Search results
This book traces the creation, maintenance, and contestation of the militarized environments from the establishment of France's first large-scale and permanent army camp on the Champagne plains in 1857, to military environmentalism in the first decade of the twenty-first century. In doing so, it focuses on the evolving and profoundly historical relationship between war, militarization, and the environment. The book treats militarized environments as simultaneously material and cultural sites that have been partially or fully mobilized to achieve military aims. It focuses on the environmental history of sites in rural and metropolitan France that the French and other militaries have directly mobilized to prepare for, and to wage, war. They include such sites as army camps, weapons testing facilities, and air bases, as well as battlefields and other combat zones, but not maritime militarized environments, which arguably deserve their own book. First World War cemeteries and the memorial landscapes of the D-Day beaches remain places of international importance and serve as reminders of the transnational character of many French militarized environments. And although the book focuses on the environmental history of militaraization within metropolitan France, it speaks to issues that mark militarized environments across the globe, such as civilian displacement, anti-base protests, and military environmentalism. By focusing on the French case, the author aims to encourage reflection and discussion on the global issue of military control and use of the environment.
and dialogism, interpolated semiospheres and speech genres. Eccentric creative consciousness is marked by the many contradictions inherent in being cast on the margins of paradoxically marginocentric geo-cultural sites. Rather than primarily defined by diachronic development and disruption, eccentric consciousness is configured by the subject’s and city’s displacement and delay, digression and deviance. Time and memory are still disrupted, but also delayed, doubled and creatively distorted through transposition and translation. Divided consciousness is marked as
the music’ (4.1.7–8), as well as chatty, ‘loud and commanding’ (l. 9) females), Morose despairs, ‘That I should be seduced by so foolish a devil as a barber will make!’ (4.4.3–4). This chapter examines the barber’s shop as a sound-marked, cultural site of acoustic performance and practice and investigates how ears were treated, entertained and abused in barbery settings. Contemporary anthitheatricalists’ condemnation of the theatre as a frivolous acoustic space corresponds to critiques of the barber’s shop as an inevitably noisy environment, and I am interested in
identity lay in its conforming to pervading scientific, social and political paradigms of the era that supported the concept of unilinear evolution, and ultimately colonial authority. This intersection between ethnographic exhibition and colonisation is the key theme of this chapter. While considering Maori material culture more broadly, it focuses on the place of Maori historical and cultural sites, and
Jacobean panegyric must rethink impoverished models of textual production and transmission that posit panegyric as little more than propaganda produced by poets who tell James what he wants to hear in the hope of securing royal patronage. Crucial, here, is attention to the material contexts of Jacobean panegyric, including forms of textual production (print and manuscript cultures), the various cultural sites from which panegyric emerged and within which it circulated (country houses, civic functions, social/literary networks/coteries) as well as the role textual culture
‘The 10th of June, 1854, promises to be a day scarcely less memorable in the social history of the present age than was the 1st of May, 1851’ boasted the Chronicle on 10 June 1854, comparing the opening of the Crystal Palace, newly installed on the crown of Sydenham Hill, to that of the Great Exhibition. Many contemporary commentators deemed the Sydenham Palace’s contents superior, the building more spectacular and its educative potential much greater than its predecessor. Yet their predictions proved to be a little wide of the mark, and for a long time, studies of the Great Exhibition of 1851 have marginalised the Sydenham Palace. This collection of essays will look beyond the chronological confines of 1851 and address the significance of the Crystal Palace as a cultural site, image and structure well into the twentieth century, even after it was destroyed by fire in 1936.
Eccentric creative consciousness is marked by the many contradictions inherent in being cast on the margins of paradoxically marginocentric geo-cultural sites. This book seeks to bring greater clarity to discrete urbane architectonics of modernist literature within a distended Western (including Slavic and Latin American) tradition. It traces different slants of the rational plane in modernist fictions by rupturing, deconstructing and reconstructing consciousness along differently temporalized and spatialized axes respectively aligned with concentric and eccentric cultural construction. The book redefines some of the dimensions, dynamics, creative capacities and critical contributions of discrete literary modernisms - concentric, but especially, eccentric. A distinction is made between pathologically memoried and mad (particularly manic and paranoid schizophrenic) modes of cultural consciousness, concentrated in reflexive citytexts respectively located at the centre of European modernism. The book re-examines the development of literal and literary landscapes underpinning paranoid schizophrenic constructions of eccentric consciousness in Nikolai Gogol's and Fyodor Dostoevsky's Petersburg tales and Joaquim Maria Machado de Assis's Rio narratives. It reconsiders these works as critical and creative responses to urbane European genres as well as earlier strains of Russian and Brazilian literary and artistic representation. The book focuses on eccentric consciousnesses framing the hallucinated cities drawn by writers including Andrei Bely, Mario de Andrade, Mikhail Bulgakov, Osman Lins, Clarice Lispector and Liudmila Petrushevskaya.
The last decade has seen a diffusion of the Gothic across a wide range of cultural sites, a relative explosion of Gothic images and narratives prompting a renewed critical interest in the genre. However, very little sustained attention has been paid to what we might term 'Gothic television' until this point. This book fills this gap by offering an analysis of where and how the genre might be located on British and US television, from the start of television broadcasting to the present day. In this analysis, Gothic television is understood as a domestic form of a genre which is deeply concerned with the domestic, writing stories of unspeakable family secrets and homely trauma large across the television screen. The book begins with a discussion on two divergent strands of Gothic television that developed in the UK during the 1960s and 1970s, charting the emergence of the restrained, suggestive ghost story and the effects-laden, supernatural horror tale. It then focuses on the adaptation of what has been termed 'female Gothic' or 'women's Gothic' novels. The book moves on to discuss two hybrid forms of Gothic drama in the 1960s, the Gothic family sitcoms The Munsters and The Addams Family, and the Gothic soap opera Dark Shadows. Finally, it looks at some recent examples of Gothic television in the United States, starting with a discussion of the long-form serial drama, Twin Peaks, as the initiator of a trend for dark, uncanny drama on North American television.
This book presents an examination of the nexus between empire and colonial identity. Exploring the politics of history-making and interest in preserving the material remnants of the past in late nineteenth and early twentieth century colonial society, it covers indigenous pasts, as well as those of European origin. While the focus is on New Zealand, the book examines Australian and Canadian experiences to analyse the different groups and political interests. It seeks to highlight the complex network of separate and often conflicting influences upon national identity, ranging from the individual, to the community, to the national, to the transnational. The book begins by analysing the intersection between ethnographic exhibition and colonisation. While considering Maori material culture more broadly, it focuses on the place of Maori historical and cultural sites, and immovable material culture, within tourism, exhibition, and museum practice. The Centennial was a major step towards the creation of nation and the breaking down of regional parochialisms. Considering the place of history and heritage in early twentieth-century Australia and Canada alongside that of New Zealand, a number of things become clear. As New Zealand became an increasingly urbanised country, the mnemonic significance of the distant racial frontier of the early colonial period and the New Zealand Wars was trumped by the remnants of European history in the landscape. Port Arthur offers a valuable window into local attitudes to the historical fabric, originating with the small community so dependent upon the visitors the site brought in.
Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.
This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.