Sarah Parker – författare

The United Nations Arms Trade Treaty became binding international law in late 2014, and although the text of the treaty is a relatively concise framework for assessing whether to authorize or deny proposed conventional weapons transfers by States Parties, there exists controversy as to the meaning of certain key provisions. Furthermore, the treaty requires a national regulatory body to authorize proposed transfers of conventional weapons covered by the treaty, but does not detail how such a body should be established and how it should effectively function. The Arms Trade Treaty: A Commentary explains in detail each of the treaty provisions, the parameters for prohibitions or the denial of transfers, international cooperation and assistance, and implementation obligations and mechanisms. As states ratify and implement the Treaty over the next few years, the commentary provides invaluable guidance to government officials, commentators, and scholars on the meaning of its contentious provisions. This volume describes in detail which weapons are covered by the treaty and explains the different forms of transfer that the Arms Trade Treaty regulates. It covers international human rights, trade, disarmament, humanitarian law, criminal law, and state-to-state use of force, as well as the application of the treaty to non-state actors.

In the last twenty years, Michael Field has emerged as one of the most fascinating poets of the Victorian era. Through their collaborative partnership as "Michael Field," Katharine Bradley and Edith Cooper engaged in the aesthetic and decadent movements of the fin de siècle, while their poetry and verse drama articulate ideas associated with the New Woman and boldly express queer and lesbian desire. Michael Field: Decadent Moderns extends the focus on these key literary and cultural contexts by emphasizing their continuing significance within twentieth-century literary modernism. Through a series of interdisciplinary essays, this book addresses Michael Field's energetic engagements with a range of topics including ecology, perfume, tourism, art history, sculpture, formalism, classics, and book history. In doing so, Michael Field: Decadent Moderns highlights the modernity, radicalism, and relevance of their work, both within the nineteenth and twentieth centuries as well as in our own cultural moment.Contributors: Leire Barrera-Medrano, Joseph Bristow, Jill R. Ehnenn, Sarah E. Kersh, Kristin Mahoney, Catherine Maxwell, Alex Murray, Sarah Parker, Margaret D. Stetz, Kate Thomas, and Ana Parejo Vadillo.

Few authors attract as much fascination as 'Michael Field', the collaborative pseudonym of Katharine Bradley (1846-1914) and Edith Cooper (1862-1913), an aunt and niece living and working together in devoted fellowship. As Michael Field, Bradley and Cooper published over thirty volumes of poetry and verse drama across a career lasting from the 1880s to the 1910s. Here, chapters by thirty-six experts introduce the historical and cultural contexts crucial to understanding Field's work, including the late-Victorian aesthetic and decadent movements, fin-de-siècle poetry, and debates around gender and sexuality. Michael Field's connections with other authors, including Wilde, Pater, and New Women writers are also explored. Experimental in lyric poetry, ekphrasis, verse drama, and the prose poem, and fascinated by the ancient worlds of Greece, Rome and Egypt, the Renaissance, and the Romantic era, Michael Field's work remains profoundly relevant to current debates, including ecology, race, empire, and gender non-conformity.

While W. B. Yeats’s influential account of the ‘Tragic Generation’ claims that most fin-de-siècle poets died, or at least stopped writing, shortly after 1900, this book explodes this narrative by attending to the twentieth-century poetry produced by women poets Alice Meynell, Michael Field (Katharine Bradley and Edith Cooper), Dollie Radford, and Katharine Tynan. While primarily associated with the late nineteenth century, these poets were active in the twentieth century, but their later writing is overlooked in modernist-dominated studies, partly due to this poetry’s adherence to traditional form. This book reveals that these poets, far from being irrelevant to modernity, used these established forms to address contemporary concerns, including suffrage, sexuality, motherhood, and the First World War. The chapters focus on Meynell’s manipulations of metre to contemplate temporality and literary tradition; Michael Field’s use of blank verse to portray the conflicted modern woman; Radford’s adaptation of the aesthetic song-like lyric to tackle the experience of the city, urban crime, and suffrage; and Tynan’s employment of the ballad to soothe bereaved mothers during the First World War. This book ultimately shows that traditional forms played a vital role in shaping mature women poets’ responses to modernity, illuminating debates about form, tradition, and gender in twentieth-century poetry.

While W. B. Yeats’s influential account of the ‘Tragic Generation’ claims that most fin-de-siècle poets died, or at least stopped writing, shortly after 1900, this book explodes this narrative by attending to the twentieth-century poetry produced by women poets Alice Meynell, Michael Field (Katharine Bradley and Edith Cooper), Dollie Radford, and Katharine Tynan. While primarily associated with the late nineteenth century, these poets were active in the twentieth century, but their later writing is overlooked in modernist-dominated studies, partly due to this poetry’s adherence to traditional form. This book reveals that these poets, far from being irrelevant to modernity, used these established forms to address contemporary concerns, including suffrage, sexuality, motherhood, and the First World War. The chapters focus on Meynell’s manipulations of metre to contemplate temporality and literary tradition; Michael Field’s use of blank verse to portray the conflicted modern woman; Radford’s adaptation of the aesthetic song-like lyric to tackle the experience of the city, urban crime, and suffrage; and Tynan’s employment of the ballad to soothe bereaved mothers during the First World War. This book ultimately shows that traditional forms played a vital role in shaping mature women poets’ responses to modernity, illuminating debates about form, tradition, and gender in twentieth-century poetry.

Throughout history the poetic muse has tended to be (a passive) female and the poet male. This dynamic caused problems for late Victorian and twentieth-century women poets; how could the muse be reclaimed and moved on from the passive role of old? Parker looks at fin-de-siècle and modernist lyric poets to investigate how they overcame these challenges and identifies three key strategies: the reconfiguring of the muse as a contemporary instead of a historical/mythological figure; the muse as a male figure; and an interchangeable poet/muse relationship, granting agency to both.

This volume offers up-to-date translations of all 21 epistles of Ovid’s Heroides. Each letter is accompanied by a preface explaining the mythological background, an essay offering critical remarks on the poem, and discussion of the heroine and her treatment elsewhere in Classical literature. Where relevant, reception in later literature, film, music and art, and feminist aspects of the myth are also covered. The book also contains an introduction covering Ovid's life and works, the Augustan background, the originality of the Heroides, dating, authenticity and reception. A useful glossary of characters mentioned in the Heroides concludes the book. This is a vital new resource for anyone studying the poetry of Ovid, Classical mythology or women in the ancient world.

This volume offers up-to-date translations of all 21 epistles of Ovid’s Heroides. Each letter is accompanied by a preface explaining the mythological background, an essay offering critical remarks on the poem, and discussion of the heroine and her treatment elsewhere in Classical literature. Where relevant, reception in later literature, film, music and art, and feminist aspects of the myth are also covered. The book also contains an introduction covering Ovid's life and works, the Augustan background, the originality of the Heroides, dating, authenticity and reception. A useful glossary of characters mentioned in the Heroides concludes the book. This is a vital new resource for anyone studying the poetry of Ovid, Classical mythology or women in the ancient world.

A timely and original examination of lesbian modernismReflects critically upon 30 years of lesbian modernist studies to expand existing meanings and uses of lesbian modernism Outlines novel ways in which lesbian modernism can continue to inform and enrich modernist studies Critically investigates the boundaries of lesbian modernism in relation to queer and feminist modernism Offers new readings of familiar and lesser-known lesbian modernist authors Makiko Minow coined the phrase 'lesbian modernism' in 1989. Since then, scholars of lesbian modernism have produced crucial work to critique and expand the modernist canon. At the same time, there has been ongoing critical debate about what constitutes a lesbian modernist text, who counts as a lesbian modernist author, and how lesbian modernism relates to queer and trans modernism. This edited volume presents twelve newly commissioned chapters that reassess and interrogate the meanings, uses and limitations of lesbian modernism by exploring a broad range of authors, genres and histories. Individual chapters investigate what work the concept of 'lesbian modernism' has done in the past, how its boundaries have been defined and contested, and what voices have been included and excluded. As a whole, the book demonstrates how the concept of lesbian modernism can be mobilised in new and meaningful ways to continue to inform and enrich modernist studies.

Makiko Minow coined the phrase 'lesbian modernism' in 1989. Since then, scholars of lesbian modernism have produced crucial work to critique and expand the modernist canon. At the same time, there has been ongoing critical debate about what constitutes a lesbian modernist text, who counts as a lesbian modernist author, and how lesbian modernism relates to queer and trans modernism. This edited volume presents twelve newly commissioned chapters that reassess and interrogate the meanings, uses and limitations of lesbian modernism by exploring a broad range of authors, genres and histories. Individual chapters investigate what work the concept of 'lesbian modernism' has done in the past, how its boundaries have been defined and contested, and what voices have been included and excluded. As a whole, the book demonstrates how the concept of lesbian modernism can be mobilised in new and meaningful ways to continue to inform and enrich modernist studies.

Throughout history the poetic muse has tended to be (a passive) female and the poet male. This dynamic caused problems for late Victorian and twentieth-century women poets; how could the muse be reclaimed and moved on from the passive role of old? Parker looks at fin-de-siècle and modernist lyric poets to investigate how they overcame these challenges and identifies three key strategies: the reconfiguring of the muse as a contemporary instead of a historical/mythological figure; the muse as a male figure; and an interchangeable poet/muse relationship, granting agency to both.