Angela Smith – författare

What is it to be morally responsible for something? Recent philosophical work reveals considerable disagreement on the question. Indeed, some theorists claim to distinguish several varieties of moral responsibility, with different conditions that must be satisfied if one is to bear responsibility of one or another of these kinds.Debate on this point turns partly on disagreement about the kinds of responses made appropriate when one is blameworthy or praiseworthy. It is generally agreed that these include "reactive attitudes" such as resentment and gratitude, but theorists disagree about the nature of these attitudes. They dispute the connections between moral responsibility, desert, and the justification of punishment as well. Many theorists take it that, whatever the appropriate responses are, they are responses to an agent's "quality of will," but there is no consensus on what this comes to. Are the agent's beliefs about the moral status of her behavior what matter, or is it what she cares about, or what she judges important?This volume presents twelve original essays from participants in these debates. The contributors include prominent established figures as well as influential younger philosophers. A substantive introduction by the editors surveys recent debates and situates the contributions within it.

Long after the death of Katherine Mansfield (1888-1923), Virginia Woolf (1882-1941) described being haunted by Mansfield in dreams. Through detailed comparative readings of their fiction, letters, and diaries, Smith explores the intense affinity between the two writers. Their particular inflection of modernism is interpreted through their shared experience as `threshold people', familiar with the liminal, for each of them a zone of transition and habitation. Writing at a time when the First World War and changing attitudes to empire problematized boundaries and definitions of foreignness, we see how the fiction of both Mansfield and Woolf is characterized by moments of disorienting suspension in which the perceiving consciousness sees the familiar made strange, the domestic made menacing.

'I was jealous of her writing. The only writing I have ever been jealous of.' Virginia WoolfVirginia Woolf was not the only writer to admire Mansfield's work: Thomas Hardy, D. H. Lawrence, and Elizabeth Bowen all praised her stories, and her early death at the age of thirty-four cut short one of the finest short-story writers in the English language.This selection covers the full range of Mansfield's fiction, from her early satirical stories to the subtly nuanced comedy of 'The Daughters of the Late Colonel' and the macabre and ominous 'A Married Man's Story'. The stories that pay what Mansfield calls 'a debt of love' to New Zealand are as sharply etched as the European stories, and she recreates her childhood world with mordant insight. Disruption is a constant theme, whether the tone is comic, tragic, nostalgic, or domestic, echoing Mansfield's disrupted life and the fractured expressions of Modernism.This new edition increases the selection from 27 to 33 stories and prints them in the order in which they first appeared, in the definitive texts established by Anthony Alpers. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

In a letter, Katherine Mansfield writes: 'I hate the sort of licence that English people give themselves - to spread over and flop and roll about. Her sharp-edged fiction is discussed in relation to her involvement with Post-Impressionist painting and painters.

In a letter, Katherine Mansfield writes: 'I hate the sort of licence that English people give themselves - to spread over and flop and roll about. Her sharp-edged fiction is discussed in relation to her involvement with Post-Impressionist painting and painters.

Why is rudeness such a prominent feature of contemporary broadcasting? If broadcasting is about the enactment of sociability, then how can we account for the fact that broadcasting has become a sphere of anger, humiliation, anger, dispute and upset? And to what extent does belligerence in broadcasting reflect broader social and cultural developments? This book reflects upon and analyses the development of 'belligerent broadcasting' beginning with an examination of belligerence in its historical context and as an aspect of wider cultural concerns surrounding the retreat of civility. With attention to the various relations of power expressed in the various forms of belligerent conduct across a range of media genres, the authors explore its manifestation in political interviews, in the form of 'confrontation' in talk shows, in makeover television, as an 'authentic' means of proffering opinion and as a form of sociability or banter. Richly illustrated with studies and examples of well-known shows from both sides of the Atlantic, including The Apprentice, The Fixer, American Idol, Gordon Ramsay's Kitchen Nightmares, DIY SOS, The Jeremy Kyle Show and Dragon's Den, this book reflects on the consequences and potentialities of belligerence in the media and public sphere. It will appeal to scholars and students of cultural and media studies, communication and popular culture.

The FIMS Team Physician Manual is the official sports medicine handbook of the International Federation of Sports Medicine (FIMS), the world’s oldest sports medicine organization. Now in a fully revised and updated third edition, the book offers a complete guide to the background knowledge, practical techniques and professional skills required to become a successful medical practitioner working in sport.Well illustrated, with clear step-by-step guidance, plus text boxes and checklists for quick reference, the Team Physician Manual covers every key area of activity and intervention, from the preparticipation examination to rehabilitation. The book surveys every classification of sports injury, offering clear advice on fieldside assessment, diagnosis and treatment, as well as examining best practice in general aspects of sports medicine, such as prevention and the psychology of injury. Written by a team of world-leading physicians from North and South America, Europe, Africa and Asia, this book is a ‘must have’ reference for any doctor, physical therapist, or medical professional working in sport.

The FIMS Team Physician Manual is the official sports medicine handbook of the International Federation of Sports Medicine (FIMS), the world’s oldest sports medicine organization. Now in a fully revised and updated third edition, the book offers a complete guide to the background knowledge, practical techniques and professional skills required to become a successful medical practitioner working in sport.Well illustrated, with clear step-by-step guidance, plus text boxes and checklists for quick reference, the Team Physician Manual covers every key area of activity and intervention, from the preparticipation examination to rehabilitation. The book surveys every classification of sports injury, offering clear advice on fieldside assessment, diagnosis and treatment, as well as examining best practice in general aspects of sports medicine, such as prevention and the psychology of injury. Written by a team of world-leading physicians from North and South America, Europe, Africa and Asia, this book is a ‘must have’ reference for any doctor, physical therapist, or medical professional working in sport.

A fully-rounded anthology of women's writing from World War One containing the known and unknown biographers and fiction writers of the period.. Explores the impact of the war on ideology, gender, genre and society and is a perfect complimentary text to Trudi Tate's Women Men and the Great War.. Aims to re-read the First World War as a female experience by drawing on the public and private sources of a wide range of different women.. Uses diaries, letters, articles and essays many of which have not been published.. Invaluable source document for scholars in many disciplines.

Explores written representations of First World War experience, produced by a variety of different women. Drawing on a wealth of unpublished material, in the form of diaries and letters, the book examines the way in which the variety of new roles undertaken by women triggered a search, conscious or otherwise, for appropriate new forms of expression. Through the twin approaches of literary criticism and historical exploration, the book contributes an important new strand to the scholarship of women and war. Expands current notions of how modernisms should be defined. This volume compliments Angela K. Smith's 1999 publication, Women's writing of the First World War: An anthology (MUP).

Gender and warfare in the twentieth century is a collection of exciting, accessible and very readable essays that span the twentieth century, exploring the ways in which men and women have both represented warfare, and represented themselves as participants in warfare. A range of contributors from different disciplines explore these representations by examining a wide variety of sources: fiction, film, personal diaries, memoirs, non-fiction, letters, oral testimonies and more. The collection ranges from the trenches of the Western Front, through the shell-shocked inter-war years, the civil war in Spain and the disparate battle fronts of World War Two, to the complexities of Vietnam and the late century Hollywood workings and re-workings of these conflicts. The focus on gendered readings provides a thread that binds these essays together to create a comprehensive and interesting picture of the legacy of twentieth-century warfare at the beginning of the new millennium.

This book explores the experiences of a range of women from the early days of 1914, through the big events of the war on the Eastern Front. Their diaries, letters, memoirs and journalism are used to investigate the extraordinary role played by British women during the fall of Serbia, the Russian Revolution and the final push, and their role in reconstruction following the Armistice. These women, and their writings, are examined through the multiple lenses of gender, nationality, patriotism, imperialism and legacy, but the book also tells the stories of individuals, and will appeal across audiences to students, researchers and general readers. This is the first book to examine the war in the East through the eyes of British women and as such makes an important contribution to First World War Studies.

Katherine Mansfield’s non-fiction collected in one volume for the first timeThis volume redefines Katherine Mansfield as a critic, translator and poet. Bringing together all of Mansfield’s poetry (some 179 poems and several songs), her literary translations (including letters by Anton Chekhov as well as those of Dostoevsky to his wife), her witty, sometimes scorching, parodies and pastiches, her imaginative aphorisms, her many incisive and heartfelt reviews of the novels of the day, and her essays, including those for the little magazine, Rhythm, this collection attests to the enormous variety and distinctiveness of the non-fiction writing that Mansfield produced, some of it unpublished until this edition.For the first time, Mansfield scholars and devotees can read all of Mansfield’s non-fiction work, which expands considerably on previous partial editions of her poems or critical writings. Arranged chronologically, and with perceptive notes and a General Introduction by two leading Mansfield scholars, this is, at last, the Edition that Mansfield deserves.This volume of Mansfield’s poetry and critical writing comprises:Book reviews (not collected since 1987 and incomplete)Poetry (not collected since 1988 and incomplete)Translations (not previously collected)Essays (not collected since 1987 and incomplete)Parodies (not previously collected)Pastiches (not previously collected)Key FeaturesMaterial has been out of print for decadesFully annotatedSome material has never been collected or seen before

Steel Drums and Steelbands: A History is a vivid account of the events that led to the “accidental” invention of the steel drum: the only acoustic musical instrument invented in the 20th century. Angela Smith walks readers through the evolution of the steel drum from an object of scorn and tool of violence to one of the most studied, performed, and appreciated musical instruments today. Smith explores the development of the modern steelband, from its roots in African slavery in early Trinidad to the vast array of experiments in technological innovation and to the current explosion of steelbands in American schools. The book offers insights directly from major contributors of the steelband movement with sections devoted exclusively to pioneers and innovators.Drawing on seven years of research, repeated trips to the birthplace of the steel drum, Trinidad, and interviews with steelband pioneers, Smith takes readers far beyond the sunny associations of the steel drum with island vacations, cruise ships, and multiple encores of “Yellow Bird.” Digging deep into Trinidad’s history—a tale of indigenous extermination and African slavery, of French settlement and Spanish and British colonialism before mid-century independence—Smith weaves an unforgettable narrative of talking drums, kalinda stick fights, tamboo bamboo bands, iron bands, calypso, Carnival, and the U. S. military. Together, all played major roles in the evolution of today’s steelband and in the panman’s journey from renegade to hero in the steelband’s move from the panyards of Trinidad’s poorest neighborhoods to the world’s most prestigious concert halls. The reader will discover how an instrument created by teenage boys, descendants of African slaves, became a world musical phenomena. Steel Drums and Steelbands is the ideal introduction to the steel drum, steelbands, and their history.

In 1942, drummer Viola Smith sent shock waves through the jazz world by claiming in Down Beat magazine that “hep girls” could sit in on any jam session and hold their own. In Women Drummers: A History from Rock and Jazz to Blues and Country, Angela Smith takes Viola at her word, offering a comprehensive look at the world of professional drumming and the women who had the courage and chops to break the barriers of this all-too-male field. Combining archival research with personal interviews of more than fifty female drummers representing more than eight decades in music history, Smith paints a vivid picture of their struggles to overcome discrimination—not only as professional musicians but in other parts of their lives. Women Drummers outlines the evolution of female drumming from pre-biblical times when women held important leadership roles to their silencing by the church during the Middle Ages to spearheading the fight for women’s rights in the modern era. The stories and personal accounts of female drummers who bucked tradition and societal norms are told against the backdrop of the times in which they performed and the genres they represented, from rock and jazz to blues and country. Although women have proven time and time again that they can more than hold their own against their male counterparts, female drummers not only remain a minority, but their contributions have been obscured by the traditional chauvinistic attitudes in the music business and gender stereotypes that surround the drum itself as a “male” instrument. Women Drummers takes a major step forward in undoing this misconception by acknowledging the talent, contribution, and growing power of women drummers in today’s music environment.

In 1942, drummer Viola Smith sent shock waves through the jazz world by claiming in Down Beat magazine that “hep girls” could sit in on any jam session and hold their own. In Women Drummers: A History from Rock and Jazz to Blues and Country, Angela Smith takes Viola at her word, offering a comprehensive look at the world of professional drumming and the women who had the courage and chops to break the barriers of this all-too-male field. Combining archival research with personal interviews of more than fifty female drummers representing more than eight decades in music history, Smith paints a vivid picture of their struggles to overcome discrimination—not only as professional musicians but in other parts of their lives. Women Drummers outlines the evolution of female drumming from pre-biblical times when women held important leadership roles to their silencing by the church during the Middle Ages to spearheading the fight for women’s rights in the modern era. The stories and personal accounts of female drummers who bucked tradition and societal norms are told against the backdrop of the times in which they performed and the genres they represented, from rock and jazz to blues and country. Although women have proven time and time again that they can more than hold their own against their male counterparts, female drummers not only remain a minority, but their contributions have been obscured by the traditional chauvinistic attitudes in the music business and gender stereotypes that surround the drum itself as a “male” instrument. Women Drummers takes a major step forward in undoing this misconception by acknowledging the talent, contribution, and growing power of women drummers in today’s music environment.

This edition of the building accounts is put into a wider context with a study of its founder, Richard Fox.Corpus Christi College, Oxford, was founded in 1517 by Richard Fox, bishop of Winchester. He intended it to educate students in classical Greek, Latin and Hebrew, and their literature; Erasmus praised it as a scholarly achievement, and a beacon of Renaissance classical learning.The heart of this book is an edition of the original fortnightly building site accounts of 1517-1518, giving us a window onto a late-medieval building site, with its detailsof early sixteenth-century building materials, craft techniques, project management skills and working conditions, including siesta periods and sub-contracting. The introduction describes Fox's long road to 1517: his motives far more complicated than a bishop looking for worldly fame and heavenly reward. Born into a Lincolnshire yeoman, Fox studied law at Oxford, rebelled against Richard III and became Henry VII's closest political adviser. Taken together,they provide a detailed account of the foundation of the College, both literal and metaphorical.

This is a companion book to "The First Day", which is illustrated by the children of Manorcroft Nursery School in Egham, Surrey. In this edition, your child becomes the illustrator, joining Tess and Sam on their way to nursery and drawing their imaginings along the way.

Join Tess and Sam on their walk to nursery as they imagine what their first day there might hold. All publisher profits from the sale of this book go to Manorcroft Nursery School in Egham, Surrey. Every copy sold will help ensure that the Tesses and Sams of the future have a first day at nursery full of colour and fun.

In Pop & Postfeminism, Nathalie Weidhase conceptualises the female dandy as a figure that simultaneously embodies and disrupts postfeminist notions of femininity, including maintaining a physique conforming to contemporary beauty standards, constant self-surveillance and self-improvement, and the naturalisation of gender difference and heterosexuality.Weidhase examines how music videos function as spaces in popular culture where the politics of the feminine can be articulated. These spaces allow female pop stars to be valued as artists with distinct contributions to popular music. Focusing on Amy Winehouse, Rihanna, Lady Gaga, and Lana Del Rey, she illuminates different characteristics of the postfeminist dandy in popular music. Amy Winehouse's work makes visible the commodification of the female spectacle in popular culture, highlighting how her image and persona were marketed and consumed. Rihanna performs black femininity as postfeminism’s abject Other. Lady Gaga queers monstrous motherhood and celebrates female musical lineage. Lana Del Rey's work demonstrates how whiteness operates as a canvas for postfeminist and post-racial fantasies, offering a platform for their deconstruction and critique.Weidhase’s analysis provides a comprehensive understanding of how these pop stars navigate and challenge the intricate landscape of postfeminism, offering a nuanced perspective on contemporary femininity and its representations in popular culture.

Has a global queer popular culture emerged at the expense of local queer artists? In this book, Helton Levy argues that global queer culture is indebted to specific, local references that artists carry from their early experiences in life, which then become homogenized by contemporary media markets. The assumption that queer publics live and consume only through a global set of references, including gay parades and rainbow flags, for example, erases many personal complexities.Levy revisits media characters that have caught the attention of the broader public – such as Calamity Jane (1953), the Daffyd Thomas character from the BBC comedy Little Britain (2003-2007), Brazilian drag queen Pabblo Vittar, French singer Christine and the Queens, and the Italian-Egyptian rapper Mahmood – and argues that they have gradually blended in the public's perception. This has often obscured the individual struggles faced by these characters, such as immigration, homophobia, poverty and societal exclusion. Levy also questions what happens when global media flows take queer culture to regions wherein the notion of LGBTQ+ rights are not entirely acceptable.Utilizing insights from media reports published across the world's ten biggest media markets, Levy argues that there are a series of conditions which artists and cultural actors negotiate once they achieve any kind of success in mainstream media, while local queer references remain unseen in the wider media world. For that reason, he argues for stronger incentives for communities to accept and acknowledge the work of queer people before and after commoditization.

The 1990s was a decade of significant turmoil in Hollywood cinema, which resulted in a watershed moment in the interplay of gender and genre. Patricia Di Risio argues that cinematic representations of unconventional women had an important effect on traditionally male oriented genres, such as the crime thriller, road movie, western, film noir, war film, sci-fi, and horror.Di Risio analyses seven key films from the decade, including Blue Steel (1990), Thelma & Louise (1991), The Quick and the Dead (1995), Bound (1996), Jackie Brown (1997), G.I. Jane (1997) and Alien: Resurrection (1997), paying particular attention to their use of irony, allusion, and pastiche. She highlights how their female protagonists, a majority of whom are decidedly queer or gender questioning personas, produce an intense crossover in genre conventions, largely driven by their gender rebellion. She examines how a deconstruction of gender simultaneously allows genre hybridity and intertextuality, taking these films into unexpected new directions. In doing so, she delineates a clear line between the unconventional nature of the representation of the female protagonists and innovative changes to genre filmmaking practices.

The 1990s was a decade of significant turmoil in Hollywood cinema, which resulted in a watershed moment in the interplay of gender and genre. Patricia Di Risio argues that cinematic representations of unconventional women had an important effect on traditionally male oriented genres, such as the crime thriller, road movie, western, film noir, war film, sci-fi, and horror.Di Risio analyses seven key films from the decade, including Blue Steel (1990), Thelma & Louise (1991), The Quick and the Dead (1995), Bound (1996), Jackie Brown (1997), G.I. Jane (1997) and Alien: Resurrection (1997), paying particular attention to their use of irony, allusion, and pastiche. She highlights how their female protagonists, a majority of whom are decidedly queer or gender questioning personas, produce an intense crossover in genre conventions, largely driven by their gender rebellion. She examines how a deconstruction of gender simultaneously allows genre hybridity and intertextuality, taking these films into unexpected new directions. In doing so, she delineates a clear line between the unconventional nature of the representation of the female protagonists and innovative changes to genre filmmaking practices.

How can we make sense of intensifying gender inequalities amid the growing visibility of popular, media-driven feminism? Can domestic cultures offer a space for feminist response and resistance to austerity?Feminisms and Domesticity in Times of Crisis seeks to address these questions, exploring how the revival of traditionally feminine domestic activities, such as crafting, baking and sewing exemplified by cultural figures such as the “trad-wife”, has coincided with the re-politicisation and heightened visibility of domestic culture during an era of austerity. Jessica Martin offers an in-depth analysis of public figures who have forged ‘austerity celebrity’ personas that blend domesticity with activism, producing a popular but complex strand of neoliberal feminism.Examining figures like Kirstie Allsopp, Justine Roberts, Jen Gale, and anti-austerity blogger and cook Jack Monroe, Martin examines how each figure develops a distinct form of politicised domesticity. Their responses span the political spectrum—from Allsopp’s promotion of the ‘Big Society’ and conservative individualism to Roberts’ transformation of motherhood into parliamentary activism.Martin also considers how this nostalgic turn to domesticity intensified during the COVID-19 crisis, reinforcing narratives of white femininity, patriotic stoicism, and the so-called British blitz spirit, while helping to obscure the escalating inequalities of austerity-era Britain. Martin argues that the convergence of nostalgia and femininity has produced new discourses of performative thrift, feminized labour and aspirational domesticity which are key resources for the justification of austerity policy.