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The essays here, united by their appreciation of the centrality of translation to the interpretation of the medieval past, add to our understanding of how the old is continually made anewThe first decades of the twenty-first century have seen an unprecedented level of creative engagement with early medieval literature, ranging from the long-awaited publication of Tolkien's version of Beowulf and the reworking of medieval lyrics by Ireland's foremost poets to the adaptation of Eddic and Skaldic poetry for the screen. This collection brings together scholars and accomplished translators working with Old English, Old Norse and MedievalIrish poetry, to take stock of this extraordinary proliferation of translation activity and to suggest new ways in which to approach these three dynamic literary traditions. The essays in this collection include critical surveysof texts and traditions to the present day, assessments of the practice and impact of individual translators from Jorge Luis Borges to Seamus Heaney, and reflections on the particular challenges of translating poetic forms and vocabulary into different languages and media. Together they present a series of informed and at times provocative perspectives on what it means to "e;carry across"e; early medieval poetry in our contemporary cultural climate.Dr Tom Birkett is lecturer in Old English at University College Cork; Dr Kirsty March-Lyons is a scholar of Old English and Latin poetry and co-organiser of the Irish Research Council funded conference and translation project "e;Eald to New"e;. Contributors: Tom Birkett, Elizabeth Boyle, Hannah Burrows, Gareth Lloyd Evans, Chris Jones, Carolyne Larrington, Hugh Magennis, Kirsty March-Lyons, Lahney Preston-Matto, Inna Matyushina, Rory McTurk, Bernard O'Donoghue, Heather O'Donoghue, Tadhg O Siochain, Bertha Rogers, M.J. Toswell.

An assessment of how important the sea was in the development of world history from the earliest times to the present.

The first book in English to consider the full extent of the accomplishments and influence the Chilean cultural icon, Violeta Parra.Violeta Parra was an extraordinary figure. She is best known for her contribution to the Latin American New Song movement and for her visual art, which was exhibited in the Musee des Arts Decoratifs of the Louvre gallery in 1964. Parra spent her early career singing Mexican songs in bars and researching traditional Chilean culture. All the different phases of Parra's life and work are discussed in this book, with analyses of her music, paintings, sculptures, embroideries (arpilleras), and poetry. Her exhibition in the Louvre gallery and the music venue that she set up before she died, La Carpa de la Reina, are also covered. Among the individual essays collected here are seminal works by Patricio Manns and Leonidas Morales, which have been translated into English for the first time. These works introduce the historical and biographical context for Parra's work. Other essays feature thelatest research and findings by Catherine Boyle, Ericka Verba, Paula Miranda, Serda Yalkin, Romina A. Green, and Lorna Dillon. The book also includes an interview with Violeta Parra's brother, the influential poet Nicanor Parra and a Foreword by Marjorie Agosin. Lorna Dillon earned her PhD at King's College London. She is currently a network facilitator and associate lecturer at the University of Kent.

Examines the importance of intertextuality, in particular hypertextuality, in the poetics of Castilian romances of chivalry.

An original and groundbreaking historiography on fifty years of Uruguayan cinema.Runner-up for the 2014 Publication Prize awarded by the Association of Hispanists of Great Britain and Ireland This book presents an original historiography on fifty years of Uruguayan cinema. It is the first English language academic book in which Uruguay becomes a case study to reflect upon broader interests of both Film and Latin American Studies, such as the conditions of film archives, the many materialities of film, the relationshipbetween film and politics, and the ways in which films are produced in countries without a mainstream film industry. Uruguayan cinema has recently begun to capture the attention of academics and critics. However, most of Uruguayan productions remain ignored and forgotten, and have not been explored in depth. This ground-breaking investigation unearths films and videos from private and public archives, made in both amateur and professional settings, to reflect upon the ever-changing nature of the concept of cinema. How is the concept of cinema defined in non-industrial contexts? Can we even talk about cinema, when most of the production was captured in small-gauge film and video? In seeking to answer these questions, this book uncovers the tensions behind the text and the - filmic, magnetic or digital - materiality of films. Detailed case studies are based on the analysis of the political, cultural and economic contexts of film production and current issues of accessibility. Beatriz Tadeo Fuica is an Associate Researcher in the Grupo de Estudios Audiovisuales (GESTA), Universidad de la Republica (Uruguay); and atthe Centre d'histoire culturelle des societes contemporaines (CHCSC), Universite de Versailles Saint-Quentin-en-Yvelines.

Explores Celestina's role as a key interlocutor in European literature and thought in the context of debates about the human condition.

A series which is "a monumental achievement" (Review of English Studies).

A major and original contribution to the debate as to Chaucer's use and knowledge of Boccaccio, finding a new source for the "Shipman's Tale".

Draws on Old Norse literary heritage to explore questions of emotion as both a literary motif and as a social phenomenon.Authors throughout history have relied on the emotional make-up of their readers and audiences to make sense of the behaviours and actions of fictive characters. But how can a narrative voice contained in a text evoke feelings that are ultimately never real or actual, but a figment of a text, a fictive reality created out of words? How does one reconcile interiority - a presumed modern conceptualisation - with medieval emotionality? The volume seeksto address these questions. It positions itself within the larger context of the history of emotion, offering a novel approach to the study of literary representations of emotionality and its staging through voice, performativityand narrative manipulation, probing how emotions are encoded in texts. The author argues that the deceptively laconic portrayal of emotion in the Icelandic sagas and other literature reveals an "e;emotive script"e; that favours reticence over expressivity and exposes a narrative convention of emotional subterfuge through narrative silences and the masking of emotion. Focusing on the ambivalent borders between prose and poetic language, she suggests that poeticvocalisation may provide a literary space within which emotive interiority can be expressed. The volume considers a wide range of Old Norse materials - from translated romances through Eddic poetry and Islendingasogur (sagas of Icelanders) to indigenous romance. Sif Rikhardsdottir is Professor of Comparative Literature at the University of Iceland and Vice-Chair of the Institute of Research in Literature and Visual Arts.

Examines the major divisions in criticism of this major African American writer, paying particular attention to the way each critical period defines Baldwin and his work for its own purposes.

New scholarly essays providing a multifaceted approach to the role of Africa in Hemingway's life and work.

The story of Allied victory in the Holy Land, far from the carnage of the Western Front but a crucial, morale-boosting success under the aggressive and forward-thinking General Allenby.

An examination of women as mothers in medieval French sculpture.What can medieval sculptural representations of women tell us about medieval women's experiences of motherhood? Presumably the work of male sculptors, working for clerical patrons, these sculptures are unlikely to have been shaped by women's maternal experiences during their production. Once produced, however, their beholders would have included women who were mothers and potential mothers, thus opening a space between the sculptures' intended meanings and other meanings liable to be produced by these women as they brought their own interests and concerns to these works of art. Building on theories of reception and response, this book focuses on interactions between women asbeholders and a range of sculptures made in France in the twelfth through sixteenth centuries, aiming to provide insight into women's experiences of motherhood; particular sculptures considered include the Annunciation and Visitation from Reims cathedral, the femme-aux-serpents from Moissac, the transi of Jeanne de Bourbon-Vendome, the Eve from Autun, and a number of French Gothic Virgin and Child sculptures. Marian Bleeke is Associate Professor of Art History and Chair of the Department of Art and Design at Cleveland State University.

Fruits of the most recent research on the worlds of the eleventh and twelfth centuries.

Captures the substance and scale of popular politics and protest in Bristol over the course of the long eighteenth century.Bristol from Below captures the substance and scale of popular politics and protest in Bristol over the course of the long eighteenth century. It charts the lives of ordinary Bristolians in the making of their city and devotes particular attention to their relationship with the mercantile elites who dominated the city's governing institutions. While not ignoring the contribution of the middling sort to the cultural and political life of the city, the book focusses upon the interaction between authority and plebeian sentiment as a way of analysing the complexities of popular interventions in politics and society. It casts new light on the social dynamics of Bristol's 'goldenage' and how it is remembered in today's city. It also addresses the general themes of class, authority, custom and law that have long engaged eighteenth-century historians. Bristol From Below will have a broad appeal to scholars and students of eighteenth-century social, economic and political history as well as to urban and regional historians and to those interested in the time when Bristol was England's 'Second City'. STEVE POOLE is Professor of History and Heritage at the University of the West of England, Bristol. NICHOLAS ROGERS is Distinguished Research Professor in History at York University, Toronto.

A.E. Housman (1859-1936) was an English classical scholar and poet who had an enormous influence on many British poets and musicians.A.E. Housman (1859-1936) was both a celebrated poet and the foremost classicist of his day. His poetry was set to music by numerous composers including Arthur Somervell, Ralph Vaughan Williams, George Butterworth, Ivor Gurney, John Ireland and Samuel Barber. Housman's painstaking vocation, to restore classical manuscripts by correcting textual errors, took up virtually the whole of his working life. A seemingly inaccessible, aloof man, he never set out tobe a professional poet, yet poetry poured out of him and became his monument. His renowned A Shropshire Lad and Last Poems were born of an inner crisis, sparked by a profound but unreciprocated attachment fora fellow undergraduate. To be sexually different in the time of Oscar Wilde was to invite ostracism and disgust. This fact, allied with his secretiveness and penchant for irony, reinforced his reticence on personal matters. Untilnow, he has remained a hidden personality, held in the public mind as prim and grim. This biography reveals by contrast a man of many facets, one companionable in small groups, generous to a fault, and always on the lookout for humour and fun; a master of English prose; a witty and compelling after-dinner speaker; an occasional writer of nonsense verse; a frequenter of the music hall; an intrepid early traveller by air; and a connoisseur of food and wine. Drawing on Housman's published letters and on 81 significant new finds, Edgar Vincent conjures up a new Housman, created out of his reactions to the events of his life as he experienced them. It weaves together his scholarly life and the biographical elements in his poetry to examine his emotional and sexual needs with dispassion and empathy and to uncover his hidden sensibilities and creative world. EDGAR VINCENT read English at St Catherine's College, Oxford. Following Oxford he was commissioned in the Navy, spending most of his time with the Royal Marines. Subsequently he worked for Imperial Chemical Industries for thirty years. He then fulfilled a life-longambition to write his book Nelson: Love & Fame, published by Yale University Press in 2003. The book was shortlisted for the BBC 4 Samuel Johnson Prize for non-fiction, was a New York Times Notable Book and was named one ofAtlantic Monthly's Books of the Year.

Beethoven's Cello is the ideal companion for cellists, pianists, musicologists and chamber-music devotees desiring a comprehensive understanding of this beloved repertoire.Winner of the 2018 CHOICE Outstanding Academic Title Award In 1796 the young Beethoven presented his first two cello sonatas, Op. 5, at the court of Frederick William II, an avid cellist and the reigning Prussian monarch. Released in print the next year, these revolutionary sonatas forever altered the cello repertoire by fundamentally redefining the relationship between the cello and the piano and promoting their parity. Beethoven continued to develop the potential of the duo partnership in his three other cello sonatas - the lyrical and heroic Op. 69 and the two experimental sonatas Op. 102, No. 1 and No. 2, transcendent compositions conceived on the threshold of the composer's late style. In Beethoven's Cello, Marc D. Moskovitz and R. Larry Todd examine these seminal cornerstones of the cello repertoire and place them within their historical and cultural contexts. Also addressed arethe three variation sets and, in a series of interludes, the cellos owned by Beethoven, the changing nature of his pianos, the cello-centric 'Triple' Concerto and the arrangements for cello and piano of other works. Featuring a preface by renowned cellist Steven Isserlis and concluding with the reviews of the composer's cello music published during his lifetime, Beethoven's Cello is the ideal companion for cellists, pianists, musicologists and chamber-music devotees desiring a comprehensive understanding of this beloved repertoire. MARC D. MOSKOVITZ is principal cellist of the ProMusica Chamber Orchestra. He has recorded the music of virtuoso cellists David Popperand Alfredo Piatti for the VAI label, and his American premiere of Zemlinsky's Cello Sonata was heralded by the Washington Post as 'an impassioned performance'. Moskovitz has contributed to the New Grove Dictionary of Music and Musicians; and his biography, Alexander Zemlinsky: A Lyric Symphony, was published by Boydell & Brewer in 2010. Recognized as 'Mendelssohn's most authoritative biographer' (The New Yorker), R. LARRY TODD is Arts and Sciences Professor at Duke University. He is the author of Mendelssohn: A Life in Music, named Best Biography in 2003 by the Association of American Publishers, and Fanny Hensel: The Other Mendelssohn, awarded the ASCAP Nicholas Slonimsky Award for outstanding biography in music. As a pianist, he has recorded with Nancy Green the complete cello works of Mendelssohn and Fanny Hensel for JRI Recordings.

Granville Bantock's letters to the Scottish composer William Wallace and the music critic Ernest Newman provide a fascinating window into British music and musical life in the early twentieth century and the 'dawn' of musical modernism.British music and musical life before the Great War have been relatively neglected in discussions of the idea of the 'modern' in the early twentieth century. This collection of almost 300 letters, written by Granville Bantock (1868-1946) to the Scottish composer William Wallace (1860-1940) and the music critic Ernest Newman (1868-1959) places Bantock and his circle at the heart of this debate. The letters highlight Bantock's and Wallace's development of the modern British symphonic poem, their contribution (with Newman) to music criticism and journalism, and their attempts to promote a young generation of British composers - revealing an early frustration with the musical establishment. Confirming the impact of visits to Britain by Richard Strauss and Sibelius, Bantock offers opinions on a range of composers active around the turn of the twentieth century, identifying Elgar and Delius as the future for English music. Along with references to conductors, entertainers and contemporary writers (Maeterlinck, Conrad), there are fascinating details of the musical culture of London, Liverpool and Birmingham - including programming strategies at the Tower, New Brighton, and abortive plans to relaunch the New Quarterly Musical Review. Fully annotated, the letters provide a fascinating window into British music and musical life in the early twentieth century and the 'dawn' of musical modernism. MICHAEL ALLIS is Professor of Musicology at the School of Music, University of Leeds.

The first book that acknowledges cameralism as a European rather than just a German historical phenomenon.This book discusses the impact of cameralism on the practices of governance, early modern state-building and economy in seventeenth- and eighteenth-century Europe. It argues that the cameralist conception of state and economy - aform of 'science' of government dedicated to reforming society while promoting economic development, and often associated mainly with Prussia - had significant impact far beyond Germany and Austria. In fact, its influence spread into Denmark, Sweden, Russia, Portugal, Northern Italy and other parts of Europe. In this volume, an international set of experts discusses administrative practices and policies in relation to population, forestry, proto-industry,trade, mining affairs, education, police regulation, and insurance. The book will appeal to early modernists, economic historians and historians of economic thought. MARTEN SEPPEL is Associate Professor of Early ModernHistory at the University of Tartu, Estonia. He holds an MPhil from the University of Cambridge. KEITH TRIBE has a PhD from the University of Cambridge and taught at the University of Keele (UK) from 1976 to 2002, retiring as Reader in Economics. He is now working as a highly regarded professional translator and independent scholar. Forthcoming work includes a new translation of Max Weber, Economy and Society Part One (Harvard University Press, 2018). His publications include Strategies of Economic Order (CUP, 1995/2007); The Economy of the Word. Language, History, and Economics (OUP, 2015); and (edited with Pat Hudson) The Contradictions of Capital in the Twenty-First Century (Agenda, 2016). Contributors: ROGER BARTLETT, ALEXANDRE MENDES CUNHA, HANS FRAMBACH, GUILLAUME GARNER, LARS MAGNUSSON, INGRID MARKUSSEN, FRANK OBERHOLZNER, GORAN RYDEN, MARTEN SEPPEL, KEITH TRIBE, PAUL WARDE

Examinations of the use of diagrams, symbols etc. found as commentary in medieval texts.

A look at how ordinary English men and women responded to the transformations that accompanied the regicide, the creation of a republic, and the rise of the Cromwellian Protectorate.How did ordinary English men and women respond to the transformations that accompanied the regicide, the creation of a republic, and the rise of the Cromwellian Protectorate? This book uncovers grassroots responses to the tangibleconsequences of revolution, delving into everyday practices, social interactions, and power struggles as they intersected with the macro-politics of regime change. Tussles at local alehouses, encounters with excise collectors inthe high street, and contests over authority at the marketplace reveal how national politics were felt across the most ordinary of activities. Using a series of case studies from counties, boroughs, and the London metropolis, Boswell argues that factional discourses and shifting power relations complicated social interaction. Localized disaffection was broadcast in newsbooks, pamphlets, and broadsides, shaping political rhetoric that refashioned grassroots grievances to promote royalist desires. By uniting disparate people who were alienated by the policies of interregnum regimes, this literature helped to create the spectre of a unified, royalist commons that materializedin the months leading up to Charles II's Restoration. Such agitation - from disaffected mutters to ritualistic violence against officials - informed the broad political culture that shaped debates over governance during one of the most volatile decades in British history. CAROLINE BOSWELL is Associate Professor in History at the University of Wisconsin, Green Bay.

The first book to treat both Doblin's novel and the film adaptations of it, which it does while also articulating theories of literary and film montage.Alfred Doblin's novel Berlin Alexanderplatz and its film adaptations by Jutzi and Fassbinder are canonical works of literature and cinema, and yet there is no monograph that treats all three. This omission is even more striking since Doblin's novel is seen as the most famous example of literary appropriation of film montage aesthetics. Mario Slugan addresses this glaring oversight by considering montage in experiential, historic, stylistic, and narratological terms. Starting from the novel argument that montage is best understood as a perceptual experience rather than as a juxtaposition of meaning, Slugan proposes that it was the perceived experiential similarity with Dada photomontage and Soviet montage films rather than any semantic contrast that made contemporary critics identify Berlin Alexanderplatz as the first novel to appropriate film montage. It was the perceived relative absence of montage in the filmings of the novel, moreover, that significantly contributed to their contemporary dismissals as failed adaptations. Slugan argues that both Jutzi's and Fassbinder's films nevertheless present innovative types ofboth visual and sound montage. These, in turn, allow for the articulation of medium-specific traits of film montage as opposed to those of literary montage, including the organization of time and space, the use of ready-made material, and the relation of montage to the figure of the narrator. Mario Slugan is a Marie Sklodowska-Curie Actions Fellow at the Centre for Cinema and Media Studies, Ghent University.

Investigates why the question of women's complicity in National Socialism has struggled to capture the collective imagination, examining how a variety of female authors have conceptualized the role of women in the Third Reich

A groundbreaking study examining major literary treatments of the idea of earthly immortality, throwing into relief fascinating instances of human self-awareness over the past three hundred years.The idea of earthly immortality has a tradition in literature dating to the Gilgamesh epic. But what would it mean to attain such immortality? Answers are suggested in novels and plays that explore the theme using varieties of Borges's "e;rational imagination,"e; often in connection with projections of biology or cybernetics. In this groundbreaking study, Karl S. Guthke examines key works in this vein, throwing into relief fascinating instances of human self-awareness across the last three hundred years. Authors discussed in detail include J. M. Barrie, Calvino, Shaw, Adolfo Bioy Casares, Swift, Aldous Huxley, Walter Besant, Arthur C. Clarke, Wilde, Borges, William Godwin, P. B. and Mary Shelley, Capek, Machado de Assis, Simone de Beauvoir, Martin Amis, Dino Buzzati, Houellebecq, Iris Barry, Saramago, Rushdie, Gabi Gleichmann, and Pascal Mercier. Guthke finds that the fictional triumph over death is only rarely viewed positively, and mostly as a "e;curse"e; - for a variety of reasons. Almost always, however, literary experiments with immortality suggest an alternative: the chance to take our limited lifetime into our own hands, shapingit meaningfully and thereby experiencing "e;a new way of being in the world"e; (Mercier). The fictional immortals reject this challenge, thus depriving themselves of what makes humans human and life worth living. And what that mightbe is also at least hinted at in the works Guthke analyzes. As a result, an aspect of cultural history comes into view that is revealing and stimulating at a time that is, as Der Spiegel put it in 2014, "e;obsessed by the invention of immortality."e; Karl S. Guthke is the Kuno Francke Professor of Germanic Art and Culture, Emeritus, of Harvard University.

The practice and the representation of flaying in the middle ages and after are considered in this provocative collection.

A deeply researched and geographically wide-ranging study that reveals that widows were much more economically and socially active than is often thought.2017 CHOICE Outstanding Academic Title "e;A terrific piece of work"e;. JANE HUMPHRIES, Professor of Economic History and Fellow of All Souls College, University of Oxford Widows are often viewed as being marginalised in society, struggling to make a living and in need of financial and other support. However, as this extensively researched and wide-ranging book reveals, widows did, in fact, engage very effectively in economic activity, often being in charge of families, households and commercial enterprises. The book outlines how extensive widowhood was; examines the provisions made for the support of widows, including in the form of marriage contracts, dowries andcharitable assistance; and provides numerous examples of widows being economically active, paying their way and involving themselves energetically in society - one notable example being Barbe-Nicole Clicquot, who established a very successful company producing La Veuve Clicquot champagne. Using statistical analysis and individual case studies, the book contrasts the situation in different parts of Europe, and between rural and urban areas, and shows how provision for widows both in law and in practice evolved over time. Overall, it contributes a great deal to women's history, helping to correct the image that women were victims of male society, and to family history, showing thatexceptions to the "e;ideal"e; nuclear family were very common. BEATRICE MORING is Associate Professor in the Department of Political and Economic Studies at the University of Helsinki. RICHARD WALL was a Senior Research Fellow in the Department of History at the University of Essex.

Who were the men who officered the Royal Navy in Nelson's day?