to decolonise knowledge construction by revealing that a non-Western perspective can broaden our understanding of veterans, war, violence, land and gender in classical culture.

George Berkeley's doctrine of notions is often disparaged or dismissed. In a systematic interpretation and positive reconstruction of the doctrine, James Hill presents Berkeley's understanding of the inner sphere and self-awareness, and reassesses the widely held view of Berkeley as an empiricist. Examining the development of Berkeley's philosophy from the early notebooks to the late Siris, Hill sets out how knowledge by notion involves a radical rejection of the perceptual model of self-cognition and of the attempt to frame our knowledge of the inner by analogy with the outer. He points to Berkeley's divergence from the assumption among rationalists and empiricists that we know our selves and our mental acts by idea, or by an immediate presentation before the mind. Weaving together Berkeley's conception of the intellect, conceptual thought, mathematics, ethics and theology in the light of the doctrine of notions, Hill invites us to treat Berkeley's philosophy of mind as distinct from the empiricist tradition. This cutting edge reflection on the doctrine of notions is essential reading for students and scholars specialising in Berkeley as well as early modern accounts of the self, perception and God.

This book traces the notion of care and civic values in education that are largely devalued today by neoliberal economic concerns. Through a discussion of educators and philosophers including Arendt, Foucault, Guattari, Patocka, Simondon, Stengers and Whitehead, Atkinson explores the 'gift of otherness' in relation to an ethico-politics of pedagogic practice and learning, including art education. He argues for pedagogical practices that facilitate and support each learner's pathways through what is called a pedagogy of taking care. This involves paying due attention, with empathy, to each learner's pathway of learning and to the difference and divergence of such pathways. It also requires the teacher to take care, to be vigilant towards their own pedagogical frameworks that inform pedagogical work, particularly when a student or child produces work that does not accord with such frameworks. Atkinson not only critiques current educational policy but advocates possible futures of being, not dominated by the neoliberal tools of force and power. Pedagogies of taking care allow us to think differently about education and art education, and revaluate it's meaning within research, classrooms, non-formal contexts of education and cultural institutions.

This book analyses the principal aspects of the relations between Soviet Russia (USSR) and Britain in the crucial phase of their formation, namely the period from 1917 to 1924. Using previously unavailable and largely unknown archival records and memoirs published by statesmen, diplomats and military commanders directly involved in the events, Evgeny Sergeev not only reconstructs the dynamics of the interaction between Moscow and London, but also strips its key episodes of common myths and stereotypes. The most debatable issues, to which this study draws its primary attention, include Britain's role in the Entente armed intervention against the Bolshevik regime as well as a series of reciprocate attempts to avoid political controversies, and London's contribution to humanitarian aid and the economic recovery of post-revolutionary Russia. Special consideration is also given to the impact of British diplomacy on the recognition of the USSR by other great powers like France, Italy, and Japan in the mid-1920s.

In a systematic treatment of Hegel's concept of philosophy and all of the different aspects related to it, this collection explores how Hegel and his understanding of his discipline can be put into dialogue with current metaphilosophical inquiries and shed light on the philosophical examination of the nature of philosophy itself. Taking into account specific aspects of Hegel's elaboration on philosophy such the scientificity of philosophy as a self-grounding rational process and his explanation of the relationship between philosophy and the history of philosophy, an international line-up of contributors consider: - Hegel's concept of philosophy in general from skepticism, idealism, history and difference, to time, politics and religion- The relation of Hegel's concept of philosophy to other philosophical traditions and philosophers including Kant, Fichte, Schelling, and Jacobi- Hegel's concept of philosophy with reference to philosophy's relation to other forms of rationality and disciplines- The relation of Hegel's concept of philosophy to specific issues in present metaphilosophical debates.Reflecting the renewed and widespread interest in Hegel seen in Analytic philosophy and Continental thought, this volume advances study of Hegel's conceptual tools and provides new readings of traditional philosophical problems.

Probing the relationship between modernist literary experimentation and several key strands of occult practice which emerged in Europe from roughly 1894 to 1944, this book sets the work of leading modernist writers alongside lesser known female writers and writers in languages other than English to more fully portray the aesthetic and philosophical connections between modernism and the occult. Although the early decades of the twentieth century-the era of cocktails, motorcars, bobbed hair, and war-are often described as a period of newness and innovation, many writers of the time found inspiration and visionary brilliance by turning to the mysterious occult past. This book's principle intervention is to reimagine the contours and boundaries of literary modernism by welcoming into the conversation a number of significant female writers and writers in languages other than English who are often still relegated to the fringes of modernist studies. Well-remembered poets and novelists such as Ezra Pound, W.B. Yeats, and Aleister Crowley were tied to occult beliefs, and this book sets these leading figures alongside less well-remembered but equally splendid modernists including Paul Brunton, Mary Butts, Alexandra David-Neel, Florence Farr, Dion Fortune, Hermann Hesse, and Rudolf Steiner. From the little magazines where occultism and Fabianism were comfortable companions, to consulting rooms of psychoanalysts where archetypes were revealed to be both mystical and mundane, to the forbidden mountain trails that led to formidable spiritual teachers, the conditions of modernism were invariably those conditions which inspired a return to the occult traditions that many thinkers believed had long evaporated. Indeed, in many ways these traditions were the making of the modern world. By uncovering hidden hopes and anxieties that faced a newly modern Western Europe, this book demonstrates how literary modernists understood occultism as a universal form of cultural expression which has inspired creative exuberance since the dawn of civilisation.

This open access book offers a detailed study of the foundation and expansion of the Dutch Cape Colony to ask why certain regions in the global south became European settler societies from the 16th century onwards. Examining the different factors that led to the creation of the Cape Colony, Erik Green reveals it was a gradual process, made up of ad hoc decisions, in which the agency of indigenous peoples played an important role. He identifies the drivers behind settler expansion, explores the effect of inequality on long-term economic development and examines the relationship between settlers and the colonial authorities, asserting that they should not be treated as one homogenous group with shared economic interests. Assessing specific characteristics of the Cape Colony, such as the proposition it was a slavery economy, and comparing key insights of this study with the historiography of other settler colonies, Creating the Cape Colony demonstrates the need to revise our understanding of how settler economies operated, and to rethink the long-term legacies of settler colonialism.The ebook editions of this book are available open access under a CC BY-NC-ND 3.0 license on bloomsburycollections.com. Open access was funded by The Bank of Sweden Tercentenary Foundation grant.

Winner, ASA (American Society for Aesthetics) 2023 Outstanding Monograph PrizeFor Theodore Gracyk meaning in popular music depends as much on the context of reception and performer's intentions as on established musical and semantic practices. Songs are structures that serve as the scaffolding for meaning production, influenced by the performance decisions of the performer and their intentions. Arguing against prevailing theories of meaning that ignore the power of the performance, Gracyk champions the contextual relevance of the performer as well as novel messaging through creative repurposing of recordings. Extending the philosophical insight that meaning is a function of use, Gracyk explains how both the performance persona and the personal life of a song's performer can contribute to (or undercut) ethical and political aspects of a performance or recording. Using Carly Simon's "You're So Vain", Pink Floyd, the emergence of the musical genre of post-punk and the practice of "cover" versions, Gracyk explores the multiple, sometimes contradictory, notions of authenticity applied to popular music and the conditions for meaningful communication. He places popular music within larger cultural contexts and examines how assigning a performance or recording to one music genre rather than another has implications for what it communicates. Informed by a mix of philosophy of art and philosophy of language, Gracyk's entertaining study of popular music constructs a theoretical basis for a philosophy of meaning for songs.

An astounding project of analysis on more than one hundred translations of ancient philosophical texts, this index of words found in the Ancient Commentators on Aristotle series comprises some 114,000 entries. It forms in effect a unique dictionary of philosophical terms from the post-Hellenistic period through to late antiquity and will be an essential reference tool for any scholar working on the meaning of these ancient texts. As traditional dictionaries have usually neglected to include translation examples from philosophical texts of this period, scholars interested in how meanings of words vary across time and author have been ill served. This index fills a huge gap, therefore, in the lexical analysis of ancient Greek and has application well beyond the reading of ancient philosophical commentaries. Bringing together the full indexes from 110 of the volumes published in Bloomsbury's Ancient Commentators on Aristotle series, McKirahan has combined each word entry and analysed how many times particular translations occur. He presents his findings numerically so that each meaning in turn has a note as to the number of times it is used. For meanings that are found between one and four times the volume details are also given so that readers may quickly and easily look up the texts themselves.

Pedagogical leadership views leadership as something separate from formal authority or qualifications, seeing educators' understanding, interpretation and passion as the key lever for continuous improvement in early childhood education (ECE). This book shows how effective pedagogical leadership can create the right conditions for quality ECE provision, to increase motivation and engagement among staff, and impact positively on staff recruitment and retention. Written by a team of international experts based in Australia, Azerbaijan, Estonia, Greece, Finland, Norway, Sweden, the UK and the USA, this book explores pedagogical leadership in ECE in-depth and through an international lens. The chapters address questions including: what is pedagogic leadership?; what does it look like?; what impact can pedagogic leadership have on the everyday work of nurseries and other ECE providers? The contributors cover a range of topics including trauma-responsive pedagogy, child-initiated pedagogies, conflict management, change management theory and social leadership theory.

This edited collection offers the first in-depth analysis and sourcebook for 'Lockdown Shakespeare'. It brings together scholars of stage, screen, early modern and adaptation studies to examine the work that emerged during the Covid-19 pandemic and considers issues of form, liveness, reception, presence and community. Interviews with theatre makers and artists illuminate the challenges and benefits of creating new work online, while educators consider how digital tools have facilitated the teaching of Shakespeare through performance. Together, the chapters in this book offer readers the definitive work on the performance and adaptation of Shakespeare online during the pandemic.From The Show Must Go Online, which presented Shakespeare's First Folio via YouTube, to Creation Theatre and Big Telly's interactive The Tempest and Macbeth, which used Zoom as their stage, the book documents the variety and richness of work that emerged during the pandemic. It reveals how, by taking Shakespeare online in new and innovative ways, the theatre industry sparked the evolution of new forms of performance with their own conventions, aesthetics and notions of liveness. Among the other productions discussed are Arden Theatre Company's A Midsummer Night's Dream, Tender Claws' 'The Under Presents: Tempest', The Shakespeare Ensemble's What You Will, Merced Shakespearefest's Ricardo II, CtrlAltRepeat's Midsummer Night Stream, Sally McLean's Shakespeare Republic: #AllTheWebsAStage (The Lockdown Chronicles) and Justina Taft Mattos's Moore - A Pacific Island Othello.

Answering foundational questions like "what is a comic" and "how do comics work" in original and imaginative ways, this book adapts established, formalist approaches to explaining the experience of reading comics. Taking stock of a multitude of case studies and examples, The Comics Form demonstrates that any object can be read as a comic so long as it displays a set of relevant formal features. Drawing from the worlds of art criticism and literary studies to put forward innovative new ways of thinking and talking about comics, this book challenges certain terminology and such theorizing terms as 'narrate' which have historically been employed somewhat loosely.In unpacking the way in which sequenced images work, The Comics Form introduces tools of analysis such as discourse and diegesis; details further qualities of visual representation such as resemblance, custom norms, style, simplification, exaggeration, style modes, transparency and specification, perspective and framing, focalization and ocularization; and applies formal art analysis to comics images. This book also examines the conclusions readers draw from the way certain images are presented and what they trigger, and offers clear definitions of the roles and features of text-narrators, image-narrators, and image-text narrators in both non-linguistic images and word-images.

An increasingly important field of research within multilingualism and sociolinguistics, Family Language Policy (FLP) investigates the explicit and overt planning of language use within the home and among family members. However the diverse range of different family units and contexts around the globe necessitates a similarly diverse range of research perspectives which are not yet represented within the field. Tackling this problem head on, this volume expands the scope of families in FLP research. Bringing together contributors and case studies from every continent, this essential reference broadens lines of inquiry by investigating language practices and ideologies in previously under-researched families. Seeking to better reflect contemporary influences on FLP processes, chapters use innovative methodologies, including digital ethnographies and autoethnography, to explore diverse family configurations (adoptive, LGBTQ+, and single parent), modalities (digital communication and signed languages), and speakers and contexts (adult learners, Indigenous contexts, and new speakers).Bringing to light the dynamic, fluid nature of family and kinship as well as the important role that multilingualism plays in family members' negotiation of power, agency, and identity construction, Diversifying Family Language Policy is a state-of-the-art reference to contemporary theoretical, methodological and ethical advances in the field of family language policy.

What is the connection between causation and responsibility? Is there a best way to theorize philosophically about causation? Which factors determine and influence what we judge to be the cause of something? Bringing together interdisciplinary research from experimental philosophy, traditional philosophy and psychology, this collection showcases the most recent developments and approaches to questions about causation. Chapters discuss the diverse theoretical ramifications of empirical findings in experimental philosophy of causation, providing a comprehensive survey of key issues such as the perception and learning of causal relations, omission, normative considerations, mechanism, voluntariness and legal theories of causation. With novel contributions from both experts and rising stars, Advances in Experimental Philosophy of Causation demonstrates the value of empirical work and opens new domains of inquiry at the cutting edge of the field.

English-Medium Instruction (EMI) is a rapidly growing global phenomenon in countries where English is a second or foreign language. This book focuses on empirical research studies conducted on this growing trend in the Middle East and North Africa, an under-researched area with regards to the effects and challenges of the implementation of EMI in higher education. The contributors are researchers with first-hand experience in countries in the region, including Iran, Kuwait, Morocco, Oman, Saudi Arabia, Sudan, and Turkey. Each chapter follows a consistent structure, allowing comparisons to be drawn between policies and practices in different countries. Topics covered include investigating perceptions and attitudes of both students and lecturers, opportunities and challenges afforded by EMI, as well as the evolution of EMI practices. By exploring these issues, through the lens of a decolonial critical approach, this volume informs theory underlying research into the phenomenon of EMI in the region.

Building/Object addresses the space in between the conventional objects of design and the conventional objects of architecture, probing and reassessing the differences between the disciplines of design history and architectural history Each of the 13 chapters in this book examine things which are neither object-like nor building-like, but somewhere in between - air conditioning; bookshelves; partition walls; table-monuments; TVs; convenience stores; cars - exposing particular political configurations and resonances that otherwise might be occluded. In doing so, they reveal that the definitions we make of objects in opposition to buildings, and of architecture in opposition to design, are not as fundamental as they seem. This book brings new aspects of the creative and experiential into our understanding of the human environment.

Women and Indian Shakespeares explores the multiple ways in which women are, and have been, engaged with Shakespeare in India. Women's engagements encompass the full range of media, from translation to cinematic adaptation and from early colonial performance to contemporary theatrical experiment. Simultaneously, Women and Indian Shakespeares makes visible the ways in which women are figured in various representational registers as resistant agents, martial seductresses, redemptive daughters, victims of caste discrimination, conflicted spaces and global citizens. In so doing, the collection reorients existing lines of investigation, extends the disciplinary field, brings into visibility still occluded subjects and opens up radical readings. More broadly, the collection identifies how, in Indian Shakespeares on page, stage and screen, women increasingly possess the ability to shape alternative futures across patriarchal and societal barriers of race, caste, religion and class. In repeated iterations, the collection turns our attention to localized modes of adaptation that enable opportunities for women while celebrating Shakespeare's gendered interactions in India's rapidly changing, and increasingly globalized, cultural, economic and political environment. In the contributions, we see a transformed Shakespeare, a playwright who appears differently when seen through the gendered eyes of a new Indian, diasporic and global generation of critics, historians, archivists, practitioners and directors. Radically imagining Indian Shakespeares with women at the centre, Women and Indian Shakespeares interweaves history, regional geography/regionality, language and the present day to establish a record of women as creators and adapters of Shakespeare in Indian contexts.

This book reveals how a remarkable ancient Greek and Latin poetic form -- the alcaic metre -- found its way into English poetry, and continues shaping the imagination of poets today. English poets have always admired the extraordinary beauty and intricacy of the alcaic stanza (Tennyson called it 'the grandest of all measures') and their inventive responses to the ancient alcaic have generated remarkable innovations in the rhythms, sounds and shapes of modern poetry. This is the first book-length study of this neglected strand of English literary history and classical reception. Attending closely to the rhythm and texture of their verses, John Talbot reveals surprising connections between English poets across five centuries, among them Mary Shelley, Milton, Marvell, Tennyson, Edward FitzGerald, Wilfred Owen, W. H. Auden and Donald Hall. He gives special attention to a flourishing of English alcaics during the late twentieth and twenty-first centuries, and what it suggests about the changing place of classics and poetic form in contemporary culture.

Between April 1992 and December 1995, more than 100,000 people were killed in the war in Bosnia and Herzegovina. The terrible atrocities committed in this period have been much discussed and studied and many prosecuted as acts of genocide, war crimes or crimes against humanity. But so far, the academic scholarship has focused on the role of the military in these events. This has come at the expense of considering the police's role, which Nielsen here demonstrates as crucial. Nielsen traces the origins of the war in Bosnia and Herzegovina to the police and associated paramilitary groups. Nielsen makes this ground-breaking case by drawing on a host of confidential archival sources, academic research and practical experience as a widely cited expert witness in the most notorious of the war crimes tribunals. His innovative new history sheds light on wider issues regarding the dissolution of Yugoslavia, the Balkan wars and the region today.

Focussing upon both canonical figures such as Woolf, Eliot, Pound, and Stein and emergent themes such as Christian modernism, intermedial modernism, queer Harlem Renaissance, this volume brings together previously unseen materials, from various archives, to bear upon cutting-edge interpretation of modernism. It provides an overview of approaches to modernism via the employment of various types of primary source material: correspondence, manuscripts and drafts, memoirs and production notes, reading notes and marginalia, and all manner of useful contextualising sources like news reports or judicial records. While having much to say to literary criticism more broadly, this volume is closely focused upon key modernist figures and emergent themes in light of the discipline's 'archival turn' - termed in a unifying introduction 'achivalism'. An essential ingredient separating the above, recent tendency from a much older and better-established new historicism, in modernist studies at least, is that 'the literary canon' remains an important starting point. Whereas new historicism 'is interested in history as represented and recorded in written documents' and tends toward a 'parallel study of literature and non-literary texts', archival criticism tends toward recognised, oftentimes canonical or critically-lauded, writers, presented in Part 1. Sidestepping the vicissitudes of canon formation, manuscript scholars tend to gravitate toward leading modernist authors: James Joyce, Ezra Pound, Virginia Woolf, Gertrude Stein, T.S. Eliot and Samuel Beckett. Part of the reason is obvious: known authors frequently leave behind sizeable literary estates, which are then acquired by research centres. A second section then applies the same empirical methodology to key or emergent themes in the study of modernism, including queer modernism; spatial modernism; little magazines (and online finding aids structuring them); and the role of faith and/or emotions in the construction of 'modernism' as we know it.

In recent years, the Arab world and Iran have been afflicted by cataclysmic events, among them brutal state crackdowns of revolutions. Yet, filmmakers have persisted in their desire to tell their stories, against the odds, in creative acts that attest to their imagination, courage and resilience.In this book, Shohini Chaudhuri examines a broad range of films made during the tumultuous period since 2009, ranging from internationally award-winning festival favourites, such as For Sama (2019), Capernaum (2018) and Taxi Tehran (2015), to lesser-known films from the region. While freedom of expression is often understood through the lens of state censorship, she reveals the different types of obstacles that filmmakers face and their strategies for overcoming them so that those constraints are transformed into creative opportunities. Using her original interviews with filmmakers such as Waad al-Kateab, Yasmin Fedda, Larissa Sansour, Mani Haghighi and Ossama Mohammed, she identifies nine creative strategies for producing work under conditions of crisis.Chaudhuri argues that creativity is indelibly shaped by constraints, whether these are externally imposed by existing materials, funding and socio-political conditions, or self-imposed constraints, through choices of genre or acceptance of rules and responsibilities.She shows that the range of creative strategies emanating from the region is much wider than allegory and becoming ever more direct. She thus opens up new lines of inquiry into cinematic creativity in sites of conflict and crisis in the Middle East and beyond.