Elizabeth Evans – författare

Disability and Political Representation explores how disabled people experience the various stages and aspects of the representation process, drawing upon extensive empirical research and a variety of qualitative and quantitative data. It discusses why increasing the number of disabled politicians matters, not only as a matter of justice and equality but also to better represent the issues and interests of importance to disabled people. Evans and Reher identify a variety of ableist barriers prevent disabled people from fully participating in the political process, from disenfranchisement and inaccessible polling stations to prejudice within parties and a lack of financial support for candidates who require adjustments. The work shows that while the preferences of disabled citizens are currently under-represented in parliament, disabled representatives often draw on their lived experience to advocate for their interests. The concept of experiential representation is developed to help scholars and practitioners better navigate the concept of political representation, specifically as it relates to disability. Thus, the book explores how disability can help us think about the contours of political representation. It presents and analyses a range of diverse and original data, including qualitative data generated from interviews with disabled politicians and activists in the UK, quantitative survey data on the political attitudes and participation of disabled citizens from across Europe, and data from survey experiments examining voter perceptions of disabled politicians in the UK and the US.

Examining the ways in which feminist and queer activists confront privilege through the use of intersectionality, this edited collection presents empirical case studies from around the world to consider how intersectionality has been taken up (or indeed contested) by activists in order to expose and resist privilege.The volume sets out three key ways in which intersectionality operates within feminist and queer movements: it is used as a collective identity, as a strategy for forming coalitions, and as a repertoire for inclusivity. The case studies presented in this book then evaluate the extent to which some, or all, of these types of intersectional activism are used to confront manifestations of privilege. Drawing upon a wide range of cases from across time and space, this volume explores the difficulties with which activists often grapple when it comes to translating the desire for intersectionality into a praxis which confronts privilege. Addressing inter-related and politically relevant questions concerning how we apply and theorise intersectionality in our studies of feminist and queer movements, this timely edited collection will be of interest to students and scholars from across the social sciences and humanities with an interest in gender and feminism, LGBT+ and queer studies, and social movement studies.

The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television set’s status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with ‘television’ without ever turning a television set on.Whilst there has already been some exploration of these changes, little attention has been paid to the audience and the extent to which these technologies are being integrated into their daily lives. Focusing on a particular period of rapid change and using case studies including Spooks, 24 and Doctor Who, Transmedia Television considers how the television industry has exploited emergent technologies and the extent to which audiences have embraced them. How has television content been transformed by shifts towards multiplatform strategies? What is the appeal of using game formats to lose oneself within a narrative world? How can television, with its ever larger screens and association with domesticity, be reconciled with the small portable, public technology of the mobile phone? What does the shift from television schedules to online downloading mean for our understanding of ‘the television audience’? Transmedia Television will consider how the relationship between television and daily life has been altered as a result of the industry’s development of emerging new media technologies, and what ‘television’ now means for its audiences.

The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television set’s status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with ‘television’ without ever turning a television set on.Whilst there has already been some exploration of these changes, little attention has been paid to the audience and the extent to which these technologies are being integrated into their daily lives. Focusing on a particular period of rapid change and using case studies including Spooks, 24 and Doctor Who, Transmedia Television considers how the television industry has exploited emergent technologies and the extent to which audiences have embraced them. How has television content been transformed by shifts towards multiplatform strategies? What is the appeal of using game formats to lose oneself within a narrative world? How can television, with its ever larger screens and association with domesticity, be reconciled with the small portable, public technology of the mobile phone? What does the shift from television schedules to online downloading mean for our understanding of ‘the television audience’? Transmedia Television will consider how the relationship between television and daily life has been altered as a result of the industry’s development of emerging new media technologies, and what ‘television’ now means for its audiences.

Women and the Liberal Democrats is a timely and original exploration of women's representation and the third party in UK politics. Based on extensive research, it is the first comprehensive gendered analysis of the Liberal Democrats and the research highlights specific institutional factors within the Liberal Democrats that directly impact upon the party's low number of women MPs. It explores the extent to which the party's ideology, culture and organisation are dominated by a prevailing masculine bias and questions why the Liberal Democrats continue to overwhelmingly return white, middle-aged, male MPs to Westminster.The book highlights a number of important findings: the Liberal Democrats' low number of women MPs is due to demand rather than supply; the party have not selected a sufficient number of women in winnable or target seats; the lack of women MPs undermines the party's pro-women policies; and women's interests have not been mainstreamed within the party. Together, these conclusions address substantive questions regarding the Liberal Democrats' numerical under-representation of women MPs and the extent to which they can act for and symbolically represent women.The book demonstrates the importance of using gender as a tool for analysing the culture, organisation and political recruitment of British political parties. Its originality and contribution lie in the empirical findings and its ability to address wider conceptual debates.

Twenty-five thousand species of bees certainly create a loud buzz. Yet silence descended a few years ago when domesticated bee populations plummeted. Bees, in particular honey bees, are critical links in the vibrant chain that brings fruits, vegetables, and nuts to markets and dinner tables across the country. Farmers and scientists on the agricultural frontlines quickly realized the impact of this loss, but many others did not see this devastation.Why Do Bees Buzz? reports on the mysterious "colony collapse disorder" that has affected honey bee populations, as well as other captivating topics, such as their complex, highly social lives, and how other species of bees are unique and different from honey bees. Organized in chapters that cover everything from these provocative pollinators' basic biology to the aggressive nature of killer bees, this insightful question and answer guide provides a honeycomb of compelling facts.With clarity and depth, bee biologist Elizabeth Capaldi Evans and coauthor Carol A. Butler examine the lives of honey bees, as well as other species such as orchid bees, bumblebees, and stingless bees. Accessible to readers on every level, and including the latest research and theory for the more sophisticated reader, the authors reveal more than one hundred critical answers to questions about the lives of bees.Concepts about speciation, evolutionary adaptation and pollination, as well as historical details about topics such as Mayan beekeeping and the appearance of bees in rock art, are arranged in easy-to-follow sidebars that highlight the text. Color and black and white photographs and drawings enhance the beauty and usefulness of Why Do Bees Buzz?

The New England Fellowship, one of the first non-denominational organizations of evangelicals in the U.S., was founded by J. Elwin Wright. With his assistant, Elizabeth Evans, he tirelessly promoted cooperation among evangelicals through Christian radio broadcasts, rural school education, Bible conferences and young people's ministries. The cooperation they fostered across denominational lines made possible the later city-wide evangelistic campaign. Here primary source material about Wright and the organization appears for the first time. The events it chronicles will be of enormous help to historians as they piece together the story of our recent religious past. Co-published with the New England Fellowship.

You will spend on average six years of your life dreaming. This is more than a simple mental process. It is clear from the Bible that dreams and visions are important ways in which God chooses to speak to people.This book teaches you how to understand the language of dreams and visions so that you can hear what God is saying to you at night, and during your prayer times.Love has a Voice and He wants to speak to His modern-day people. Everybody dreams, and there is great interest in dreams. Interpreting dreams for non-Christian people can help them to receive God.

Our experience of the world is deeply shaped by concepts of space. From territorial borders, to distinctions between public and private space, to the way we dwell in a building or move between rooms, space is central to how we inhabit our environment and make sense of our place within it. Literature explores and gives expression to the ways in which space impacts human experience. It also powerfully shapes the construction and experience of space. Literary studies has increasingly turned to space and, fuelled by feminist and postcolonial insights, the interconnections between material spaces and power relations. This book treats foundational theories in spatial literary studies alongside exciting new areas of research, providing a dual emphasis on origins and innovative approaches while maintaining constant attention to how the production and experience of space is intertwined with the production and circulation of power.

Examining the ways in which feminist and queer activists confront privilege through the use of intersectionality, this edited collection presents empirical case studies from around the world to consider how intersectionality has been taken up (or indeed contested) by activists in order to expose and resist privilege.The volume sets out three key ways in which intersectionality operates within feminist and queer movements: it is used as a collective identity, as a strategy for forming coalitions, and as a repertoire for inclusivity. The case studies presented in this book then evaluate the extent to which some, or all, of these types of intersectional activism are used to confront manifestations of privilege. Drawing upon a wide range of cases from across time and space, this volume explores the difficulties with which activists often grapple when it comes to translating the desire for intersectionality into a praxis which confronts privilege. Addressing inter-related and politically relevant questions concerning how we apply and theorise intersectionality in our studies of feminist and queer movements, this timely edited collection will be of interest to students and scholars from across the social sciences and humanities with an interest in gender and feminism, LGBT+ and queer studies, and social movement studies.

London as Screen Gateway explores how London features within screen narratives and as a location of screen industry activity. Reflecting the diversity of roles the city plays both on screen and within the screen industries, the volume explores the intersection between London as a material place and its position within a cultural imaginary.Conceptualising London as an archival city, as a collection of specific places and spaces, and as a part of national and international cultural and economic flows, contributors from film studies, television studies and media studies approach London through the lenses of textual analysis, historical work, industry studies and user experience. Chapters explore how London has appeared on screen across film and television, how screen content frames notions of place and belonging within the diasporic communities across the city, how the city has become a hub for the UK and global screen industries and how it intersects with national and local media policy.This interdisciplinary volume will be of interest to scholars and students of film studies, television studies, media industry studies, games studies, cultural and media studies.

London as Screen Gateway explores how London features within screen narratives and as a location of screen industry activity. Reflecting the diversity of roles the city plays both on screen and within the screen industries, the volume explores the intersection between London as a material place and its position within a cultural imaginary.Conceptualising London as an archival city, as a collection of specific places and spaces, and as a part of national and international cultural and economic flows, contributors from film studies, television studies and media studies approach London through the lenses of textual analysis, historical work, industry studies and user experience. Chapters explore how London has appeared on screen across film and television, how screen content frames notions of place and belonging within the diasporic communities across the city, how the city has become a hub for the UK and global screen industries and how it intersects with national and local media policy.This interdisciplinary volume will be of interest to scholars and students of film studies, television studies, media industry studies, games studies, cultural and media studies.

This book offers a new, interdisciplinary model for understanding audience engagement as a type of behaviour, a form of response and a cost to audiences that, combined, offer value to the screen industries.Audience ‘engagement’ has become the key priority of the screen industries. Understanding Engagement in Transmedia Culture explicitly asks what audiences and screen practitioners mean when they say content is ‘engaging’ and uses audience focus groups and practitioner interviews to offer a model for understanding the relationship between the screen industry, the content it produces and its audiences. In particular, the model addresses engagement within transmedia culture. As digital screen technologies proliferate, audiences move seamlessly across and between different devices, content formats and distribution platforms, blurring the boundaries between film, television and videogames. This book offers a way of understanding audience engagement that is not restricted to a single media but instead accounts for and adapts to the various ways in which screen content is experienced.Offering a unique approach by presenting practitioner and audience perspectives, it is perfect for students and scholars working in film and television studies, as well as media industries and audience studies.

This book offers a new, interdisciplinary model for understanding audience engagement as a type of behaviour, a form of response and a cost to audiences that, combined, offer value to the screen industries.Audience ‘engagement’ has become the key priority of the screen industries. Understanding Engagement in Transmedia Culture explicitly asks what audiences and screen practitioners mean when they say content is ‘engaging’ and uses audience focus groups and practitioner interviews to offer a model for understanding the relationship between the screen industry, the content it produces and its audiences. In particular, the model addresses engagement within transmedia culture. As digital screen technologies proliferate, audiences move seamlessly across and between different devices, content formats and distribution platforms, blurring the boundaries between film, television and videogames. This book offers a way of understanding audience engagement that is not restricted to a single media but instead accounts for and adapts to the various ways in which screen content is experienced.Offering a unique approach by presenting practitioner and audience perspectives, it is perfect for students and scholars working in film and television studies, as well as media industries and audience studies.

At the high-octane Iowa Writers’ Workshop, small-town Charlotte is thrilled and confounded by her relationship with charismatic and sophisticated Esmé: One moment, Esmé appears to be Charlotte’s most intimate friend; the next, her rival. After a tumultuous weekend, Charlotte’s insecurities and her resentment toward Esmé reach a fever pitch. Blindly, Charlotte strikes out--in an act of betrayal that ultimately unleashes a cascade of calamities on her own head.Twenty years later, Charlotte is a successful novelist. A much-changed Esmé appears, bringing the past that Charlotte grieved over, and believed buried, to the doorstep of Charlotte and her beloved husband. Charlotte finds herself both frightened and charmed. Though she yearns to redeem the old friendship and her transgression, she is wary--and rightly so.As Good As Dead performs an exquisitely tuned psychological high-wire act as it explores the dangers that lie in wait when trust is poisoned by secrets and fears.

Marketed as more affordable and safer than film cameras, the Kinora system, launched in 1903, was one of the first amateur filmmaking devices and represents one of the earliest attempts to create a domestic market for moving images. In The Enchanting Kinora, Elizabeth Evans examines the Kinora in its technological, industrial and socio-cultural context to explore how early attempts to domesticate moving images were configured. She closely analyses 84 previously unexamined Kinora reels, filmed using the early motion picture device between 1908-1913 and held by the Smedley Collection. These include 23 reels that were produced for public consumption and others that were meant solely for private viewing by the Smedley family. She goes on to consider the reels as material objects, examining not only their content, but also how the collection was preserved and catalogued by members of the family. Finally, she reflects on her own connection to the reels as the Smedleys’ great-granddaughter.In doing so, Evans expands our understanding of moving images’ emergence as part of a wider network of cultural practices in Edwardian Britain that featured within domestic as well as public and professional spaces.

Marketed as more affordable and safer than film cameras, the Kinora system, launched in 1903, was one of the first amateur filmmaking devices and represents one of the earliest attempts to create a domestic market for moving images. In The Enchanting Kinora, Elizabeth Evans examines the Kinora in its technological, industrial and socio-cultural context to explore how early attempts to domesticate moving images were configured. She closely analyses 84 previously unexamined Kinora reels, filmed using the early motion picture device between 1908-1913 and held by the Smedley Collection. These include 23 reels that were produced for public consumption and others that were meant solely for private viewing by the Smedley family. She goes on to consider the reels as material objects, examining not only their content, but also how the collection was preserved and catalogued by members of the family. Finally, she reflects on her own connection to the reels as the Smedleys’ great-granddaughter.In doing so, Evans expands our understanding of moving images’ emergence as part of a wider network of cultural practices in Edwardian Britain that featured within domestic as well as public and professional spaces.