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This book suggests an innovative theoretical framework to understand the meltdown and civil wars of countries such as Yemen, Syria, and Libya after their 2011 uprisings, using Yemen as a case study. The interaction between different types of state formation and regional rivalry can explain, respectively, the civil wars of these countries and the preservation of the Bahraini system, despite its ethnic nature.The analysis works on two interconnected levels: First, an internal level focusing on the state formation of the country in question; and second, a regional level examining the operational context within which each country functions, and the type of actors involved in its political affairs.The recurrent instability in Yemen has been a result of overlapping group grievances repeatedly rising to the surface. This reflects a process of different attempts at state formation that ultimately failed to produce a modern state, along with core elites defined by (and at the same time exploiting) ethnic markers, perpetually infighting throughout Yemeni history. These three elements—tensions between groups, unsuccessful state formations, and the ethnic markers of its elites—stand at the core of the Yemeni dilemma. This book is based on original archival research and more than 100 interviews conducted by the author with all parties of the Yemeni Civil War and with other regional actors.

For as long as there have been vaccines, there have been those who oppose them. As the world continues to grapple with the impact of COVID-19 and the challenges of managing an effective vaccination programme, this book shows that our experiences have more in common with those of previous generations than we may so far have understood. Vaccination Wars examines the history of vaccine objection in nineteenth-century Cornwall, looking not only at the reasons behind resistance to the smallpox vaccine, but at the lives of Cornish parents who steadfastly refused to have their children inoculated. Exploring the earliest phases of the anti-vaccination movement, the rise of middle-class resistance and organized opposition societies, and the influence of propaganda, the book presents a more nuanced understanding of the ways regional and cultural differences affect the reception of state-mandated medical practices. Ella Stewart-Peters challenges existing notions of the nineteenth-century debate by shifting the focus away from major urban centres to the struggles concerned with enforcing compulsory vaccination at the peripheries. Distinct parallels can be drawn with the anti-vaccination movement of the twenty-first century.This book will appeal to anyone who has ever wondered about the origins of the modern anti-vaccination movement, or is more generally interested in the history of medicine.

This book is the first of its kind to present readers with the rich and innovative source base deployed by scholars studying everyday life in the modern era. Twenty-eight researchers from diverse intellectual and disciplinary standpoints each present a favourite primary source for studying the history of everyday life, accompanied by a reflective commentary on the benefits, challenges, and potential pitfalls of using their chosen material.The sources included range from ego documents (diaries, memoirs, letters), oral testimonies, ethnographic fieldnotes, newspapers, magazines, and official documents to photographs, film, maps, floor plans, drawings, material objects, and instant messages. They cover topics and themes as varied as individual mentalities, emotions, identities, sense of place, sexuality, and agency; experiences of space, violence, war, childhood, humour, the body, and the senses; and the history of nationalism, diplomacy, political activism, youth culture, tourism, memory, dictatorship, colonialism, and race and racism.This book demonstrates not only the texture and fascination of people’s everyday lives, but also what a critical reading of this microscale can reveal about the broader sweep of history. It will be an invaluable resource for researchers and students alike interested in everyday life, in micro- and local-scales of analysis, and in the study of history and society ‘from below’.

Women with fish tails are among the oldest and still most popular of mythological creatures, possessing a powerful allure and compelling ambiguity. They dwell right in the uncanniest valley of the sea: so similar to humans, yet profoundly other. Mermaids: Art, Symbolism and Mythology presents a comprehensive, interdisciplinary and beautifully illustrated study of mermaids and their influence on Western culture. The roots of mermaid mythology and its metamorphosis through the centuries are discussed with examples from visual art, literature, music and architecture—from 600 BCE right up to the present day.Our story starts in Mesopotamia, source of the earliest preserved illustrations of half-human, half-fish creatures. The myths and legends of the Mesopotamians were incorporated and adopted by ancient Greek, Etruscan and Roman cultures. Then, during the early medieval period, ancient mythological creatures such as mermaids were confused, transformed and reinterpreted by Christian tradition to begin a new strand in mermaid lore. Along the way, all manner of stunning—and sometimes bizarre or unsettling—depictions of mermaids emerged. Written in an accessible and entertaining style, this book challenges conventional views of mermaid mythology, discusses mermaids in the light of evolutionary theory and aims to inspire future studies of these most curious of imaginary creatures.

Eating disorders remain little understood by the public, and sensationalist stories in the media have done little to dispel simplistic and reductionist perspectives. This edited volume uses a range of language-centred approaches to provide much needed critical in-depth analysis and interdisciplinary synthesis.The book brings together researchers from a variety of disciplinary backgrounds – including communication and information studies, journalism, linguistics, mental health, nursing, psychology and public health – in a collective endeavour to explore the complex relationship between eating disorders, public discourse and lived experiences. Topics tackled include the use of stigmatising narrative frames, stereotypes and metaphors; identity construction in online spaces; the ways in which individuals affected by eating disorders interpret media representations; and how parents write about their experiences of caring for children with eating disorders. The volume synthesises evidence from a range of data types, including UK and international newspapers, social media, online communities, blogs and forums, apps and in-depth interviews, and reflects a variety of cultural perspectives, including those held in the United States, the UK, Spain and Turkey. It will be of interest to academics, practitioners, students, mental health advocates, and anyone interested in how we make sense of eating disorders.

This book is a carefully selected, thematically arranged collection of eyewitness accounts of seeing motion pictures – from the 1890s to the present day, and from countries across the globe. Included are essays, diaries, memoirs, travel accounts, oral history interviews, poems and extracts from novels. These verbatim accounts – from both professional and amateur writers – have been selected not only for what they tell us about the historical experience of cinema in many countries, but also for their literary value. Here is evocative testimony that shows how deeply cinema touches emotional needs, and the huge impact that the cinema has had on modern society.While most film history studies are centred on films or those who produce them, Picturegoers puts the voices of the audience first. It analyses and celebrates the audience’s point of view, shaped by time, experience and place, providing a rich, entertaining portrait of a medium that became so transformative precisely because anyone, rich or poor, educated or not, could share in it.The book will appeal to scholars interested in the relationship between cinema and society, those engaged in audience studies, and general readers interested in world cinema history.

While the infamous Théâtre du Grand-Guignol in Paris closed its doors in 1962, the particular form of horror theatre it spawned lives on and has, moreover, witnessed something of a resurgence over the past twenty years. During its heyday it inspired many imitators, though none quite as successful as the Montmartre-based original. In more recent times, new Grand-Guignol companies the world over have emerged to reimagine the form for a new generation of audiences. This book, the fourth volume in University of Exeter Press’s series on the Grand-Guignol by Richard J. Hand and Michael Wilson, examines the ongoing influence and legacy of the Théâtre du Grand-Guignol through an appraisal of its contemporary imitators and modern reincarnations.As with the previous volumes, Grand-Guignolesque consists of a lengthy critical introduction followed by a series of previously unpublished scripts, each with its own contextualizing preface. The effect thereof is to map the evolution of horror theatre over the past 120 years, asking where the influence of the Grand-Guignol is most visible today, and what might account for its recent resurgence. This book will be of interest not only to the drama student, theatre historian and scholar of popular theatre, but also to the theatre practitioner, theatregoer and horror fan.

This collection of new work on the philosophical importance of television starts from a model for reading films proposed by Stanley Cavell, whereby film in its entirety—actors and production included—brings its own intelligence to its realization. In turn, this intelligence educates us as viewers, leading us to recognize and appreciate our individual cinephilic tastes, and to know ourselves and each other better. This reading is even more valid for TV series. Yet, in spite of the progress of film-philosophy, there has been a paucity of concurrent analysis of the ethical stakes, the modes of expressiveness, and the moral education involved in television series. Perhaps most conspicuously, there has been a lack of focus on the experience of the viewer. Cavell highlighted popular cinema's capacity to create a common culture for millions. This power has become dispersed across other bodies of work and practices, most notably TV series, which have largely appropriated the responsibility of widening the perspectives of their publics, a role once associated with the silver screen. Just as Cavell's reading of films involved moral perfectionism in its intent, this project is also perfectionist, extending a similar aesthetic and ethical method to readings of the small screen. Because TV series are works that are public and thus shared, and often global in reach, they fulfil an educational role—whether intended or not—and one that enables viewers to anchor and appreciate the value of their everyday experiences.Contributions from: William Rothman, Martin Shuster, Elisabeth Bronfen, Hugo Clémot, David LaRocca, Jeroen Gerrits, Stephen Mulhall, Michelle Devereaux, Thibaut de Saint-Maurice, Hent de Vries, Catherine Wheatley, Byron Davies, Sandra Laugier, Paul Standish, Robert Sinnerbrink.

This is the first book to explore the hold of TV series on our lives from a philosophical and ethical perspective. Sandra Laugier argues that this vital and ubiquitous expression of popular culture throughout the world is transformative in its effects on the activity of philosophy in everyday life. Drawing on Stanley Cavell’s work on film and ordinary experience, Laugier contends that we are deeply affected by the formative role played by the TV series we watch, and by the ways they become interconnected with our daily lives.The philosophical thinking embodied in series empowers individuals in their capacity to experience, understand and appropriate elements of the world, and to educate themselves. Through our relationships with TV series, we develop our own tastes and competences, which are constitutive of our distinct experience of life. ‘Series-philosophy’ is thus a democratizing force. It also offers us a new ethics, for morality can be found not in general rules and abstract principles but in the narrative texture of characters in everyday situations facing particular ethical problems, and with whom we form attachments that result in our moral education—in sometimes surprising ways.

This book examines the work and art of Bill Douglas, thirty years after his death.Douglas made only a small body of work during his lifetime: The Bill Douglas Trilogy, based on his deprived childhood in Scotland; and Comrades, his epic on the Tolpuddle Martyrs; but he is acknowledged by many as one of Britain’s greatest filmmakers. His films inspire a depth of passion in those that have seen them, and interest in his work has intensified over the years, both within the UK and overseas.This is the first work to examine Douglas’s life and career through archive material recently made available to researchers. Editors Amelia Watts and Phil Wickham have carefully selected a range of voices—both scholars and practitioners—to reappraise Douglas’s career from a variety of angles. The book raises important questions about Douglas’s status as an artist, and reflects on his struggles within the film industry of the 1970s and 1980s in order to consider the attendant difficulties of working within a collaborative and commercial medium such as cinema. The volume also explores the wider legacy of this film artist, through the collection on moving image history he assembled with Peter Jewell, which became the foundation of the Bill Douglas Cinema Museum. It will appeal to film students and scholars, and the small but committed group of general readers who are interested in Douglas’s work.The book has a foreword by the renowned filmmaker Mark Cousins, who, like many other contemporary directors, is a great enthusiast for Douglas’s work.

John Wright's Alma Mater was the first book-length student memoir to be published in Britain. Yet this trailblazing and revealing work has never been reprinted since its appearance in 1827. Full of fascinating detail about college life, it discusses teaching, examinations and student socialising, including sport, hunting and recourse to prostitutes. A remarkable story of success and failure, it often resembles a picaresque novel: after an eventful undergraduate career, Wright became a hack writer and tutor in London. His marriage failed, his wife left him, his children went to the workhouse, and ultimately he was transported for theft to Tasmania, where he died a premature death.This autobiographical memoir has often been referred to or quoted by studies of Cambridge University and the history of mathematics, but the life of its author has never been satisfactorily explored. This new edition makes an important source and a vivid historical document available for the first time. It includes an in-depth exploration of university and college archives, while Wright’s life is also investigated through outside sources, such as the records of the Royal Literary Fund and those of court, prison and transportation authorities.Wright's account, along with the commentary and notes presented here, offers extraordinary reading for anyone interested in the history of the University of Cambridge, the teaching of mathematics in the nineteenth century and the life of Grub Street, the London literary underworld in the 1820s and 1830s. The more general reader will also be surprised and entertained by this topsy-turvy tale recounted with candour and verve.

'Sacrament an Alter' (The Sacrament of the Altar) is a Cornish patristic catena selected and translated from Foxe's Book of Martyrs, which is attached to the translation of Bishop Bonner's Homilies in the Tregear Manuscript (BL Add. MS 46397). No complete critical edition of the Tregear Homilies has been published since the manuscript's discovery, yet it is the longest surviving example of Cornish prose. The so-called thirteenth homily, 'Sacrament an Alter' is a work in its own right, of a later period than the other twelve homilies, and represents a distinctive form of Cornish.In addition to establishing authorship, date, sources and historical context of this important text, the present book offers a complete and accurate transcription of the manuscript, along with an edited version thereof, a translation and all the relevant source passages-largely taken from the account of the 1555 Oxford Disputations given in John Foxe's 'Acts and Monuments'. A full commentary then explores hermeneutical, theological and dialectic issues arising from the text. Extensive notes concentrate on interesting features of the Cornish-making a significant contribution to the study of the late evolution of Cornish, since the language can be dated to around 1576, halfway between that of John Tregear and William Jordan, author of the Creation of the World.This first ever critical edition of a pivotal Cornish-language text opens to the Tudor historian-and the general reader-a previously closed window (due to its language) on a crucial example of the reception of Foxe, and gives fascinating insights into a possible alliance between Church Papism and recusancy in Tudor Cornwall.

One of London’s best-kept secrets, Hoxton Hall, built in 1863, is one of only a handful of surviving Victorian music halls in Britain. This book presents a history of the building and its role in the social life of a deprived but resilient area of the city, celebrating the Hall’s reopening in 2015 after a two-year, Heritage Lottery-funded, refurbishment.This landmark volume charts the Hall’s many different guises over more than a century and a half of activity, from its founding as exemplar of Victorian rational recreation to a working-class variety music hall; from headquarters of a prominent evangelical temperance movement to outpost of a Quaker East-End mission; from pioneer of 1970s community arts to today’s multipurpose centre reflecting the diversity of the neighbourhood it still serves.The wide-ranging contributions gathered here offer an invaluable lens for understanding an area of London that has experienced comprehensive social change during the lifetime of the venue. This unique history of a building brings together scholars of architectural, theatrical, musical and entertainment history, and of social and religious history, to chart the various lives of Hoxton Hall and those who have been drawn to this remarkable space.

Requested for the Wolfson History Prize 2024.Devon has a long and rich folkloric heritage which has been extensively collected over many years. This book consolidates more than a century of research by eminent Devon folklorists into one valuable study and builds on the vital work that was undertaken by the Devonshire Association, providing insightful analysis of the subject matter and drawing comparisons with folklore traditions beyond the county.The first major work on Devon's folklore since Ralph Whitlock’s short book published by the Folklore Society in the 1970s, this volume brings the subject into the twenty-first century with consideration of internet memes and modern lore, demonstrating that ‘folklore’ does not equate to ‘old rural practice’. With chapters covering the history of Devon's folklore collecting, tales from the moors, the annual cycle, farming and the weather, the devil, fairies, hauntings, black dogs, witchcraft and modern lore, this will remain the standard work for many years to come.

Child and Adolescent Migration, Mental Health, and Language, focuses on migration and the socio-affective significance of language. It examines how this influences children’s and adolescents’ development, subjectivity, identifications, and identity formations. By taking a thorough approach to the intricacy of migrancy, this timely publication examines the many challenges that young economic migrants, environmental migrants, refugees, irregular migrants, and asylum seekers encounter prior to and following their geographic, sociocultural, and linguistic relocations. While not disregarding the benefits that can stem from international relocations, Carra-Salsberg also addresses contemporary concerns influencing young migrants’ socio-affective experiences.As part of the book’s discussion on the subjective significance of language, it takes a semiotic, pedagogic, and psychoanalytic approach to study the effects of foreign-language immersions and significant language learning, and how these can add to pre-existing traumas. The developmental importance of language is considered through theory, the analysis of memoirs, and the author’s depiction and understanding of her own experiences between languages. Written for academics, psychologists, psychiatrists, pedagogues, counsellors, human rights advocates, and policy-makers, this book highlights the intricate connections between language, migration, and mental health. The restorative significance of language is also reflected upon in relation to migrants’ natural need to grieve, testify, and find meaning within their past and present sense of self.

The extraordinary global success of Turkish drama serials is a significant development in contemporary popular culture. This book presents comparative audience data from three different regions to explore its ramifications across the Global South. We learn how this phenomenon has transformed Turkey—a Muslim-majority country—into the world’s second-largest producer of scripted television serials, enticing audiences from all over the world.The book takes an audience-centred approach, investigating the reasons for the allure of Turkish dramas to Arab, Latin American, and Israeli audiences. In tandem, it explores Turkey's changing foreign policy, economic, and trade relationships since the turn of the millennium, which have coincided with the enormous success of the country's television output. It also analyses the role and importance of Turkish dramas as a soft-power tool by scrutinizing how they have influenced viewers' perceptions of Turkey, its people, and its culture.This volume will appeal to those working in various disciplines—from media and communication, international relations, public diplomacy, sociology, and Middle Eastern studies. The material will also be of great relevance to upper-level undergraduates, postgraduate students, academics, scholars and researchers.

Self-narratives of the client serve as a starting point in verbally oriented psychotherapies. Therapeutic work involves the reconstruction of the clients’ self-narratives, with both client and therapist taking an active role: the therapist helping to elaborate and transform various aspects of the client’s story by asking questions and offering interpretations etc. The therapist’s involvement in constructing the client’s self-narratives results in what is considered a joint construction of narratives. This book shows how such narrative interaction contributes to psychotherapy process by analyzing perspective shifts of speakers during the joint construction of narratives, using a novel discourse-based model of narrative perspective. Gathering empirical data from psychoanalytic psychotherapy over a number of years, the book also examines the analyst’s role in transforming narratives by facilitating the client’s perspective shifts.Joint Construction of Narratives in the Psychoanalytic Setting will be of benefit to scholars of narrative discourse, clinical practitioners, and to students of both narrative and psychotherapy.

What are the contexts (political, social, legal, cultural) of theatre censorship in twenty-first-century Europe? Given the abolition of state-sanctioned and institutional forms of stage censorship in the late twentieth century, the prevalence of authoritarian and populist politics, and the escalation of so-called ‘culture wars’, in what ways and to what extent does stage censorship manifest and proliferate today? How does censorship respond (or not) to governmental, economic, moral, and religious circumstances? And how have theatre-makers in Europe contested or countered censorial prohibitions in the recent past?This edited collection is the first pan-European study of contemporary theatre censorship. An international range of scholars assess how new forms of censorship operate to silence artists and control performances; they explore how theatre artists respond to constraints placed upon their work across territories, and analyse how age-old political, religious, and moral taboos impact on theatrical creation and reception. Readers are invited to consider not only the varied mechanisms of censorship, including its more covert iterations, but also what is censored, when, how, and why, particularly in relation to the sensitive issues of religion, race, sexuality, and nationalism. By focusing on the work of key European theatre practitioners, as well as significant productions and performances, contributors reflect on the impact of censorship on artistic policies and cultural activity, and the forms of protest mobilized against it.

This book uses the narratives of women who fled Algeria in the 1990s—known as the ‘Black Decade’—to offer a more intimate understanding of the violence women face in times of conflict. It details their struggle for independence, and for freedom from the violence directed against them as women, as well as revealing the obstacles they encounter when seeking gender-appropriate international protection. Chapters also investigate these women’s life experiences beyond Algeria, and the professional and cultural networks they form. Such networks play an important role in enabling the female diaspora to maintain relationships with Algeria and to engage in political discussion concerning the recent revolutionary Hirak movement, which emerged in 2019.Latefa Narriman Guemar has been publishing on the Algerian diaspora and Algeria’s socio-political context since 2012, drawing on her own experiences as well of those of others. The result of rich empirical data gathered through months of fieldwork with women survivors of the 1990s conflict in Algeria, this book employs innovative research methods to investigate female experience of conflict, flight and living in exile. It challenges official narratives which deny the mass exodus of highly skilled Algerian women in recent years, and provides an important contribution to the study of Algerian postcolonial history. It also offers new ways of approaching healing processes for female victims of persecution and terrorism.

This book examines how World War Two is simulated through serious computer games, such as first-person shooters, flight and tank simulators, and grand strategy games. It argues that a particular dynamic emerges in these ‘simgames’, especially when curious players begin to look beyond gameplay for how to understand the past. This points them toward a wide range of ‘simtexts’—anything from game manuals or online resources such as YouTube, to published material in the popular sphere or even monographs by professional historians. This is important because major events like World War Two continue to feature in a wide range of game genres, and this engagement demonstrates how we are learning about the past outside of traditional mechanisms such as classrooms, teachers or textbooks.Utilizing interdisciplinary methods, this volume foregrounds the experience that simgames provide to players, especially in how they reconfigure and reimagine history. Despite its visceral power and instructive potential, the simulated digital experience created by simgames curates World War Two and other global events of similar magnitude within constrained frames that ignore much of what actually happened in the past. This suggests that as computer games continue to increase in power and fidelity—as seen with the expanding scope of virtual reality—then the range of what can be simulated will grow too. This will raise concerns about what is morally acceptable to be simulated, and what should remain unplayable.

This book takes a fresh look at the representation of Cornwall in literature from the nineteenth century to the present day. It identifies alternative literary ‘Cornwalls’ and seeks to understand these lost, hidden or subsumed versions of place and their relationship to the dominant, tourist-friendly ways in which Cornwall has been culturally produced. Digging down (a fitting metaphor given the importance of mining) below a sun, sea and sand promotion of Cornwall as an exotic haven, the volume offers new readings of familiar texts and locations, reintroduces little-known, forgotten or rarely studied material and inhabits places that are seldom centre stage. Considering class, gender, rural and urban locales, exterior and interior landscapes, and conceptualizations of the edge, it presents novel and invigorating perspectives.Taking as her subject matter the work of both Cornish and visiting writers, literary scholar and Cornishwoman Gemma Goodman explores the fictional terrain beyond the creative landmarks that dominate how Cornwall is fashioned and understood in the national imaginary. In doing so, she begins to establish a more detailed cultural geography of this intricate land- and seascape. This book helps position Cornish literature as a body of work in its own right as well as within the wider context of British writing and literary studies.

Throughout the history of film, censorship has existed everywhere—in all shapes, colours, and dimensions. The act of restricting the free production, circulation, screening, and consumption of movies was never unique to authoritarian regimes. Censorship has had far-reaching implications for filmmakers, distributors, exhibitors, and audiences across generations and across genres, including the self-censorship of audiences disciplined into particular viewership positions. Today, soft and hard censorship coexist in ever-more fluid forms; the banning, regulating, trimming, and tailoring of films for ‘harmless’ consumption all exemplify wider debates about access to media.This companion brings together contemporary and historical views on censorship, covering Argentina, Canada, Chile, Colombia, Denmark, France, Germany, Italy, Japan, Norway, Poland, Sweden, Turkey, the United Kingdom, and the United States. The book considers Hollywood’s practices and the United States’ legislative context as important frames of reference for the study of filmed entertainment censorship, be they concerned with obscene materials or plain mainstream movie fare. American cinema remains a wider compass, as evidenced by how studies in this companion, which deal with local and regional censorship, appear to have American movies as their targets.This volume showcases the broad international scope of censorship through detailed examinations of censorship practices. The diversity of case studies is an indication of the global reach of censorship—nothing can escape its grasp. Ultimately, the censorship of screen access is a struggle for power and control; this book demonstrates how intense this struggle can become, and how compromises and solutions are found.

This monograph is a critical study of the medieval manuscript held in Exeter Cathedral Library, popularly known as ‘The Exeter Book’.  Recent scholarship, including the standard edition of the text, published by UEP in 2000 (2 ed’n 2006), has re-named the manuscript ‘The Exeter Anthology of Old English Poetry’.  The book gives us intelligent, sensitive literary criticism, profound readings of all of the poems of the Anthology.God’s Exiles and English Verse is the first integrative, historically grounded book to be written about the Exeter Book of Old English poetry. By approaching the Exeter codex as a whole, the book seeks to establish a sound footing for the understanding of any and all of its parts, seen as devout yet cosmopolitan expressions of late Anglo-Saxon literary culture.The poems of the Exeter Book have not before been approached primarily from a codicological perspective. They have not before been read as an integrated expression of a monastic poetic: that is to say, as a refashioning of the medium of Old English verse so as to serve as an emotionally powerful, intellectually challenging vehicle for Christian doctrine and moral instruction.Part One, consisting of three chapters, introduces certain of the book’s main themes, addresses matters of date, authorship, audience, and the like, and evaluates hypotheses that have been put forth concerning the origins of the Exeter Anthology in the south of England during the period of the Benedictine Reform.Part Two, the main body of the book, begins with a long chapter, divided into seven sections, that introduces the contents of the Exeter Anthology poem by poem in a more systematic fashion than before, with attention to the overall organization of the Anthology and certain factors in it that have a unifying function. The five shorter chapters that follow are devoted to topics of special interest, including the volume’s possible use as a guide to vernacular poetic techniques, its underlying worldview, its reliance on certain thematically significant keywords, and its intertextual versus intratextual relations. The riddles, especially those of a sexual content, receive attention in a chapter of their own.In addition, there is a translation of the popular poem The Wanderer into modern English prose, a folio-by-folio listing of the contents of the Exeter Anthology, and a listing of a number of the poems of the Anthology with notes on their genre, according to Latin generic terms familiar to educated Anglo-Saxons.This book is the first of its kind - an integrative, book-length critical study of the Exeter Anthology.

The troubles of the contemporary moment in history can be interpreted many different ways. Indeed, there has been no shortage of analysis and commentary on events like the attacks of September 11th, the Great Recession, the Arab Spring, the election of Donald Trump and the global pandemic. This book, however, argues that the most insightful analysis comes from the application of a neo-Gramscian framework that sees these events as “morbid symptoms” of an interregnum in world order between an older historic bloc of power losing its legitimacy and a still undefined new historic bloc in the process of being born.Like previous interregnums, this period of transition is marked by eruptions of Caesarism where charismatic “men of destiny” boosted by populist fervor assume leading roles in the governing institutions of their states and make bids for global leadership or domination. Unlike previous eras, however, these “digital Caesars” have been most empowered by the proliferation of electronic information and media capabilities that have revolutionized human interaction since the end of the previous century.At the head of superpower states and Silicon Valley technology companies, this new breed of Caesar is taking advantage of the loss of legitimacy in conventional institutions to remake the world according to their eclectic visions. Like previous Caesars, however, their power is fragile and will likely disappear assuming a new world order can take hold before they do permanent damage to human civilization.

By considering the folklore of Cornwall in a Northern European context, this book casts light on a treasury of often-ignored traditions. Folklore studies internationally have long considered Celtic material, but scholars have tended to overlook Cornwall’s collections. The Folklore of Cornwall fills this gap, placing neglected stories on a par with those from other regions where Celtic languages have deep roots.The Folklore of Cornwall demonstrates that Cornwall has a distinct body of oral tradition, even when examining legends and folktales that also appear elsewhere.  The way in which Cornish droll tellers achieved this unique pattern is remarkable; with the publication of this book, it becomes possible for folklorists to look to the peninsula beyond the River Tamar for insight.A very readable text with popular appeal, this book serves as an introduction to folklore studies for the novice while also offering an alternative means to consider Cornish studies for advanced scholars. The comparative analysis combined with an innovative method of The Folklore of Cornwall is not to be found in other treatments of the subject.

What did Hollywood know and do about growing Nazi anti-Semitism and the Holocaust as America and the rest of the world waited to respond?This book traces the complex relationship entangling American movie studios with Nazi anti-Semitism and the Holocaust throughout the 1930s and 1940s. Many film and general histories of the period have concluded that Hollywood could or should have done more to call attention to the growing threat. Yet the very same market forces of the 1920s that brought about rapid expansion of the film industry overseas later embroiled Hollywood in a complex anti-Semitic disinformation campaign at home and abroad that targeted the industry and even threatened its very existence.Faced with attacks and accusations of warmongering at home, Hollywood’s responses occurred within the ever-evolving and precarious context of the time. This important volume situates and explains Hollywood’s encounter with Nazi anti-Semitism and the Holocaust, not just through isolated films or a few individuals, but in terms of how the path to genocide touched almost every aspect of film business operations along the way. A wealth of new archival research and scholarship across multiple perspectives are examined to bring a fresh and nuanced understanding.The book will be of interest to academics and students in Film Studies, Jewish Studies, Holocaust Studies, Mass Media, American History, and American Studies. It also has much appeal for the general reader interested in Hollywood history, World War II, the Holocaust, the history of American Jewry, and the Roosevelt presidency.

While the infamous Théâtre du Grand-Guignol in Paris closed its doors in 1962, the particular form of horror theatre it spawned lives on and has, moreover, witnessed something of a resurgence over the past twenty years. During its heyday it inspired many imitators, though none quite as successful as the Montmartre-based original. In more recent times, new Grand-Guignol companies the world over have emerged to reimagine the form for a new generation of audiences. This book, the fourth volume in University of Exeter Press’s series on the Grand-Guignol by Richard J. Hand and Michael Wilson, examines the ongoing influence and legacy of the Théâtre du Grand-Guignol through an appraisal of its contemporary imitators and modern reincarnations.As with the previous volumes, Grand-Guignolesque consists of a lengthy critical introduction followed by a series of previously unpublished scripts, each with its own contextualizing preface. The effect thereof is to map the evolution of horror theatre over the past 120 years, asking where the influence of the Grand-Guignol is most visible today, and what might account for its recent resurgence. This book will be of interest not only to the drama student, theatre historian and scholar of popular theatre, but also to the theatre practitioner, theatregoer and horror fan.