Bøker utgitt av Liverpool University Press

This edited collection re-examines the relationship between art and the sea, reflecting growing interest in the intersections between art and maritime history.

In this affectionate elegy to his mother, Patrick Chamoiseau weaves together the recurring themes of his many novels, essays, and poems, such as the history of slavery, Africa and its Traces in the Caribbean, Black cultural practices from storytelling to jazz, and the daily life of his family.

The first full critical edition with translation and commentary dedicated to a selection of the letters attributed to Alexander the Great. It brings to wider attention a much-neglected corpus and employs an innovative approach to the matter by exploring the culture behind the action of writing at Alexander's court.

Ovid's calendar poem the Fasti is a vivid journey through ancient Rome via the calendar. The reader triumphantly tours the monuments of the Augustan-era city, witnesses urban and rustic seasonal festivals, and commemorates epic events of history and myth. Includes Latin text, English prose translation, introduction, and extensive commentary.

This book is an innovative exploration of nineteenth-century family life and society. The first study of its kind, it uses the sibling relationship as a window into Irish society in the past. Employing a creative genealogical methodology, Shannon Devlin pieces together the lives of twenty-five sibling sets from Ulster, allowing for an exploration of power, emotion and gender in the family. She considers families from both Catholic and Protestant backgrounds and in urban and rural contexts, shedding new light on the Ulster middle classes during a century of rapid social and economic change.Through its emphasis on horizontal family relationships, the book uncovers the lived experiences of individuals and reveals how the family could help navigate the social hierarchies and gendered power structures underpinning middle-class society. It complicates our understanding of family dynamics, household formation and cultural performances of sociability, and offers an exciting new perspective on aspects of the lifecycle, marriage practices, inheritance, family finances and Irish middle-class mobility. Exploring the influence of brothers and sisters on everyday life, Siblinghood and Sociability in Nineteenth-Century Ulster provides a unique insight into the ways in which family loyalties and obligations intersected with personal reputation, aspiration and ambition.

When Henry II accepted the Leinster king Diarmait Mac Murchada as his liegeman in 1166, he forged a bond between the English crown and Ireland that has never been undone. Ireland was to be changed forever as a result of the momentous events that followed - so much so that it is normal for professional historians to specialise in either the pre- or post-invasion period. Here, for the first time, is an account of the impact of the English invasion on the Irish kingdoms in the context of their strategies across the whole twelfth century.Ireland's leading men battled for spheres of influence, for recognition of their hegemonies and, ultimately, for the coveted title of 'king of Ireland'. But what did it mean to be the king of Ireland when no one dynasty had secured their hold on it? This book takes a close look at each pretender, asking what it meant to them - and whether the political dynamics surrounding the role had an impact on the course of the invasion itself.

The battle of Maldon in 991 AD was a defeat. The Old English poem about it that survives, The Battle of Maldon, celebrates the extreme valour of Byrhtnoth, the leader of the defeated Anglo-Saxons, and commemorates the heroic deaths of his followers who stand by him and who stay to the end against a horde of piratical Vikings. Though lacking both beginning and end, enough survives of the main narrative of the battle to show the poet's skill and power in conveying his message that loyalty to one's word and to one's lord matters more than life. Maldon is the only substantial late Old English heroic poem to survive and provides unique testimony to the poetics of its period: close re-analysis of it shows it to be a striking mix of old and new, combining features found in much earlier verse with others only otherwise attested in Middle English alliterative poetry. This new critical edition responds to the enormous range of critical views that the poem has excited: the introduction is, accordingly, substantial, and includes sections on language, prosody, style, and narrative, as well as a new and full consideration of the reliability of the sole surviving transcript. There is a detailed literary commentary and a full glossary.

Derek Mahon (1941-2020) is widely recognized as one of the most important Irish poets of his generation. This collection of new critical essays offers an important retrospective assessment of the nature of his poetic achievement. Bringing together many leading scholars of modern and contemporary Irish poetry, including a notable number of accomplished poet-critics, its contributors range widely across Mahon's body of work. Their essays offer fresh considerations of the biographical, geographical and literary contexts that shaped his poetic voice. This includes paying attention not only to more familiar influences but also to previously little considered interlocutors. The stylistic and formal achievement of his voice is re-evaluated in ways that range from attentive close readings to considerations of his controversial practice of self-revision, and his engagements with music and experiments in translation. The politics of a poet often misleadingly considered apolitical are also reframed to take in the engagements of his early work through to the ecocritical commitment of his later poetry. Indeed, a notable aspect of this book is the consideration it gives to all the phases of Mahon's career. As a whole, the collection opens up many new ways of reading and understanding Mahon's important body of work.

The Stereoscopic Picturesque is an interdisciplinary study of nineteenth-century 3D photography and its relation to the picturesque tradition in art, literature, and tourism. The study focuses on the invention of the stereoscope, originally a laboratory device for demonstrating the nature of three-dimensional vision, and the simultaneous invention of photography, in order to show how early stereo photographers used the optics of the stereoscope to extend the possibilities of picturesque representation. Their images also made "virtual travel" possible for an international mass audience, allowing millions of people to explore places and natural wonders that they would otherwise never have seen. Many of these places had deep literary associations - Wordsworth's Lake District, for instance, or Scott's Trossachs - and the stereography of these regions constitutes an important, yet largely unexplored, chapter in the reception history of these authors. Many of the photographs were deliberate attempts to encourage the preservation of environmentally sensitive sites, something the realism of photography and the 3D presentation of the stereoscope made especially effective. The Stereoscopic Picturesque combines fields of study that have rarely been brought into such close contiguity: the history of science, art history, the history of photography, literature, and environmentalism. The result is an unprecedented look at Victorian popular culture and the way stereo photography shaped their ways of seeing the world.

What do we gain from watching a familiar play for the nth time? This was a crucial question for Romantic-period theatre managers, who, to deliver varied programmes, relied on a repertoire of 'stock' entertainments performed in alternation with the latest plays. Repertory theatre was not new to the Romantic period, but it took on additional purchase at a time when the playhouse was not simply a site for entertainment but a government-controlled cultural institution and business subject to sometimes extreme financial, political, and ideological pressures.Through an innovative selection of case studies drawn from deep archival research, Stock Pieces juxtaposes canonical with otherwise forgotten entertainments; unites the period's professional and amateur dramatic cultures; and spans British metropolitan, provincial and imperial geographies. The picture that emerges is fresh and compelling. It is not Shakespeare who takes centre stage here, but the near contemporaries whose repertoire status he came to undermine, and the adaptors of his work (from pantomime arrangers to enslaved performers in Jamaica) who transformed its aesthetic and cultural values; while it is the revival and reenactment of the horrific, violent spectres of the slave trade and slavery that recur again and again. Stock Pieces gives powerful testimony of how the Romantic-period dramatic repertoire could be mobilised to signify social and political practices that operated outside the theatrical institution, crossed national borders, and dared to effect real change.