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The book explores the Gothic tradition in Swedish literature - including Swedish-language literature by Finland-Swedish writers. It aims to give an overview of the development of Swedish Gothic from the Romantic age until today, and to highlight the characteristic features of the Swedish tradition of Gothic in relation to transnational developments, in particular in relation to the Anglo-American tradition. By using a contextualising comparative perspective, it highlights the most prevalent and prominent feature of Swedish Gothic, the significance of the Nordic landscape, the wilderness and local folklore. In Swedish fiction, the Gothic castle is replaced by the wilderness, and the monster is representative of untamed nature and a barbaric past. The terror is not pointing to the medieval period but is located in pre-Christian, pagan times. Especially in today's Gothic narratives, the presence of mythical creatures and nature beings, such as trolls, tomtes, or vittras, enhances the Gothic atmosphere. Another domestic trend since the mid-nineteenth century, which has become increasingly popular in the last decade, is Gothic crime stories, where the formula of a modern detective story is combined with a Gothic mystery plot. In these stories, supernatural creatures and the interference of paranormal powers constantly obstruct the modern crime investigation. Another predominant feature of Swedish Gothic that will be expanded on is its use of gendered and female monsters. In these kinds of narratives, Swedish writers and filmmakers manipulated the established Gothic conventions of female Gothic in order to make societal anxieties and gender issues visible.Drawing on a theoretical framework of gender theory and intersectionality, mainly theories on gender, race and eco-criticism, in combination with a transnational perspective used in today's comparative literature, the book explores the characteristics of Swedish Gothic. It analyses and contextualises a selection of individual narratives to explore in what way representative Swedish writers modify, transform and domesticize the established Gothic conventions. One chapter is devoted to the significance of the Nordic wilderness and the use of local folklore. Next chapter explores the dominance of gendered female monsters and in what way female and male writers adapt the Gothic elements and aesthetics to a Swedish context. The last chapter on Gothic crime expands on the use of Gothic modes and aesthetics to explore the working of the human mind in relation to crime, repressed collective memories, and cultural taboos.

Gulf Gothic moves through deep time across languages and borders, presenting haunted, secret-laden narratives that emerge from the gulfs between people all along the Gulf of Mexico and on both sides of the Rio Grande. Collaborating in an interdisciplinary manner, literary and cultural critics Dolores Flores-Silva and Keith Cartwright chart the Gulf as a unified region and ground zero of North American (and global) transculturation.The Gulf of Mexico has been inadequately appreciated as the dynamic transnational region that it is (taking in the Gulf states of Mexico and the U.S., as well as western Cuba), a cultural matrix that nourished the spread of maize agriculture and the rise of a two-thousand-year-old literary historical tradition that has responded to traumas of colonial conquest and plantation slavery. In this study, the Gulf signifies metaphorically and symbolically-as undead space of contacts and supposed impasses between peoples-as well as topographically. Its gothic modalities carry an urgent charge that demands to be addressed in holistic formGulf Gothicaddresses modes of representing all that is blocked from free movement and aspiration. Here, the figure of La Llorona haunts boundary waters and shorelines, voicing much that has been occulted by colonial power and national narrative. La Llorona's Indigenous prototypes, plantation/hacienda atmospherics, and heated storm patterns show up repeatedly in variations of an originary undeadness unconstrained byattempted quarantines and border walls.The authors turn to cinematic horror and the double gaze of ancient Maya texts, to folk-fable and legal documents and popular song, as well as to works by Gloria Anzalda, Sandra Cisneros, Leslie Marmon Silko, Joy Harjo, LeAnne Howe, Kate Chopin, James Weldon Johnson, William Faulkner, Carlos Fuentes, Vicente Riva Palacio, Jesmyn Ward, and Fernanda Melchor, to attend to forces unbound by traditional gothic modalities and their foundational gulfs.

This book engages with decolonial social and cultural analyses of global entangled inequalities by focusing on their local articulations globally and, in particular, in Germany, Trinidad and Tobago and the United Kingdom.

Writing the notes for the exhibition catalogue, Becoming Tennessee Williams, a centenary exhibit at the Harry Ransom Humanities Research Center at the University of Texas (1 February-31 July 2011), Professor and Exhibition Curator Charlotte Cannin noted of Williams's work that he "e;reinvented the American theater,"e; and that "e;There is no more influential 20th-century American playwright than Tennessee Williams."e; "e;He inspired future generations of writers,"e; she continues, "e;as diverse as Suzan-Lori Parks, Tony Kushner, David Mamet and John Waters, and his plays remain among the most produced in the world."e; Of A Streetcar Named Desire in particular, critic Philip C. Kolin has said that it is, "e;One of the most influential plays in the twentieth century."e; Kolin's comment is not restricted to the United States or even to the English-speaking world. A Streetcar Named Desire made an immediate and profound impact on a Europe devastated by World War II, as much of it emerged from beneath the heavy boots of fascism. For Europe, A Streetcar Named Desire was of a piece with liberation, with political liberation, with literary liberation into new forms of expression, and with sexual emancipation. A Streetcar Named Desire suggested for many a new and more open way to live, and offered for writers a set of new possibilities for their art. And while the more sensational Williams may have helped attract large theater and finally film audiences, his endurance as arguably the greatest and most enduring of American dramatists will rest on his language, on his poetic theater, for, after all, as Williams himself has said of his work "e;Treatment is everything in a play of this type."e;Tennessee Williams, T-shirt Modernism and the Refashionings of Theater refocuses the work of Tennessee Williams against the larger fabric of cultural change in the post-World War II era in which he came to prominence, an era in which the rate of cultural change accelerated unprecedentedly as the late 40s became the 50s, the 50s the 60s, the 60s the 70s, etc. into periods of fragmentation and dislocation, a cultural unmooring we now generally (if too loosely) call postmodern, or, more accurately, perhaps, late modern. The study engages the Williams we thought we knew, as he grew, developed, reconfigured himself into a playwright we didn't, in his attempts to refashion himself amid the vortices of changing sexual mores, including the performance of masculinities and the queering of theater, the struggle for a literate, literary theater, and the place of the theatrical experience in his contemporary culture.

With its catalogue of hit songs, iconic characters, memorable quotes and familiar scenes, ''Grease'' is truly a behemoth of US and global popular culture. From the stage show''s debut in 1971, to the Hollywood film of 1978, to the numerous rereleases and anniversary celebrations of the twenty-first century, it has enjoyed, and continues to enjoy, success across a range of media. ''Grease''''s extended run on Broadway through the 1970s ensured it a prominent place within broader debates on the musical, 1950s nostalgia and American youth. Numerous stage revivals have followed, with theatres across the world revisiting Rydell High in front of sell-out audiences. Hollywood has time and again sought to recreate ''Grease'' the movie''s phenomenal box-office success with a procession of similarly themed rock and roll youth musicals (''Footloose'', ''Dirty Dancing'', the ''High School Musical'' franchise, to name a few). However, even as these productions enjoy their own renown, in terms of sheer longevity, prominence and popularity, ''Grease'' was, is and will remain ''the word'' when it comes to musical blockbusters. Bringing together a group of international scholars from diverse academic backgrounds, ''Grease Is the Word'' provides a series of fresh and detailed analyses of the cultural phenomenon ''Grease''. From the stage show''s first appearance in 1971 to twenty-first century responses to the ''Grease Megamix'', ''Grease Is the Word'' reflects on the musical''s impact and enduring legacy. With essays covering everything from production history, political representations, industrial impact, music, stars and reception, the book shines a spotlight on one of Broadway''s and Hollywood''s biggest commercial successes. By adopting a range of perspectives, and drawing on various visual, textual and archival sources, the contributors maintain a vibrant dialogue throughout, offering a timely reappraisal of a musical that continues to resonate with fans and commentators the world over. Written in an engaging, accessible manner, the book will appeal to students, academics, and anyone interested in American popular culture.

The gothic is a dark mirror of the fears and taboos of a culture. This collection brings together a dozen chilling tales of the nineteenth-century American South with non-fiction texts that illuminate them and ground them in their historical context. The tales are from writers with enduring, world-wide reputations (Edgar Allan Poe), and others whose work will be unknown to most readers. Indeed, one of the stories has not been reprinted for nearly a hundred years, and little is known about its author, E. Levi Brown.Similarly, the historical selections are from a range of authors, some canonical, others not, ranging from Thomas Jefferson and the great historian and sociologist W. E. B. DuBois to the relatively obscure Leona Sansay. Some of these readings are themselves as disturbingly gothic as any of the tales. Indeed, the boundaries between fiction and non-fiction are tenuous in the gothic South. It is our contention that southern gothic fiction is in many ways realistic fiction, and, even at its most grotesque and haunting, is closely linked to the realities of southern life.In America, and in the American South especially, the great fears, taboos, and boundaries often concern race. Even in stories where black people are not present, as in Poe''s "The Fall of the House of Usher" and "The System of Professor Tarr and Dr. Fether," slavery hangs in the background as a ghostly metaphor. Our background readings place the fiction in the context of the South and the Caribbean: the revolution in Haiti, Nat Turner''s rebellion, the realities of slavery and the myths spun by its apologists, the aftermath of the Civil War, and the brutalities of Jim Crow laws.The twelve Gothic tales of this collection span the nineteenth-century South and are from some of the most famous writers of the age, such as Edgar Allan Poe, to more recently rediscovered and now celebrated writers such as Kate Chopin and Charles Chesnutt, to the completely and unfairly obscure E. Levi Brown. Companion readings-some themselves quite chilling-are by celebrated writers and well-known historical figures, such as Thomas Jefferson, Charles Brockden Brown, Jacques Dessalines, and W. E. B DuBois. These readings place the fiction in the context of the South and the Caribbean: the revolution in Haiti, Nat Turner''s rebellion, the realities of slavery and the myths spun by its apologists, the aftermath of the Civil War, and the brutalities of Jim Crow laws.

The first dedicated study of the relation between cinema and the work of African American author Ralph Ellison (1913-1994).

This book presents the most comprehensive study of the Waffen-SS until this date. It draws on archival studies done in more than 20 archives in 13 different countries over a period of 5 years. The gathered material comprises a wide-ranging selection of data such as records from the SS, contemporary Allied documents, letters from soldiers, as well as diaries and memoirs. Other major groups of material derive from the investigations into war crimes, from intelligence services and other organisations with a stake in the SS soldiers' post-war networks and veteran societies. All this diverse data has made it possible to study the Waffen-SS not merely as a hierarchical organisation but as a living organisation made up by human beings. Based on this extensive material the book covers the entire history of the Waffen-SS and follows the post-war fate of the SS-veterans as well. The evolution of the Waffen-SS is analysed with special emphasis on the role of Nazi ideology, war crimes and atrocities, as well as the unique multi-ethnic and transnational character of the organization. The book describes the haphazard, opportunistic and sometimes chaotic growth of the Waffen-SS but also analyses how a constant focus on ideology and a continuous brutalization through commitment of war crimes had a considerable integrative power. The SS managed to form a strong ethos with lasting power both among many of the former SS-soldiers and a greater public audience, documented in the book's study of the post-war veterans' culture and the popular cultural memory of the Waffen-SS.

Since the new leadership came to power in 2012, China''s domestic governance and public diplomacy have experienced some profound changes. At home, a far-reaching anti-corruption campaign significantly restored the government''s credibility and reinforced public trust in the party-state''s governance model, leading to a surge of nationalist pride. Internationally, the previous diplomatic principle, hide our capacities and bide our time, gradually faded away with the emerging ideas like China''s ideas and China''s wisdom. Good governance and anti-corruption efforts were expected to enhance soft power overseas. The party-state successfully governed the state for decades relying on its controversial governance approaches. The country also has visibly demonstrated economic and social development. However, China''s growing influence has failed to be recognised as soft power, being viewed rather as sharp power most times. The monograph investigates whether China is mindful of exporting its political ideas and whether it considers its governance model to be the pillar of its soft power portfolio. The monograph also analyses how Australia, a western country with close economic ties with China, interprets China''s intended narrative regarding its governance model and development. The questions are addressed through framing analysis of media coverage and in-depth interviews with Australian public diplomacy experts. Most studies in this field focus on externally directed soft power initiatives and the monograph fills the void by drawing attention to domestic affairs. The monograph sheds a new light on the relationship between domestic governance, soft power, and sharp power by examining the congruity between China''s projection and Australia''s mediation and also draws implications about China''s public diplomacy and the future global order by sketching out Beijing''s ambitions and attempts.

Animal Presence and Human Identity in Modern Literature is an exploration of literary representations of the human-animal encounter in modernity that press human "being" to its limits. Texts studied include Shakespeare's King Lear, Eliot's Middlemarch, Wells's The Island of Doctor Moreau, Atwood's Surfacing, and Desai's Clear Light of Day.

International efforts to ensure that armed forces meet the requirements of IHL so that the protection of civilians and detainees in armed conflict is increased continue to face implementation challenges that compromise their effectiveness. This includes, for example, the operations of the International Criminal Court, or the nascent norm of Responsibility to Protect. Relying on initiatives such as these also means that before pressure can be brought to bear on those who violate IHL, irreparable damage is done to victims' lives and dignity. At the same time, the ICRC has grown to recognize that its traditional approach of informing militaries about IHL and emphasizing the incorporation of IHL principles into military policies, doctrines, and educational and training curricula, while healthy measures, are not by themselves sufficient to keep soldiers from not complying with IHL and injuring or killing civilians and detainees. Importantly, this recognition has been driven by empirical data on IHL training effectiveness, and it has been coupled with an understanding that soldiers need to internalize IHL principles to ensure they comply with them. The ICRC has realized that the role played by military leaders, both officers and NCOs, in establishing a sense of positive military identity and professionalism can lead to the development of a values-oriented culture that includes IHL compliance.Using case studies of empirical assessment in IHL and IHL-related training, as they have occurred over the last 20 years, this book illustrates for military leaders and both civilian and military IHL instructors the many different ways empirical assessment can be used to measure training effectiveness long before troops take to the field. The results of these assessments can also be used to support the deliberate creation of better IHL training curricula and programs, especially ones that emphasize the importance of relying on multidisciplinary teams supporting military leaders as they directly engage with their troops on the ethical and moral issues as well as the legal issues raised by armed conflict. This book also looks to the future and considers the potential of war video games to serve as an effective training platform for young soldiers.

William Blake as Natural Philosopher, 1788-1795 takes seriously William Blake's wish to be read as a natural philosopher, particularly in his early works, and illuminates the way that poetry and visual art were for Blake an imaginative way of philosophizing. Blake's poetry and designs reveal a consistent preoccupation with eighteenth-century natural philosophical debates concerning the properties of the physical world, the nature of the soul, and God's relationship to the material universe. This book traces the history of these debates, and examines images and ideas in Blake's illuminated books that mark the development of the monist pantheism in his early works, which contend that every material thing is in its essence God, to the idealism of his later period, which casts the natural world as degenerate and illusory. The book argues that Blake's philosophical thought was not as monolithic as has been previously characterized, and that his deepening engagement with late eighteenth-century vitalist life sciences, including studies of the asexual propagation of the marine polyp, marks his metaphysical turn. In contrast to the vast body of scholarship that emphasizes Blake's early religious and political positions, William Blake as Natural Philosopher draws out the metaphysics underlying his commitments. In so doing, the book demonstrates that pantheism is important because it entails an ethics that respects the interconnected divinity of all material objects - not just humans - which in turn spurns hierarchical power structures. If everything is alive and essentially divine, Blake's early work implies, then everything is worthy of respect and capable of giving and receiving infinite delight. Therefore, one should imaginatively and joyfully immerse oneself in the community of other beings in which one is already enmeshed. Often in the works discussed in this book, Blake offers negative examples to suggest his moral philosophy; he dramatizes the disastrous individual and social consequences of humans behaving as if God were a transcendent, immaterial, nonhuman demiurge, and as if they were separate from and ontologically superior to the degraded material universe that they see as composed of inert, lifeless atoms.William Blake as Natural Philosopher traces the evolution of eighteenth-century debates over the vitalist qualities of life and the nature of the soul both in the United Kingdom and on the continent, devoting significant attention to the natural philosophy of Newton, Locke, Berkeley, Leibniz, Buffon, La Mettrie, Hume, Joseph Priestley, Erasmus Darwin, and many others.

Artificial Intelligence, or AI, is a technological breakthrough that will revolutionize human life. Advancements in the area of AI are happening all across the globe and this technology is not only reshaping business and government and also being applied in the daily lives of individuals. AI has been integrated in many industries such as manufacturing, healthcare, financial services, retail and consumer, technology, communication and entertainment, energy, transportation and logistics. The application of AI in these industries has helped in not only making processes more efficient but also reducing cost. There are many applications of Ai which are yet to be researched and put into practice. A lot needs to be done to capitalize the full potential of this technology. Companies are, therefore, investing a plenty of funds in R&D activities to harness its maximum benefit. International Perspectives on Artificial Intelligence is an effort to engage the practitioners, researchers and users in a discussion on AI and also to provide snapshots of the status of AI in different parts of the world.

This book focuses on two significant architectural elements in traditional Chinese buildings, that is, dougong and zaojing. Dougong is a bracket set often sitting above columns and beams as a key component in the great buildings and tombs of imperial China. Variously translated as "caisson," "cupola," and "lantern ceiling," zaojing is a specially constructed coffered ceiling, often profusely decorated with carvings and colourful paintings in various motifs. As sumptuary laws from imperial China stipulated, dougong (in its multiple form) and zaojing used to be constructed only in the great halls of royal palaces and major religious temples. There is ceaseless research on dougong and zaojing by modern architectural scholars. This is also facilitated by the heated architectural heritage conservation movement in contemporary China. As unique features that define the characteristics of Chinese traditional architecture, dougong and zaojing not only widely appear in numerous counterfeit historic structures, but are also creatively revived in many cultural and commercial buildings. This book inquiries about the origin of dougong and zaojing in the Chinese Bronze Age, and their heavenly interpretation in the Han dynasty (206 BCE-220). Compared to their later technically oriented development during the Tang to the Qing dynasties (c. 618-1912), and their modern preservation and innovative reinterpretation, the rich cultural meanings originally embodied in dougong and zaojing have almost disappeared. If the important architectural elements dougong and zaojing are taken for granted as a defining identity of Chinese traditional architecture, then they are feebly reflected in modern architecture practice as a mere visual element. Considering the transcendental quality that dougong and zaojing had in the Han dynasty in effectively expressing a mystical and magical world-view, there is a tangible loss of Chinese architectural heritage today.

Seattle is one of the most politically progressive and economically dynamic cities in the contemporary United States, popularly known as the 'Emerald City' for its natural setting and environmental politics. This book explores a range of political, policy, and project efforts in Seattle and the wider region to mitigate and adapt to the formidable reality of global climate change. Developing a framework suggested originally by the Urban Climate Change Research Network, the book's core analysis considers both tantalizing progress and tangible problems in Seattle's climate action initiatives so far. The narrative explores how Seattle is integrating carbon mitigation with adaptation; advancing climate action networks; co-generating risk information; coordinating disaster risk reduction with climate change adaptation; and, most importantly, focusing on historically and geographically disadvantaged populations. Linking together past, present, and future, Climate Change and the Future of Seattle argues that Seattle in the 2020s is less an 'Emerald City' than an 'Elite Emerald'. Income inequalities have grown while gentrification pressures have increased. Class structures have steadily shifted upwards, leaving the working poor and homeless especially vulnerable to climate change. Profoundly uncomfortable with this contradiction, local climate change efforts are shaped by mounting political concerns not only with mitigation-adaptation commitments and risk aversion policies to manage rising sea levels, warmer temperatures and more variable rainfall patterns, but also with reshaping a metropolitan space-economy that too often favors and consistently rewards the high-tech "e;cognitariat"e; over middle- and low-income households and communities of color.Ultimately, Seattle cannot become post-carbon if it is not also post-polarized, resilient if not also just. The lessons that Seattle learns in pursuit of more inclusive climate action will thus be of abiding interest to cities and metropolitan regions across the United States and all around the world.

As this book shows, different British responses to the material conditions of the Arab region and its inhabitants were mapped onto some British debates about the viability of modern commercial societies and the apparently intractable problem of securing a more benign relationship between material advance and virtue, modernity and traditions, improvement and backwardness. These debates reflected some significant transformations of the period: fears of French invasion during the Seven Years Wars, Enclosure Acts and the Jacobite Rebellion, the corruption of East India Company, the crisis of the American colonies and French Revolution, and the debate over slavery of the 1790s. En route, Britons raised concerns about a host of religious, political and ethical questions that troubled eighteenth-century Britain: Is moral corruption a necessary price a society has to pay in return for living in a materially advanced state? Do people need to honour traditions and religion in modern commercial society in which people have never been freer? Can one find virtue and morality in commercial society? Can an advanced and enlightened society tolerate religion? How can it be that a wealthy society also has poor and dispossessed people who live in workhouses? How is it possible that a society which respects Enlightenment values of freedom and liberty also practices slavery and colonises other societies? European travellers in the Levant often found themselves confronting these questions, especially in a region known for being grand and great in the past but barren and full of ruins in the present.

The Theory and Practice of Creative Coaching is the result of ten years of research and experimentation into the place and role of creativity in learning about and undertaking the skills of coaching in the workplace. The contents outline a wide variety of approaches and ideas to enhance and develop effective coaching relationship

This collection of essays approaches the American Horror Story cult television series through a rich variety of critical perspectives within the broader field of television studies and its transections with other disciplines.

The Christian Culture of Islamic Spain is an enquiry into how and why Christian culture survived in medieval Spain in areas under Islamic rule, why it eventually disappeared there and how knowledge of it was recovered from the sixteenth century onwards.

The papers in this volume can be roughly divided between 'the philosophy of mind' and 'the philosophy of language'. They are, however, united by the idea that this standard philosophical classification stands in the way of clear thinking about many of the core issues. With this, they are united by the idea that the notion of a human being must be central to any philosophical discussion of issues in this area, and by an insistence on an inescapably ethical dimension of any adequate discussion of these issues. None of the papers is well described as 'exegetical', but most of them are, in one way or another, papers about Wittgenstein, and all of them are discussions of themes central to his later work and strongly influenced by it. While the debt to Wittgenstein is enormous, many of the papers involve significant criticisms of ideas widely drawn from him, and some of these criticisms may have application to Wittgenstein himself.The discussions of 'the philosophy of mind' are marked by an emphasis on the individual's relations with others and, with that, by a detailed attention given to the human bodily form. Within the bodily form, the face is, both visually and through the voice, the locus of expression of our thoughts and feelings, and so central to our recognition of each other as beings who have thoughts and feelings. With this, it is central to the 'attitude towards a soul' of which Wittgenstein speaks: a phrase that highlights the centrality of an ethical dimension to any adequate philosophical treatment of our understanding of others. My relation to other creatures - both human and non-human - is distorted by the idea of an underpinning of the kind proposed in 'the argument from analogy'; but it is distorted, too, by the idea (that we may take from Wittgenstein) that our seeing similarities between we human beings and dogs or giant squids is a condition of our ability to ascribe pain or fear to such creatures. A 'phenomenological' treatment of our perception of faces may be helpful in breaking down pervasive philosophical prejudices here. The irreducible sense in which the smile that we see is a smile on this face is intimately connected with Wittgenstein's insistence on the importance of context for an ascription of thoughts and feelings: an insistence that brings out a fundamental incoherence in dominant, 'reductive', treatments of the notion of a persisting individual. This incoherence is intimately tied to a failure to leave a place for the notion of a particular individual, as opposed to kinds (transferable properties), in our thought about those whom we know and care for; and, with that, a failure to leave a place for anything recognisable as love.The notion of a human being links the discussions of mind and language through the relation between two themes in Wittgenstein: (i) the way in which the human enters into our thinking ('The human body is the best picture of the human soul'); (ii) the way in which our thinking is a reflection of our humanity. These relations are distorted by the emphasis on 'rule following' and the appeal to the idea of continuing an arithmetical series that has had a central place in discussions of language originating from Wittgenstein. Approaches from this perspective fail to do justice to the idea of speech as a form of interaction between people. Rush Rhees suggests that conversation provides a better model for thinking about language. To share a language with someone is to be able to speak with her. One aspect of Wittgenstein's 'attitude towards a soul' is the demand to seek forms of contact with others: including, centrally, interaction in speech with others. Such interaction is crucially dependent on trust, and on the effort to sustain conversation in the face of the unlimited possibilities of its collapse: possibilities that find expression in philosophy in various forms of scepticism. Wittgenstein's appeal to the idea that 'justification comes to an end' is potentially misleading in that it may obscure the possibilities of sustaining discussion in the face of such potential collapse. While much of what we say may run into the sand if pursued in certain directions, we may take one of the tasks of philosophy to be that of bringing out possibilities of a sense of forms we would not have anticipated: and so enhancing the links between us that are involved in conversation. We do well here to shift from the familiar question 'What conditions must something satisfy in order to be a language?' to the question 'What is it seriously to think of - to acknowledge in practice - an individual or group as speaking?' A focus on this question may cast in a clearer light the character and importance of questions about the language capacities of non-human creatures. The issues here are only well understood if we recognize the primacy of the ethical in our relations to such creatures: a point well illustrated by a remarkable study of the language capacities of bonobo.

Max Nettlaüs Utopian Vision provides a historically grounded presentation of the entire literature of utopianism. Nettlau shows an encyclopaedic knowledge of the subject.

An Interdisciplinary Approach to the Theory and Practice of Wildlife Corridors charts some best practices and makes new theoretical contributions about the design and creation of wildlife corridors. The book provides the necessary background for understanding habitat connectivity projects, and makes a theoretical contribution to current knowledge about wildlife corridors.

This book looks at how Renaissance poets ended their poetic lines. It considers a range of strategies and argues that line endings are crucial to our understanding of the poems. It begins with an introduction summarizing the work that has already been done in this area and demonstrating the author's own method. While many of the devices the book highlights have been discussed before and while there has been some scholarship on the poetic line as a unit, how lines end has not received much critical attention, and particularly not in the critical work on Renaissance poetry.The main part of the book is divided into three chapters: one on rhyme; one on enjambment; and one on the sestina. Rhyme is perhaps the most obvious kind of line ending; it was a contentious subject in the English Renaissance. Scholars then debated whether rhyme was necessary or even advisable. Enjambment, in which the end of a line occurs part of the way through a phrase, was especially common in dramatic poetry. In lyric poetry as well, however, it was an important tool for poets. The sestina is a complex form in which matters are the (usually unrhymed) end words, which vary according to a set scheme. There are other technically demanding forms in the Renaissance that focus on end words, but the sestina is the most extreme.These are the most significant kinds of line endings used by English Renaissance poets. Each chapter provides one or two main poetic examples, but the book considers a range of poems from the period. The book ends with a brief afterword, wherein the author's findings are summarized.

Artists often talk of a sense of community, of being in a place that engages their creativity in a cultural history that is deeply tied to and inseparable from their local environment. The phrase 'community art' emphasizes a collaboration between the artist and community; it is practised where the artist and the neighbourhood intersect. Projects most often take place as a means of revitalizing a community or providing an opportunity for community members to engage in a creative process. Increasingly, this has become a national and international movement in which sustainability of the identity of the community, the individuals within it and the environment are at the core of the project. This project engages the conception of art evolved in the ethos of community as its basic framework but considers it from a situationally historic perspective against the backdrop of the diverse landscape of Oregon. As such it considers the role of nature, individual and community identity in the development of arts projects that ultimately become associated with a community's cultural and social milieu. Oregon is known for its unique landscape that moves from the high deserts of eastern Oregon through the former volcanoes of the Cascade Range, the breadth of the Willamette River Valley, Coast Range and finally the Pacific coast from Astoria to Brookings. Oregon has a long history of environmental planning. In 1899, the Oregon legislature declared 30 miles of Oregon beach as a public highway from the Columbia River to the south line of Clatsop County. In 1913, they declared the entire coast a public highway. Throughout the 20th century, the Oregon legislature and communities throughout Oregon have placed an emphasis on land use from the role of the timber, fishing and mining industries to the planning necessary for cities and towns. This manuscript considers the combination of people and social cultural ethos that were influential in the development of specific literary, visual and performing arts groups across Oregon's diverse landscape. Artists Activating Sustainability: The Oregon Story examines the way in which the arts within specific communities, against the background of landscape and history, reveal concepts of sustainability that help us broaden our knowledge of what is needed to create a sustainable world. As such, each chapter considers the themes of participation, agency and empowerment through the lens of land, history and individual initiative.

The book has an introduction outlining the conceptual framework that gives meaning to the six collected texts that follow. This framework derives from the work of Pierre Bourdieu. He stated that ''everything is social, '' which means that all discourses have to be understood in their own terms (as ''structured structures'') and in relation to the social conditions in which they developed (''structuring structures''). As social individuals we are constrained by the structures defining our situation but we also have the capacity to alter those structures. With particular reference to the ''field'' of politics, the Introduction considers theoretically the nature of the ''presentation of self'' (Goffman) of citizens and the nature of parliamentary democracy as ''presentation'' or ''representation'' (as discussed in Habermas: The structural transformation of the public sphere). The six main chapters reproduce texts written or spoken about politics at intervals in the period from 1960 until 2020. Brief introductions to each chapter will contextualise these texts both in terms of their significance in my developing awareness of political discourse and also in terms of the historically changing nature of the field of politics itself in the United Kingdom. Having an a-political upbringing, the author suggests that he gradually acquired a political competence but, equally, developed the view that the domination of political discourse has become exclusive and that there is now a need to reassert social relations in society and to recognize the extent to which political activity sustains the social control of a privileged minority. The book has an Epilogue which considers some recent arguments about ''populism'' and also reflects on the extent to which the ''new normal'' heralded by some for a post-Covid future has the capacity to circumscribe the influence of politics. The author reflects on whether deployment of Bourdieu''s concept of ''symbolic violence'' - the process by which the attitudes of the few are imposed on the many - might lead to the possible resurgence of social movements which are sceptical about political power. The author suggests that there may be a need for a new ''quietism'' as advanced by Fénelon in the court of Louis XIV at the end of the 17th century and as considered by Richard Rorty in "Naturalism and quietism" in Philosophy as Cultural Politics, 2007.

The Gothic Literature and History of New England surveys the history, nature and future of the Gothic mode in the region, from the witch trials through the Black Lives Matter Movement. Three main areas of its focus are women's representation as writers and consumers of Gothic literature, the Puritans' fear of the wilderness and treatment of the native peoples, and the legacy of slavery and enduring racism. Texts include Cotton Mather and other Puritan divines who collected folklore of the supernatural; the Frontier Gothic of Indian captivity narratives; the canonical authors of the American Renaissance such as Melville and Hawthorne; the women's ghost story tradition and the Domestic Gothic from Harriet Beecher Stowe to Charlotte Perkins Gilman to Shirley Jackson; Stephen King and the horror boom of the twentieth century; and writers of the current generation who respond to the racial and gender issues in the work of H. P. Lovecraft, the Providence writer whose stories once defined New England's Gothic heritage. The Gothic Literature and History of New England brings to the surface the religious intolerance, racism and misogyny inherent in the New England Gothic, and how these nightmares continue to haunt literature and popular culture-tourism, films, television, games, the visual arts and more.This is a high-interest work designed for scholars of the Gothic mode who may not be familiar with more recent developments in fiction and film as well as for advanced undergraduate and graduate students searching for a compact introduction to this area of the American Gothic. It will provide an overview of criticism, a timeline of historical events and literary texts, and suggestions for further reading. The approach relies on open-ended questions that may help instructors "e;teach the conflicts"e; around race, gender, class and the aesthetics of the Gothic.

Cornwall as Strange Fiction is focused on written and visual culture that is made in, or made about, Cornwall and where there is affinity with Gothic. Cornwall and the Scilly Isles (known as 'Kernow' in the Cornish language) have a special relationship with Gothic, one that has been overlooked in the literature on regional Gothic. In 1998, Avril Horner and Sue Zlosnik coined the term 'Cornish Gothic' in relation to the work of Daphne du Maurier. Since then, however, there have been few discussions of the distinctive types of Gothic engendered by cultural and imaginative re-creations of Cornwall or where it has played a generative role within creative practice. Cornwall as Strange Fiction argues that a persistent imaginative romance with the peninsular has produced a specific and distinctive set of Gothic fictions and creative outputs that mark an exciting new departure in the discussion of regional and media-aware Gothic studies.In his chapter on 'Regional Gothic', Jarlath Killeen cites the Celtic fringes as 'Ireland, Scotland and Wales' (2009, pp. 92-3). Cornwall is forgotten in this account, but it is this often continued absence of Cornwall that at least in part defines it as a Gothic space. Cornwall as Strange Fiction argues that Cornwall has a culturally acquired liminality, becoming a space of ambivalence, absence, excess and loss. Cornwall is too far away and yet at the same time too near (at least for British scholars of Gothic). It has an excess of history, mythic non-history and identity, uncanny light and sublime sculptural stones, all representing both creative plenitude and its lack. This book looks to the visual, the digital and to adaptation, to contemporary as well as traditional platforms, in pursuit of our argument that Kernow thrives as a dark economy for the creative imagination. We address the ways in which different platforms, the novel, film or painting, shape articulations of Gothic Kernow, alongside our attention to the threads of intertextual dialogue that weave among such diversity.Central to our argument and method is the fact that Gothic Kernow is always situationally produced as a framework within which different aesthetic, psychological and social agendas sit. As we will show, the texts and artefacts that we discuss are shaped by a confluence of medial formats and aesthetic concerns, political and social contexts, all filtering through the perceived magics, mysteries and myths of Cornwall. We are therefore intent on demonstrating how, as both an imagined and real space, Cornwall becomes the subject of Gothic concerns, particularly in terms of otherness, animism and the sublime. Offering new insights into the relationships between place and Gothic, this book aims to engender and encourage greater debate through our argument that Cornwall plays a potent role in the landscape of regional Gothic and that it needs to be considered more fully as a major catalyst in the Gothic imagination. Most importantly, this book argues and demonstrates that Gothic Kernow needs to be considered as a powerful force in the development of Gothic grammar generally.