Wolters Kluwer Legal & Regulatory U.S.
Wolters Kluwer Law & Business delivers expert content and solutions in the areas of law, corporate compliance, health compliance, reimbursement, and legal education.
View Rights PortalWolters Kluwer Law & Business delivers expert content and solutions in the areas of law, corporate compliance, health compliance, reimbursement, and legal education.
View Rights PortalFocusing on experiential life stories across a range of forms and practices, this book investigates subjectivity, culture and the cultural politics of representation as a neglected dimension of conflict transformation in the Northern Irish peace process. Interdisciplinary critical perspectives from historical cultural studies, oral history and popular-memory theory inform close interpretive engagement with life stories in their cultural, historical and geographical contexts. This enables exploration of the complex temporal dynamics of 'post-conflict' subjectivities in the lengthening 'afterlife' of the Troubles, where feelings attached to conflict experiences are not 'past' but haunt the present, and memory-work carries future-oriented desires for truth, justice and reconciliation. Through case studies responding to the evolving peace process through this prism of life-storytelling, Afterlives maps a contested history of legacy policy-making and approaches to 'dealing with the past', from devolution in 2005-7 through to the Legacy and Reconciliation Act of 2023.
This book investigates the legacies of British slavery beyond Britain, focusing upon the colonisation of Australia and New Zealand, and explores why this history has been overlooked. After August 1833, when the British Parliament abolished slavery in the British Caribbean, Mauritius and the Cape, the former slave-owners were paid compensation for the loss of their 'property'. New research has begun to show that many beneficiaries had ties to other parts of the British Empire, including the settler colonies of Australia, New Zealand, Canada and South Africa. Through a range of case studies, contributors to this collection trace the movement of people, goods, capital, and practices from the Caribbean to the new Australasian settler colonies. Chapters consider a range of places, people and themes to reveal the varied ways that slavery continued to shape imperial relationships, economic networks, and racial labour regimes after 1833.
Through close readings of almost twenty autobiographies written after the break-up of the British Empire, the book examines how individuals engage with the changing narrative landscape brought about by decolonisation. It considers the autobiographies less for what they may teach us about the moment remembered and more as windows on the act of remembering. This adds a crucial dimension to our understanding of the legacies of colonialism and how the ongoing process of decolonisation is reflected on the level of the individual. It argues that autobiographers are at once influenced by and seek to influence the cultural memory of empire and its legacies, and the authors' own position in both. Situated at the intersection of imperial/decolonisation history, memory studies, and life writing studies, the book uncovers this intimate afterlife of empire.
Colonial governments, institutions and companies recognised that in many ways the effective operation of the Empire depended upon sexual arrangements. For example, nuclear families serving agricultural colonization, and prostitutes working for single men who powered armies and plantations, mines and bureaucracies. For this reason they devised elaborate systems of sexual governance, such as attending to marriage and the family. However, they also devoted disproportionate energy to marking and policing the sexual margins. In Sex, Politics and Empire, Richard Phillips investigates controversies surrounding prostitution, homosexuality and the age of consent in the British Empire, and revolutionises our notions about the importance of sex as a nexus of imperial power relations.
The rule of law, an ideology of equality and universality that justified Britain's eighteenth-century imperial claims, was the product not of abstract principles but imperial contact. As the Empire expanded, encompassing greater religious, ethnic and racial diversity, the law paradoxically contained and maintained these very differences. This book revisits six notorious incidents that occasioned vigorous debate in London's courtrooms, streets and presses: the Jewish Naturalization Act and the Elizabeth Canning case (1753-54); the Somerset Case (1771-72); the Gordon Riots (1780); the mutinies of 1797; and Union with Ireland (1800). Each of these cases adjudicated the presence of outsiders in London - from Jews and Gypsies to Africans and Catholics. The demands of these internal others to equality before the law drew them into the legal system, challenging longstanding notions of English identity and exposing contradictions in the rule of law.
Providing fresh insights from the archival record, Who governs Britain? revisits the 1970-74 Conservative government to explain why the Party tried - and failed - to reform the system of industrial relations. Designed to tackle Britain's strike problem and perceived disorder in collective bargaining, the Industrial Relations Act 1971 established a formal legal framework to counteract trade union power. As the state attempted to disengage from and 'depoliticise' collective bargaining practices, trade union leaders and employers were instructed to discipline industry. In just three-and-a-half years, the Act contributed to a crisis of the British state as industrial unrest engulfed industry and risked undermining the rule of law. Warner explores the power dynamics, strategic errors and industrial battles that destroyed this attempt to tame trade unions and ultimately brought down a government, and that shape Conservative attitudes towards trade unions to this day.
"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture.
Hitchcock's professed disdain for actors is belied by the extraordinary range and depth of performances featured in his films. It might even be argued that many stars gave their richest and most complex performances in his work. Hitchcock's films are also imbued with the theme of performance, as when his fugitive men and errant women assume fragile new identities and move between roles. Actors and other performers also often feature as characters. However, the exhaustive academic literature on Hitchcock has to date produced surprisingly little work about acting and performance in his films. The collection includes contributions from a range of leading scholars on Hitchcock, performance, stardom, and British Cinema, including Charles Barr, David Greven, Mark Glancy, Lucy Bolton, Lawrence Napper and Michael Williams, and an interview with leading composers/accompanists Neil Brand and Stephen Horne on scoring performance in Silent Hitchcock.
The debate about the Empire dealt in idealism and morality, and both sides employed the language of feeling, and frequently argued their case in dramatic terms. This book opposes two sides of the Empire, first, as it was presented to the public in Britain, and second, as it was experienced or imagined by its subjects abroad. British imperialism was nurtured by such upper middle-class institutions as the public schools, the wardrooms and officers' messes, and the conservative press. The attitudes of 1916 can best be recovered through a reconstruction of a poetics of popular imperialism. The case-study of Rhodesia demonstrates the almost instant application of myth and sign to a contemporary imperial crisis. Rudyard Kipling was acknowledged throughout the English-speaking world not only as a wonderful teller of stories but as the 'singer of Greater Britain', or, as 'the Laureate of Empire'. In the last two decades of the nineteenth century, the Empire gained a beachhead in the classroom, particularly in the coupling of geography and history. The Island Story underlined that stories of heroic soldiers and 'fights for the flag' were easier for teachers to present to children than lessons in morality, or abstractions about liberty and responsible government. The Education Act of 1870 had created a need for standard readers in schools; readers designed to teach boys and girls to be useful citizens. The Indian Mutiny was the supreme test of the imperial conscience, a measure of the morality of the 'master-nation'.
Stage rights! explores the work and legacy of the first feminist political theatre group of the twentieth century, the Actresses' Franchise League. Formed in 1908 to support the suffrage movement through theatre, the League and its membership opened up new roles for women on stage and off, challenged stereotypes of suffragists and actresses, created new work inspired by the movement and was an integral part of the performative propaganda of the campaign. Introducing new archival material to both suffrage and theatre histories, this book is the first to focus in detail on the Actresses' Franchise League, its membership and its work. The volume is formulated as a historiographically innovative critical biography of the organisation over the fifty years of its activities, and invites a total reassessment of the League within the accepted narratives of the development of political theatre in the UK.
Aus dem amerikanischen Englisch von Charlotte Lungstrass-Kapfer