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This book argues that ideology is a prism through which the work of Vladimir Nabokov needs to be considered. It is thus the first attempt to foreground questions of ideology and politics within a field that has historically been resistant to such readings.The perception of Nabokov as an apolitical writer is one which the author encouraged throughout the latter part of his career in his non-fictional writings and in the small number of well-rehearsed interviews that he gave. When questions of ideology and politics have arisen in scholarship, they have only been featured in passing or have merely re-confirmed the author¿s self-designation as an «old-fashioned liberal». When we consider that Nabokov lived through some of the most traumatic historical ruptures of the past century then this lack of reference to ideology in the critical literature appears quite revealing.Through the analysis of works which have previously received little attention as well as new perspectives on better known works, this book demonstrates how ideology and politics were ever-present and had an indelible effect on Nabokov's literary aesthetics.

"It was a great night for Mexico, as usual." Donald Trump¿s words about Alejandro González Iñárritu on Oscars¿ night 2014 were a preview of his now-notorious attitude toward Mexicans: "He¿s walking away with all the gold? Was it that good? I don¿t hear that. It was certainly a big night for them." Although the future president¿s comments were offensive, for scholars interested in transnational film and literature his words were pure gold, for they raise questions about "nation" as a category of representation. When we invoke "Mexican cinema," we imply that some kind of "national cinema" exists ¿ but what is a national cinema? Is the cinema made in the US a national cinema in the same way as that of Mexicös? And is a film made by a foreigner in Mexico part of Mexican cinema? What does it mean for a film or a literary work to cross a border? And are borders to be defined in geographical terms only, or can they also be cast in terms of gender, sexual orientation, race, or language itself? This book, in short, reflects on the implications of the term transnational in relation to film and literature conceived ¿ in any way, shape, or form ¿ as "Mexican."

This book gives a comprehensive introduction to intercultural communication in the era of globalization. The reader is introduced to essential concepts in the field, different theories and methods of analysing communication, the importance of verbal and nonverbal languages for bringing about mutual understanding and, finally, the ethical challenges that arise.The volume also has a practical aspect. The author discusses subjects such as handling encounters with people using foreign languages; incorporating different life styles and world views; the use of interpreters; non-familiar body language; different understandings of time; relocation in new settings; the use of power and how to deal with cultural conflicts generally.Published in English for the first time following a very successful original edition in Norwegian, this richly-illustrated book offers a refreshing and engaging introduction to intercultural understanding.

After the demise of Czechoslovakia in March 1939, the Jewish population fell victim to Nazi persecution. Hoping to find a safe haven elsewhere in the world, some Czechoslovak Jews turned to Australia to seek refuge. This book focuses on their struggles to survive in life-threatening situations and their efforts to reach the safety of the distant continent.Although the German occupation of Czechoslovakia has been a subject of extensive academic debate, the role of the Australian government in this international event has thus far not been examined. This book evaluates the impact on Australia of policies pursued by Europe¿s leading politicians with regard to Czechoslovakia that ultimately failed to prevent the outbreak of the Second World War.Central to the book is a discussion of Australiäs policy towards the admission of Jewish refugees from Czechoslovakia. Drawing on archival sources as well as original interviews conducted with former refugees from Czechoslovakia, the author offers insights into the lives and experiences of these Jewish refugees down under. At the same time, the book sheds light on Australiäs involvement in one of the defining moments of the twentieth century.

The 7 Earl Beauchamp was a prominent figure in English public life in the years 1900¿30, but his career ended in scandal. He was barred from English soil, his reputation was destroyed and his papers were withheld from public view. In this book, Peter Raina uses previously unreleased documents to reassess Beauchamp¿s life and legacy. Born into the aristocracy, Beauchamp was driven by a sense of noblesse oblige and devoted his life to public service. Though some of this was ceremonial, Beauchamp was keen to involve himself in practical politics, where he showed his independence of mind. He joined the Liberals as they pushed through change against obstruction from his own landowning class. He championed Irish Home Rule. In 1914 he opposed entry into the war and lost any chance of promotion. However, he remained deeply loyal to his party even after its split and decline, and worked tirelessly in its cause. His life touched on great events such as the formation of Australia and, in Britain, the great reforms of 1906¿9, the 1911 Parliament Act, the crisis of 1914, the creation of the Irish Free State, the Liberal collapse, the first Labour government and the economic slump. Through all these, he busied himself in party affairs, but one aspect of his private life worked against him and, in a Sophoclean twist, he fell from grace. This book documents the Earl¿s involvement in politics, explores his personality and looks carefully at the issues that brought him down. In the light of this analysis, it is hoped that historians will recognize his significant contribution to the events of his day.

The fortieth anniversary of the independence of the African countries colonized by Portugal presents a valuable opportunity to reassess how colonialism has been «imagined» through the medium of the moving image. The essays collected in this volume investigate Portuguese colonialism and its filmic and audio-visual imaginaries both during and after the Estado Novo regime, examining political propaganda films shot during the liberation wars and exploring the questions and debates these generate. The book also highlights common aspects in the emergence of a national cinema in Angola, Mozambique and Guinea-Bissau. By reanimating (and decolonizing) the archive, it represents an important contribution to Portuguese colonial history, as well as to the history of cinema and the visual arts.