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This is a book about a particular moral theory - motivation ethics - and why we should accept it. But it is also a book about moral theorizing, about how we might compare different structures of moral theory. In principle we might morally evaluate a range of objects: we might, for example, evaluate what people do - is some action right, wrong, permitted, forbidden, a duty or beyond what is required? Or we might evaluate agents: what is it to be morally heroic, or morally depraved, or highly moral? And, we could evaluate institutions: which ones are just, or morally better, or legitimate? Most theories focus on one (or two) of these and offer arguments against rivals. What this book does is to step back and ask a different question: of the theories that evaluate one object, are they compatible with an acceptable account of the evaluation of the other objects? So, for instance, if a moral theory tells us which actions are right and wrong, well can it then be compatible with a theory of what it is to be a morally good or bad or heroic or depraved agent (or deny the need for this)? It seems that this would be an easy task, but the book sets out how this is very difficult for some of our most prominent theories, why this is so, and why a theory based on motivations might be the right answer.

It is often taken for granted that modernity emerged in Europe and diffused from there across the world. This book questions that assumption and re-examines the question of European modernity in the light of world history. Bo Stråth and Peter Wagner re-position Europe in the global context of the 19th and 20th centuries. They show that Europe is less modern than has been assumed, and modernity less European and thus decentre Europe in a way that makes room for a wider historical perspective. Adopting a thematic structure, the authors reconceive the idea of European modernity in relation to key topics such as democracy, capitalism and market society, individual autonomy, religion and politics. European Modernity is an important addition to the literature that will be of interest to all students and scholars of modern European history.

There is a new form of design practice within the contemporary fashion industry which is active in complex forms of social commentary and critique. While fashion in the modernist era has shown signs of criticism and subversion, these were either in the form of subcultures or perversions, such as punk or BDSM styling. Today, however, these genres have been absorbed into the fashion industry itself, meaning that "critical fashion" is now far from limited to the subcultures from which it came. This book explores this new space for criticism within the popular fashion sphere to demonstrate how designers are disrupting conventions, challenging beliefs and stirring change from within the system itself.Critical Fashion Practice considers a range of contemporary designers across the globe, from the US to Japan, whose conceptual designs embody this critical language, including case studies such as Rei Kawakubo's deconstructive silhouettes for Comme des Garçons and Walter Van Beirendonck's sadomasochistic menswear collections, amongst other key players such as Miuccia Prada, Vivienne Westwood and Viktor & Rolf. Arguing that the rise of critical fashion coincides with a noticeable decline in the criticality of art, Geczy and Karaminas go beyond slotting fashion into previously established art theories. Conceiving a new cultural role for fashion that affords insight into identity, class, race, sexuality and gender, this book shows how fashion can not only reflect and comment on, but can also be a part of social change.

Critical discourse studies is a multifarious field constantly developing different methodological frameworks for dynamically analysing evolving aspects of language in a broad range of socio-political and institutional contexts. This volume is a cutting-edge, interdisciplinary account of these theoretical and empirical developments. It presents an up-to-date survey of critical discourse studies (CDS), covering both the theoretical landscape and the analytical territories that it extends over. It is intended for critical scholars and students who wish to keep abreast of the current state of the art. The book is divided into two parts. In the first part, the chapters are organised around different methodological perspectives for CDS (history, cognition, multimodality and corpora, among others). In the second part, the chapters are organised around particular discourse types and topics investigated in CDS, both traditionally (e.g. issues of racism and gender inequality) and only more recently (e.g. issues of health, public policy, and the environment).This is, altogether, an essential new reference work for all CDS practitioners.

During the Apartheid years in South Africa, a copy of The Complete Works of William Shakespeare was smuggled around the prison on Robben Island. The book's significance resides in the fact that the book's owner, Sonny Venkatratham, passed it to a number of his fellow political prisoners in the single cells, including Nelson Mandela, asking them to mark their favourite passages with a signature and date. Informally known as "the Robben Island Bible", numerous prisoners selected the speeches that meant the most to them and their experience as political prisoners. In 2008 and 2010, playwright and scholar Matthew Hahn conducted interviews with eight former political prisoners in South Africa. Offering a vivid and startling account of the experience of these political prisoners during Apartheid, this extraordinary verbatim play weaves Shakespeare's words together with first-hand accounts from these men. They offer their reflections on their time as Liberation activists and, twenty years later, on the costs, consequences and whether or not it was all worth it.The play is published alongside a preface by Sonny Venkatrathnam and an introduction by South African actor, director , playwright and cultural activist John Kani.

This book is a fully up-to-date, comprehensive guide to the law, economics and practice of UK merger control law. This guide presents an integrated legal and economic assessment of the substantive appraisal of mergers and examines in detail the following topics: the history of the Enterprise Act and its development from the Fair Trading Act; the various regulatory bodies that form the institutional structure of the UK merger control regime; enterprises subject to merger control regulation and the jurisdictional thresholds of the Enterprise Act; the relationship of the Enterprise Act with the European Merger Regulation; public interest mergers and the role of the Secretary of State; and merger remedies. All recent legislative developments including the merger of the OFT and the Competition Commission and the Enterprise and Regulatory Reform Act 2013, as well as all relevant case since the first edition of the magisterial text are explored.

Hailed by Tom Holland as a 'fascinating and compendious survey of ancient attitudes to Xerxes' and now available in paperback, Imagining Xerxes is a transhistorical analysis that explores the richness and variety of Xerxes' afterlives within the ancient literary tradition and the reinvention of his image in a remarkable array of cultural and historical contexts.This Persian king, who invaded Greece in 480 BC, quickly earned a notoriety that endured throughout antiquity and beyond. The Greeks' historical encounter with Xerxes - which resulted, against overwhelming odds, in the defeat of the Persian army - has inspired a series of literary responses to the king in which he is variously portrayed as the archetypal destructive and enslaving aggressor, as the epitome of arrogance and impiety, or as a figure synonymous with the exoticism and luxury of the Persian court. Emma Bridges examines the earliest representations of the king, in Aeschylus' tragic play Persians and Herodotus' historiographical account of the Persian Wars, before tracing the ways in which the image of Xerxes was revisited and adapted in later Greek and Latin texts. The author also looks beyond the Hellenocentric viewpoint to consider the construction of Xerxes' image in the Persian epigraphic record and the alternative perspectives on the king found in the Jewish written tradition.

David Hume (1711-1776), philosopher, historian, and essayist, is widely considered to be Britain's greatest philosopher. One of the leading intellectual figures of the Scottish Enlightenment, his major works and central ideas, especially his radical empiricism and his critique of the pretensions of philosophical rationalism, remain hugely influential on contemporary philosophers. This comprehensive and accessible guide to Hume's life and work includes 21 specially commissioned essays, written by a team of leading experts, covering every aspect of Hume's thought. The Companion presents details of Hume's life, historical and philosophical context, providing students with a comprehensive overview of all the key themes and topics apparent in his work, including his accounts of causal reasoning, scepticism, the soul and the self, action, reason, free will, miracles, natural religion, politics, human nature, women, economics and history, and an account of his reception and enduring influence. This textbook is indispensable to anyone studying in the areas of Hume Studies, British, and eighteenth-century philosophy.

Few historical subjects have generated such intense and sustained interest in recent decades as Britain's imperial past. What accounts for this preoccupation? Why has it gained such purchase on the historical imagination? How has it endured even as its subject slips further into the past?In seeking to answer these questions, the proposed volume brings together some of the leading figures in the field, historians of different generations, different nationalities, different methodological and theoretical perspectives and different ideological persuasions. Each addresses the relationship between their personal development as historians of empire and the larger forces and events that helped to shape their careers. The result is a book that investigates the connections between the past and the present, the private and the public, the professional practices of historians and the political environments within which they take shape. This intellectual genealogy of the recent historiography of empire will be of great value to anyone studying or researching in the field of imperial history.

"My heart had broken. Cracked like a paving stone tapped by a mallet. All things in life which require effort - pleasure, passion, wit and thought - are impossible when your heart is cracked. And it's also very hard to get out of bed"Tonight everything must go.Melody's got secrets. Dirty, dark, sick-to-the-bottom-of-your-stomach secrets that she's hidden away from for years. The tattoos up her arms tell part of the story, but the truth is a lot more complicated.John, the boyfriend, thinks he knows Melody but he doesn't know the half of it. To him, it's just a question of presentation. Olive, Melody's irascible almost-mother-in-law, thinks she knows all about it. She isn't afraid to put her oar in, but she's got her version of events to hide. Ashley turns up at Melody's door on a mission to reveal everything. Only she doesn't know the full picture.The pressure that's been building up for years is about to boil over. Melody premiered at the Traverse Theatre in March 2006.

By mixing text, 3D animation and a dynamic physicality, this play is a powerful look at the ripple effects of one man's decision.

Full of fun, seriously dramatic too, this collection of monologues takes you on a wondrous journey through the lives of six Scots who lose their partners but come out the other end still fighting. These are their strange, marvellous stories of sex, drugs, crown green bowls, heartbreak and a Turkish adventure!Grae Cleugh's first play F ing Games was produced at the Royal Court Theatre and was directed by Dominic Cooke. It won him the Laurence Olivier Award for the UK's Most Promising Playwright.

Ontroerend Goed is a Belgian, Ghent-based theatre performance group of international renown. The group is made of young creators who explore the space between theatre and performance, writing their own texts from a strong basic concept and adapting familiar formats from various media. From sensorial experiences with blindfolded, individual audience members, over anarchistic teenage performances up to shows that profoundly explore what it means to be a theatre-goer, the group continues to create work that is equally challenging and treacherously shallow.A lot of contemporary plays cannot be experienced unless you've attended them and many of those performances are hard to transcribe on paper, because of their visual and physical nature. Of course, it's always possible to make a video recording, but watching that is a diminished experi­ence. Although Ontroerend Goed embrace the 'nowness' of theatre and its visual and physical possibilities, the group wanted to take an extra step to share its work.In this book, Ontroerend Goed explore different forms to convey a theatrical experience on paper. Each performance has its own way of approaching the audience, so each text has its own way to address the reader. This book is not made to turn the page and docu­ment the performances as a past experience, but for people to use it as a tool. A tool to play, adapt, oppose, relive, challenge and inspire.

Even before the publication of his masterwork, John Henry Newman had been regarded as one of the most important religious thinkers on the 19th Century. His decision in 1845 to leave his Anglicanism behind and convert to the Roman Catholic faith was one that rocked the Victorian establishment at a time when virulent anti-Catholic feeling ran high. It was in response to one particularly vicious attack - by the Reverend Charles Kingsley - that Newman wrote his Apologia Pro Vita Sua. A humane and vivid account of the development of his ideas and his faith and a passionate defence of both, the book remains a landmark work of Victorian literature and autobiography and one that continues to resonate to this day.

M.Rock is a magical new play, based on a true story, about the enduring joys of music, dancing and self-discovery.In his distinctive language, Philpott charts the fortunes of 18-year-old Tracey and her grandmother Mabel. Tracey has just finished school, she's bought a round-the-world ticket and is flying away to soak up experience. By contrast, Mabel is stable. She plays piano for The Players, knits for the African appeal and looks after Hilda's cat.When Tracey misses her plane home, Mabel sets off on a quest to find her granddaughter. But what she finds is her inner DJ.

'You'd like that, would you, your most private, pinkest, tenderest - small bird, small bird, small fragile - stolen from you, slammed down onto the slab, the block, poked at and paraded.'The children swing their legs on the chairs. The student delivers the presentation. The older woman stands with the gun. The young couple arrives at the house. The house is returning to nature. A movie is being made. The truth is being plundered. But the house is still lived in and the spirit to resist is strong.Janet Adler and Margaret Gibb were conceptual artists working in New York at the end of the last century. They were described by art critic Dave Hickey as the 'most ferociously uncompromising voice of their generation'. With Adler's death in 2004, however, the compromise began.Adler & Gibb tells the story of a raid - on a house, a life, a reality and a legacy. The play takes Tim Crouch's fascination with form and marries it to a thrilling story of misappropriation.Also includes what happens to the hope at the end of the evening by Tim Crouch and Andy Smith, a facsimile of the text as used in performance.

This book is a statement of the current law of compulsory purchase of land and compensation for that purchase. It covers all major aspects of the procedure for the compulsory acquisition of land and deals in full detail with all aspects of the law of compensation for such an acquisition. The many and diverse statutory provisions are organised into a series of chapters containing all principles and rules and there is a full analysis and explanation of the leading authorities on the subject and the principles derived from those authorities without which the subject cannot be understood. The aim of the book is, not only to explain the statutory provisions and to organise the various possible claims for compensation into different heads, but also to explain and analyse the substantial body of case law which has built up, particularly in recent years, and the relationship between that body of law and the underlying statutory provisions. The book also attempts to explain the purpose of the statutory provisions and the reason for the rules that are derived from the authorities. Chapters of the book are devoted to the procedure for formulating and pursuing a claim for compensation and to the valuation principles which must be applied in advancing claims. An Appendix is provided by Mr Nicholas Eden FRICS, a leading valuer in the field, which contains examples of different types of compensation valuation with annotations as to how the valuations are prepared and built up. A further aim of the book is to provide, where possible, practical advice to public authorities and landowners involved in the process of compulsory purchase and compensation as well as to explain the legal principles.

Drawing upon the methodology developed in his Dynamics of Theology (1990) and exemplified in Jesus Symbol of God (1999), Roger Haight, in this magisterial work, achieves what he calls an historical ecclesiology, or ecclesiology from below. In contrast to traditional ecclesiology from above, which is abstract, idealist, and ahistorical, ecclesiology from below is concrete, realist, and historically conscious. In this first of two volumes, Haight charts the history of the church's self-understandings from the origins of the church in the Jesus movement to the late Middle Ages. In volume 2 Haight develops a comparative ecclesiology based on the history and diverse theologies of the worldwide Christian movement from the Reformation to the present. While the ultimate focus of the work falls on the structure of the church and its theological self-understanding, it tries to be faithful to the historical, social, and political reality of the church in each period.

A companion volume to Modern Asian Theatre and Performance 1900-2000, this anthology contains nine emblematic scripts from twentieth and twenty-first century Asian theatre. Opening with a history of modern Asian drama and a summary of the plays and their contexts, it features nine works written between 1912 and 2009 in Japan, China, Korea, India, Indonesia and Vietnam. Showcasing fresh contemporary writing alongside plays central to the established canon, the collection surveys each playwright's work, and includes: Father Returns by Kikuchi Kan Hot Pepper, Air Conditioner and the Farewell Speech by Okada Toshiki Sunrise by Cao Yu I Love XXX by Meng Jinghui, Huang Jingang, Wang Xiaoli, Shi Hang Bicycle by O Tae-sok The Post Office by Rabindranath Tagore Hayavadana by Girish Karnad The Struggle of the Naga Tribe by W. S. Rendra Truong Ba's Soul in the Butcher's Skin by Luu Quang Vu The chronological and geographical breadth of the anthology provides a unique insight into modern Asian theatre and is essential to any understanding of its relation to Western drama and indigenous performance.

Frances E. Dolan examines the puzzling pronouns and puns, the love poetry, mischief, and disguises of Twelfth Night, exploring its themes of grief, obsessive love, social climbing and gender identity, and helping you towards your own close-readings.

Everyone knows the story of the star-crossed lovers but close attention to the language of the play can deepen and darken the legend. As icons of passion, Romeo and Juliet reveal the recklessness, as well as the idealism, of desire in a violent world. Catherine Belsey shows how you can tease out the play's subtle meanings and goes on to discuss key adaptations, including the classic Baz Lurhmann film.