This book focuses on the experiences of Tamil-speaking people who have lived through and continue to face conflict and violence in Sri Lanka on a daily basis. It focuses on the years between 2005 and 2007 when the country was facing massive change in the lead up to the defeat of the Liberation Tigers of Tamils Eelam (LTTE). At this time, while violence waxed and waned, intensifying at times and at others casting a dark shadow over daily encounters, people carried on with their lives, negotiating through and around the violence. The way in which the topics in the book flow reflects the author's journey of research and the various issues that became important along the way. Thus, in following the author's experiences through the conflict and the tsunami, the book builds up a larger and richer picture of life in Batticaloa that moves between accounts of everyday violence and suffering. Using ethnographic experiences and narratives collected over twenty-two months between 2004 and 2007, the book argues that to look to the moments of hope and imagination as well as the everyday endurance must constitute a core element of anthropological representations of violence and suffering. This includes highlighting the non-violent spaces or parts of daily life, which are less dramatically framed by violence, and are often lost in contexts of conflict, faded out as weak shadows to the more forceful violence.
The volume encompasses seventeen chapters, each devoted to an individual actor
who represents a diverse aspect of post-war British cinematic stardom. The
approach is one of a cinephile academic and although the time frame ranges from
the 1940s to the 1980s, the focal point is the 1950s. It was in this decade that
the film industry faced increasing competition from television and the
involvement of Hollywood monies in UK-based pictures. By the end of that period,
the ‘star system’ maintained by the Rank Organisation and Associated British
Picture Corporation (ABPC) was being succeeded by independent productions using
Pinewood and Elstree Studios and censorship was being relaxed. Many actors took
the opportunity to escape, or even transcend, their previous casting limitations
or stereotyping. Of the subject matter, Jack Hawkins, John Mills, Kenneth
More are ‘senior leads’, Laurence Harvey and Stanley Baker are ‘younger leads’
and the ‘leading ladies’ section contains chapters on Sylvia Syms and Diana
Dors. ‘The comics’ details the work of Norman Wisdom, Terry-Thomas and Leslie
Phillips. The careers of Sidney James, James Robertson Justice, Margaret
Rutherford and Hattie Jacques are considered in terms of the art of the leading
character actor and the work concludes with tributes to Peter Finch and Peter
It was said that he made many miracles and was called ‘Saint Alberto’.
Annals of Piacenza , 1279
Thus it is that sinners or sick persons go badly astray by casting aside true saints and by praying to one [like Alberto] who cannot intercede for them.
Salimbene de Adam, Chronicle , c . 1285
This book reviews the burial history of central North Yorkshire. In exploring the social history of burial in rural areas, the book aims to encompass some of the principles underpinning 'l'histoire des mentalites'. The book considers the issue of churchyard closure. Churchyard closure generally signalled that burial space was made available elsewhere, and in most cases before 1894 this meant that the churchyard itself had been extended. The book reviews the incidence of churchyard extension, which was commonplace during the nineteenth century. The Burial Acts introduced legislation that permitted vestries to establish burial boards, which could raise loans repayable through the rates to fund the laying out of new cemeteries. In central North Riding, a total of eighteen burial boards were in operation before 1894, and the book reviews in detail the operation of the ten largest boards in that group. The Burial Acts maintained and even strengthened the hold of the Church of England on burial space, by substantially increasing the amount of consecrated land under its control. The book also addresses the contention that the new legislative context for burial in the twentieth century might then introduce the opportunity for a substantial centralisation of burial provision. Finally, the book reviews the pattern of burial provision in 2007 compared with 1850, and concludes that there is evidence of both continuity and change.
Brexit and constitutional politics in Great Britain and Ireland
This chapter analyses the specific constitutional issues that arise for Ireland and the UK after Brexit. It argues that Brexit created a crisis for the UK’s improvised constitution, to the extent even of casting doubt on the continuing integrity of the UK, with renewed calls for independence in Scotland and for Irish unity. This in turn created a significant constitutional challenge for Ireland. While Ireland did not create the crisis, it was faced with its consequences.
This book presents a study of material images and asks how an appreciation of the
making and unfolding of images and art alters archaeological accounts of
prehistoric and historic societies. With contributions focusing on case studies
including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic
Egypt, and including contemporary reflections on material images, it makes a
novel contribution to ongoing debates relating to archaeological art and images.
The book offers a New Materialist analysis of archaeological imagery, with an
emphasis on considering the material character of images and their making and
unfolding. The book reassesses the predominantly representational paradigm of
archaeological image analysis and argues for the importance of considering the
ontology of images. It considers images as processes or events and introduces
the verb ‘imaging’ to underline the point that images are conditions of
possibility that draw together differing aspects of the world. The book is
divided into three sections: ‘Emergent images’, which focuses on practices of
making; ‘Images as process’, which examines the making and role of images in
prehistoric societies; and ‘Unfolding images’, which focuses on how images
change as they are made and circulated. The book features contributions from
archaeologists, Egyptologists, anthropologists and artists. The contributors to
the book highlight the multiple role of images in prehistoric and historic
societies, demonstrating that archaeologists need to recognise the dynamic and
changeable character of images.
This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused. Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends. The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences. Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.
Refiguring childhood stages a series of encounters with biosocial power, which is a specific zone of intensity within the more encompassing arena of biopower and biopolitics. Assembled at the intersection of thought and practice, biosocial power attempts to bring envisioned futures into the present, taking hold of life in the form of childhood, thereby bridging being and becoming while also shaping the power relations that encapsulate the social and cultural world(s) of adults and children. Taking up a critical perspective which is attentive to the contingency of childhoods – the ways in which particular childhoods are constituted and configured – the method used in the book is a transversal genealogy that moves between past and present while also crossing a series of discourses and practices framed by children’s rights (the right to play), citizenship, health, disadvantage and entrepreneurship education. The overarching analysis converges on contemporary neoliberal enterprise culture, which is approached as a conjuncture that helps to explain, and also to trouble, the growing emphasis on the agency and rights of children. It is against the backdrop of this problematic that the book makes its case for refiguring childhood. Focusing on the how, where and when of biosocial power, Refiguring childhood will appeal to researchers and students interested in examining the relationship between power and childhood through the lens of social and political theory, sociology, cultural studies, history and geography.
Victorian touring actresses: Crossing boundaries and negotiating the cultural
landscape provides a new perspective on the on- and offstage lives of women
working in nineteenth-century theatre, and affirms the central role of touring,
both within the United Kingdom and in North America and Australasia. Drawing on
extensive archival research, it features a cross-section of neglected performers
whose dramatic specialisms range from tragedy to burlesque. Although they were
employed as stars in their own time, their contribution to the industry has
largely been forgotten. The book’s innovative organisation follows a natural
lifecycle, enabling a detailed examination of the practical challenges and
opportunities typically encountered by the actress at each stage of her working
life. Individual experiences are scrutinised to highlight the career
implications of strategies adopted to cope with the demands of the profession,
the physical potential of the actress’s body, and the operation of gendered
power on and offstage. Analysis is situated in a wide contextual framework and
reveals how reception and success depended on the performer’s response to the
changing political, economic, social and cultural landscape as well as to
developments in professional practice and organisation. The book concludes with
discussion of the legacies of the performers, linking their experiences to the
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.