K. Wilson – författare

Drawing on recent feminist discussions, this collection critically reassesses ideas about agency, exploring the relationship between agency and coercion in greater depth and across a range of disciplinary perspectives and ethical contexts.

''Meticulously researched and lucidly written, this volume will likely become and remain the definitive study of the history of works Hardy adapted for the stage and of the Hardy Players who, in the main, performed them.'' - John J. Conlon, English Literature in Transition ''Much new research informs this first full-length study of Hardy''s involvement in stage productions based on his own works. The result is a closely reasoned account of the conflict between his desire to see his plots and characters brought to the stage, and his awareness of the attending difficulties.'' - M.S. Vogeler, Choice Despite Hardy''s lifelong interest in the theatre, this is the first comprehensive study of all aspects of his involvement with the stage, the only area of his literary activities left substantially unexplored. It discusses his own experiments at crafting scenarios and plays, all productions, both amateur and professional, with which he had any involvement, and his troubled negotiations with adapters, producers, and actors. It is fascinating for what it reveals about both the artist and the man, and offers particular insight into the paradoxical connections between the retiring Dorchester celebrity and the international man of letters.

'Meticulously researched and lucidly written, this volume will likely become and remain the definitive study of the history of works Hardy adapted for the stage and of the Hardy Players who, in the main, performed them.' - John J. Conlon, English Literature in Transition 'Much new research informs this first full-length study of Hardy's involvement in stage productions based on his own works. The result is a closely reasoned account of the conflict between his desire to see his plots and characters brought to the stage, and his awareness of the attending difficulties.' - M.S. Vogeler, Choice Despite Hardy's lifelong interest in the theatre, this is the first comprehensive study of all aspects of his involvement with the stage, the only area of his literary activities left substantially unexplored. It discusses his own experiments at crafting scenarios and plays, all productions, both amateur and professional, with which he had any involvement, and his troubled negotiations with adapters, producers, and actors. It is fascinating for what it reveals about both the artist and the man, and offers particular insight into the paradoxical connections between the retiring Dorchester celebrity and the international man of letters.

Drawing on recent feminist discussions, this collection critically reassesses ideas about agency, exploring the relationship between agency and coercion in greater depth and across a range of disciplinary perspectives and ethical contexts.

Drawing on recent feminist discussions, this collection critically reassesses ideas about agency, exploring the relationship between agency and coercion in greater depth and across a range of disciplinary perspectives and ethical contexts.

At the cutting edge of public discourse around generative AI’s infancy resides a tangled mess of questions around what it means to be an artist or author and how we value creative work in today's society.Mired in complex theories about arts production, questions about AI-generated content often fail to clarify AI's implications about who we regard to be an artist; who owns the processes and products of an artist's work; and how this effects the relationship between art and public culture. Exploring how concepts of artistic creation and authorship are affected when artificial intelligence sources and creates content, Endless Artists equips readers to engage in cultural discourse without succumbing to uninformed misconceptions about AI.The book has two main sections, each of which comprises a group of perspectives on AI meant to offer opportunity for critical questioning rather than definitive conclusions. Using post-humanist scholarship, Ryan Prewitt and K. Wilson unpack common arguments about the dangers of generative AI, revealing the often-unsupported assumptions about art, authorship, the production of meaning, and who owns them implicit in each. The authors then build stronger alternative arguments against thematically resonant AI, drawing upon a range of philosophical approaches and pointing to generative AI’s institutional enmeshments to elucidate AI’s sinister aspects and consequences.