Bøger udgivet af Anthem Press

This book brings together, for the first time, a collection of articles from leading scholars on the writing, and literary and social contexts, of the ''tramp-poet'' and memoirist W. H. Davies (1871-1940). Though Davies is a well-known and unique literary figure of the early twentieth century, most famous now for The Autobiography of a Super-Tramp and poems such as ''Leisure'', which came 14th in the BBC''s search to find ''The Nation''s Favourite Poems'', no other volume of essays, or other critical monograph, concentrates on his work. This book not only provides a reassessment of Davies, putting him in his literary and cultural context (as a Welsh writer, the ''tramp-poet'', a prominent Georgian poet, and a disabled writer), but also sheds light on the many more central literary figures he encountered and befriended, among them Edward Thomas, George Bernard Shaw, Edith Sitwell, Alice Meynell, D. H. Lawrence, and Joseph Conrad. The aim of the book is to reconsider the major works of the ''tramp-poet'' and memoirist W.H. Davies, and his place in the literary and cultural milieu of his period. Davies spent several years in North America as a young man, traversing the continent and living mainly as a tramp, and losing a leg in the process, as he attempted to jump aboard a freight train in Ontario. These experiences are at the heart of his famous memoir, The Autobiography of a Super-Tramp (1908), which was edited by Edward Thomas and introduced by George Bernard Shaw. Davies also established a reputation as a poet and was included in all five of the immensely popular Georgian Poetry anthologies between 1912 and 1922. He continued to write, in particular about his life, and later books include many volumes of poetry and memoirs such as: A Poet''s Pilgrimage (1918), which details a walking tour across southern Britain and the people he encountered; Later Days (1924), about the literary and artistic communities he had recently belonged to; and Young Emma (written in the late 1920s but not published until 1980), a thinly anonymised memoir about how he met his wife, almost thirty years his junior. They are unique products of a unique life. This is the first book of essays to be published on this fascinating author, who has largely been neglected by literary critics, despite his centrality to British memoir, travel writing, and poetry in the early twentieth century. It puts Davies in his literary and cultural context, provides reassessments of the work, and considers his influence as a writer and personality. It will be useful to readers coming new to the author and wanting a critical overview, while at the same time putting forward many new research findings and much new thinking.

This collection of essays explores digital art in Ireland. Comprising contributions from scholars and practitioners, it examines how new media technologies are shaping the island¿s contemporary artistic practices. As one of the first dedicated treatments of Irish digital art, it fills a major gap in the national media archaeology of Ireland.

The Puritan Ideology of Mobility: Corporatism, the Politics of Place, and the Founding of New England Towns before 1650 examines the ideology that English Puritans developed to justify migration: their migration from England to New England, migrations from one town to another within New England, and, often, their repatriation to the mother country. Guided by the Protestant scholasticism of Cambridge University, Puritan leaders accepted the ancient corporatist image of society as a living, organic body politic, a model which they applied to nations, colonies, business corporations like the Massachusetts Bay Company, and towns.But if a town, a colony, or a nation were a living body, how could Puritans justify withdrawing from one body to form a new social body, as they so often did? Drawing on the prevailing humoral theory of health, Puritans leaders believed that if a social body became "e;distempered"e; because of insufficient resources or political or religious disagreements, it might become necessary to bring about a new body politic in order to restore balance and harmony to the existing one. This theory gave rise to a robust "e;politics of place"e; in colonial New England, where one's choice of residence could make a strong political statement.In order to facilitate the founding of new town bodies, colonial elites were endowed with unique privileges of mobility. But these entrepreneurs also needed ordinary inhabitants to make a successful migration, so that the various "e;members"e; of the new social body all benefited from the opportunities conferred through the privilege of migration. The body of a new town was articulated through the social ritual of land distribution, carried out in proportion to rank according to Aristotelian "e;distributive justice."e; The book will trace this process at work in the founding of Ipswich and its satellite towns in Massachusetts.

Urban Crisis, Urban Hope is an urgent, informed, and passionate critique at the crisis that has been allowed to develop in our cities, and a wide-ranging agenda for change to challenge all political and government institutions.

Reconnaissance au Maroc is Charles de Foucauld¿s adventurous memoir of exploring Morocco. For eleven months in 1883¿84, Foucauld travelled incognito through a country then off-limits to Europeans, mapping its waterways. This book is a translation of Foucauld¿s memoir into English, with an extensive introduction and notes that contextualize the work within Francophone post-colonial studies.

Urban Crisis, Urban Hope is an urgent, informed, and passionate critique at the crisis that has been allowed to develop in our cities, and a wide-ranging agenda for change to challenge all political and government institutions.

The collected essays from noteworthy dramatists and scholars in this book represent new ways of understanding theater in the Middle East not as geographical but transcultural spaces of performance. What distinguishes this book from previous works is that it offers new analysis on a range of theatrical practices across a region, by and large, ignored for its history of traditions and cultures, and it does so by emphasizing diverse performances in changing contexts. Topics include Arab, Iranian, Israeli, diasporic theatres from pedagogical perspectives to reinvention of traditions, from translation practices to political resistance through various performances from the nineteenth century to the present.The book is, therefore, concerned with not just the theatrical content of specific or range of plays in a variety of mediums, from stage to the radio, but also political implications, changing imaginaries of home and exile, and practices of identity through a range of performances in both local and translocal settings. The book argues that there are indigenous performers, ranging from actors to producers and audiences, who (re)make theatre through the reinvention of traditions, pedagogy, media, and translation. The book also shows that while all theatre is performance what precisely "performance" means is contingent to the lived context of audiences and performers who make theatre in its diverse forms and also in response to conflict, war, occupation, patriarchy, home, and exile.

Marx in the Field is a unique edited collection illustrating the relevance of the Marxian method to study contemporary capitalism and the global development process. Essays in the collection bring Marx ''to the field'' in three ways. They illustrate how Marxian categories can be concretely deployed for field research in the global economy, they analyse how these categories may be adapted during fieldwork and they discuss data collection methods supporting Marxian analysis. Crucially, many of the contributions expand the scope of Marxian analysis by combining its insights with those of other intellectual traditions, including radical feminisms, critical realism and postcolonial studies. The book defines the possibilities and challenges of fieldwork guided by Marxian analysis, including those emerging from the COVID-19 pandemic. The collection takes a global approach to the study of development and of contemporary capitalism. While some essays focus on themes and geographical areas of long-term concern for international development - like informal or rural poverty and work across South Asia, Southern and West Africa, or South America - others focus instead on actors benefitting from the development process - like regional exporters, larger farmers, and traders - or on unequal socio-economic outcomes across richer and emerging economies and regions - including Gulf countries, North America, Southern Europe, or Post-Soviet Central and Eastern Europe. Some essays explore global processes cutting across the world economy, connecting multiple regions, actors and inequalities. While some of the contributions focus on classic Marxian tropes in the study of contemporary capitalism - like class, labour and working conditions, agrarian change, or global commodity chains and prices - others aim at demonstrating the relevance of the Marxian method beyond its traditional boundaries - for instance, for exploring the interplays between food, nutrition and poverty; the links between social reproduction, gender and homework; the features of migration and refugees regimes, tribal chieftaincy structures or prison labour; or the dynamics structuring global surrogacy. Overall, through the analysis of an extremely varied set of concrete settings and cases, this book illustrates the extraordinary insights we can gain by bringing Marx in the field.

Defining Hybrid Heroes: The Leadership Spectrum from Scoundrel to Saint defines the hero (and his or her journey) from a hybrid perspective, exploring the spectrum from scoundrel to saint. It utilizes a more dynamic and situational outlook, regarding heroism not only as a personal characteristic, but also as a series of heroic acts within a given situation.

A fresh study of creative practice and exchange in theatre and the visual arts in eighteenth-century France, nourished by archival research and by histories of innovation, community and knowledge transfer in the Enlightenment.

The social conditions in Punjab at the outbreak of World War I in 1914 were rapidly improving and the locals were happy about the economic benefits that their farmers were reaping. When the British government sought manpower to fight their war against Germany in France Indians made themselves readily available. Within six weeks of the war breaking out, two divisions from Punjab were sent to France under the command of the British. There they fought bravely and stopped the German advance in France. After serving about 18 months in France, most of the forces were deployed in other spheres of war in the Eastern Mediterranean. Kamaljit Sood's play 'Forgotten Blood' recounts the story of the war and the subsequent treatment of the Indians in India leading to the Jallianwala Bagh massacre.

This book examines contemporary globalization, its local impact and counter-reactions to it both thematically and epistemologically. The starting point is an outline of the distinguishing features of contemporary globalization, their (dis)continuities with historically earlier forms of long-distance connections, and their relevance to both recent and long-established sociological debates. Through a series of thematic case studies, Sociology in Times of Glocalization traces the methodological and conceptual innovations underway to capture the politically heterogeneous responses to our global interconnectedness, which are (re)shaping individual and collective self-understandings, localities, regions, nation-states, as well as diasporic communities at present. The discussion thereby also shows that multiple global 'flows', neo-nationalist as well as other forms of identity politics jointly constitute our era's constitutive, if highly contradictory characteristics.The book's most distinguishing feature is to be found in its central analytical move. Having identified the building blocks of today's complex, multi-dimensional and contradictory forms of 'glocalization', it approaches those epistemologically: that is, by asking how globalization and the various reactions to it can be approached, captured and understood sociologically. This requires nuanced methodological reflections on how social scientific claims to knowledge are generated in the specific contexts under investigation. Put differently, the book unfolds around two core-issues: first, the question as to what contemporary, 'glocalizing' realities entail; second, the yet more challenging, hitherto underexplored question as to how social scientists can recognize, depict and make sense of such historically novel realities and experiences.Located in the interface between the thematic and the methodological, the book offers discussions of particular global flows and of specific reactions to them. The thematic foci in question pertain to localities affected by rapid infrastructural change; the economic realm and consumerism; experiences of migration; social change in urban settings; cultural practices such as street art that negotiate both global and local events and phenomena; and digital technology. The critical discussions offered underscore that contemporary globalization cannot be understood as merely a set of new structures of globally interconnected 'nodes'. Instead, enduring, often deepening inequalities and ever more rigid exclusions, the fears and anxieties they generate, and the identity politics they give rise to, are all shown to be defining features of our world today. To develop these insights, the book draws on and critically synthesizes a range of existing social theory, relevant empirical studies and illustrations, and ongoing methodological debates.

How are breasts and breastfeeding shown in literature? Why does the depiction of breastfeeding in literature matter? What messages do we get from literature about the feeding of infants and children and about women's bodies? Is this different in different cultures? What causes cultural and historical differences and what can we learn from them?This cross-cultural study analyses images and descriptions of breasts and breastfeeding in children's books and literature for adults, in both English and Swedish. It explores how breastfeeding is depicted in literature in the two languages and discusses why there are differences in the cultures. Literary, feminist, anthropological, sociological, historical, and cultural research is used to support this analysis and to suggest explanations for the differing depictions. For example, the book discusses the concepts of women being nude versus women being naked; nakedness, the book argues, is more acceptable in Swedish literature and society, whereas a naked female is immediately perceived as nude in English-speaking cultures, and nudity is always sexualised. It discusses the male gaze and challenges ways of seeing women's bodies in literature; a question here is whether women can see their bodies without being influenced by the pervasiveness of the male gaze. Another example of a difference between the two cultures is the rise of formula-feeding and supposedly scientific ways of understanding and managing bodies in many Western countries, including English-speaking ones, and this in turn influences decreasing familiarity and comfort with seeing breasts and breastfeeding in literature, whereas rates of breastfeeding are still high in Scandinavia, which suggests more understanding, acceptance and support of natural bodily functions. In addition, issues such as whether a more feminist political approach might affect how breastfeeding is depicted and how it is treated in society are considered.While this intercultural exploration of breasts and breastfeeding in literature is academic and relies on extensive research, the book also suggests that this reflects popular culture today. Given the rise of the #MeToo movement and our new awareness of people's rights to their own bodies and to consent, it is important that we explore depictions in the media of women's bodies and encourage positive representations. Avoiding naked females in literature or primarily showing them in sexualised contexts suggests a sense of shame and fear about female bodies, or emphasises the idea that women are to be objectified.In short, this book will focus on a topic not yet seen in any depth in academic research and will raise fresh awareness of the power of literature to influence how readers see their own and other people's bodies, and will also illuminate cultural and historical differences that affect what writers describe and illustrators depict in literature when it comes to breasts and breastfeeding. The book challenges the currently prevailing ways of depicting female bodies in literature and discusses the way societal norms influence the writing and illustrating of literature.

The essays gathered in Magazines and Modernity in Brazil explore transnational topics such as architecture; cosmopolitanism and universalism; antisemitism, anti-war movements; visual artistic movements; advertising; anti-racism; avant-garde; class; consumer society; design; ethnicity and race; fascism and anti-fascism; intellectual elites; literature; modernity; publishing; translation, as well as book and periodical exchange, which is the main focus of this collection.Together, these essays propose a critique of traditional comparatist approaches, promoting instead the study of contact zones and intersections, highlighting the place of production and reception of cultural products, as well as the role of mediators. What guide these analyses of magazines are concepts such as connected and shared histories, which emphasize transnational interactions. Within the spectrum of global history, this collection is related to a recent body scholarship on cultural transfers, which opened a fertile field for new research based on the analysis of transnational movements not only of ideas but also of networks and magazines.Organized chronologically, the chapters explore a period from the mid-nineteenth century to the aftermath of World War II, always having key magazines as the focus of analysis. The authors deliberately move away from traditional comparative approaches, in which two or more nations are set as a parameter, leading to emphasize their similarities and differences in a rigid framework that does not take into account interactions and cross-pollination of cultures and ideas. Some of the keywords that appear here are transnational models, global, circulation, mediation, hybridity, mestizaje, as well as histories that are shared and connected. These keywords help the authors to analyse the formation and development of the participation of Brazil in the global, modern periodical print culture. However, it should be noted that the purpose of this book is not to suggest a supposed singularity of the Brazilian case. The contribution of this volume of essays is precisely the opposite of this, showing how modernity in Brazil, including what is conventionally called modernism, is a complex expression of transnational movements and cross-cultural exchanges.

'Rabindranath Tagore's Drama in the Perspective of Indian Theatre' maps Tagore's place in the Indian dramatic/performance traditions by examining unexplored critical perspectives on his drama such as his texts as performance texts; their exploration in multimedia; reflections of Indian culture in his plays; comparison with playwrights; theatrical links to his world of music and performance genres; his plays in the context of cross-cultural, intercultural theatre; the playwright as a poet-performer-composer and their interconnections; and his drama on the Indian stage.The book explores both dramatic as well as theatrical traditions in Tagore's plays by discussing vital issues on Tagore's drama including gender politics; Tagore's poetic tradition of dramatic action, time and space; his use of myth humour and satire in the Indian dramatic milieu and discussing Tagore and his contemporaries; modern Indian drama and also the nation and Tagore's drama. The book also identifies Tagore's drama of performance art; his stories that inspired many film creations; furthers the view of Tagore's theatre as the creations of a poet-dramatist, poet-translator, dramatist-producer, actor-singer-choreographer and dramatist-scenographer, all the while not missing the vitality of the dramatist as seen in his intercultural performance/s; his use of environ, mise en scène and the theatrical milieu and last but not the least, the modern productions of Tagore plays.