The publishing programme at Royal Collection Trust aims to create the highest-quality books, exhibition catalogues, guides and children's books to celebrate the royal residences and the works of art found within them. Our list includes beautifully produced printed books, apps and online catalogues and symposia. We also publish scholarly catalogues raisonnés, which demonstrate the highest standards of academic research.
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Global Collective Publishers, based in Philadelphia, Pennsylvania, is an independent publisher whose mission is to provide a platform for voices from around the world, crossing the borders of language, culture, religion, and gender, and to create a space where diverse communities can share and exchange stories that express their individual and shared sense of humanity through a variety of literary genres in fiction and non-fiction. In a world that feels increasingly more alienating, it is our aim to work towards dispelling the fear of the other and stand against literature of hatred, embracing the shared human experience in its myriad textures and voices through a curiosity-driven life. Global Collective is committed to publishing across a diverse landscape of fiction and non-fiction, in the areas of religion and spirituality, personal growth and self-transformation, gender and LGBT+ studies, social awareness, art and cinema. Global Collective takes to heart Booker Prize winner Ben Okri’s assertion that “stories can conquer fear… they can make the heart bigger.”Global Collective Publishers seeks unique and extraordinary literature that satiates our desire to gain a deeper understanding of the world around us and to discover points of commonality amongst our differences where words have no borders.
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Since the Second World War and the formalisation of the international refugee regime, forced displacement has been marked by a set of aesthetic, practical, and institutional concerns. Understanding Displacement Aesthetics examines how visual culture and art practice constructs and challenges ideas about forced displacement and refugees. The novel framework for 'displacement aesthetics' moves beyond conventional understandings of aesthetics as merely representational, demonstrating the entanglement of visual culture, art practices, and forced displacement in postmigrant contexts. Bringing together the fields of cultural history, art history, and curatorial studies, Understanding Displacement Aesthetics identifies four areas for consideration: visual tropes of refugeedom; language and identity; institutional and artistic responses to displacement; and lived experiences of artists with backgrounds of displacement. Through archival research, visual culture and art, interviews, and collaborative curatorship, Understanding Displacement Aesthetics offers new insight into overcoming the limitations that contexts of displacement can present for artists, art galleries and institutions addressing refugeedom and its legacies.
This groundbreaking volume brings together scholars from across the globe to discuss the infrastructure, energy, housing, safety and sustainability of African cities, as seen through local narratives of residents. Drawing on a variety of fields and extensive first-hand research, the contributions offer a fresh perspective on some of the most pressing issues confronting urban Africa in the twenty-first century. At a time when the future of the region as a whole will be determined in large part by its cities, the implications of these developments are profound. With case studies from cities in Ethiopia, Kenya, Malawi, Niger, Nigeria, South Africa and Tanzania, this volume explores how the rapid growth of African cities is reconfiguring the relationship between urban social life and its built forms. While the most visible transformations in cities today can be seen as infrastructural, these manifestations are cultural as well as material, reflecting the different ways in which the city is rationalised, economised and governed. How can we 'see like a city' in twenty-first-century Africa, understanding the urban present to shape its future? This is the central question posed throughout this volume, with a practical focus on how academics, local decision makers and international practitioners can collaborate to meet the challenge of rapid growth, environmental pressures and resource gaps.
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The ABC of the projectariat contributes new thinking on and practical responses to the widespread problem of precarious labour in the field of contemporary art. It works as both a critical analysis and a practical handbook, speaking to and about the vast cohort of artistic freelancers worldwide. In an accessible ABC format, the book strikes a unique balance between the practical and the theoretical: the analysis is backed up by lived experience, the arguments are rooted in concrete examples and there are suggestions for constructive action. Roughly half of the entries expose the structural underpinnings of projects and circulation, isolating traits such as opportunism, neoliberalism, inequality, fear and cynicism at the root of the condition of the projectariat. This discussion is paired with a practical account of different modes of action, such as art strikes, productive withdrawals, political struggles and better social time machines. Just as proletarians had nothing to lose but their chains, the projectarians have nothing to miss but their deadlines.
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The Republic of Letters emerged during the seventeenth century as a concept to describe the interaction between scholars across Europe and beyond. While the concept was an imaginary one, it was firmly grounded in a reality of close circles of interaction between intellectuals, which had always existed but which was now endowed with a renewed sense of collaboration and participation within this community without barriers of statehood or creed. These fifteen essays explore differing aspects of collaboration and interdisciplinarity in the context of the radical change in mindset that the emergence of the Republic of Letters had fostered. Essays deal with French and English theatre, travel writing, the identity of the woman writer, the nature and function of gossip, scholarly interaction, and political and theological ideologies. The concluding essay provides a synthesis of the nature of seventeenth-century scholarship. The volume offers new insights into the mechanisms and workings of the Republic of Letters and charters the transition of scholarly pursuit being classified, even by some scholars themselves, as a solitary and sometimes pedantic pursuit to the notion of a network of ideas and interchange. This self-identification with a transnational league which knew no limits of geography, resources, gender or class marks a radical transition in the history of ideas and was to have far-reaching consequences, solidly preparing the way for the Enlightenment.
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„Heilige Pachamama!“ Wie sind Poldi und seine Partner denn da schon wieder reingeraten? Eigentlich wollten sie nur Herrchen Tommi dabei helfen, ein paar Tiere zu retten. Und dann treiben sie plötzlich in Gesellschaft eines Alpakas mitten auf dem Wasser. Zum Glück hat ihr neuer Freund Orlando ein klares Ziel: nach Südamerika soll es gehen, denn da erwartet die Freunde ein großer Schatz! Dann mal ahoi!
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Schrei um dein Leben – niemand wird dich hören! Ein toter Obdachloser in Berlin. Eine reiche Frau mit einem besonderen Interesse an der Aufklärung des Falles. Ein schwerkranker Bandenchef inmitten eines Krieges zweier tschetschenischer Verbrechersyndikate. Und ein BND-Agent mit undurchsichtigen Zielen und Absichten … Helena Groß, Ex-Profikillerin des KGB, hat ihre blutige Vergangenheit endgültig hinter sich gelassen. Sie arbeitet jetzt als Privatermittlerin. Doch dann übernehmen sie und ihr Partner, der Anwalt Maximilian Storm, den vermeintlichen Routinefall des toten Obdachlosen. Bei ihren Recherchen stechen sie in ein wahres Wespennest. Ihre Gegner sind skrupellose Mörder, die in ihrer Gier nach Macht und Geld gnadenlos jeden beseitigen werden, der sich ihnen in den Weg stellt – auch Helena und Maximilian … "Die verlorenen Schreie" ist der zweite Band der Thrillerserie rund um die ebenso geheimnisvolle wie tödliche Helena Groß und den ehemaligen Staranwalt Maximilian Storm. Ungekürzt gelesen von Viola Müller und Stephan Benson
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Ein neues, tierisch witziges Abenteuer von „Mein Lotta-Leben"-Autorin Alice Pantermüller: ideal zum Lesen und Vorlesen Platsch! Meerschweinchen Poldi traut seinen Augen nicht: Plötzlich schwimmt da ein flauschiges Etwas in der Badewanne neben seinem Gehege. Wo im Himmel kommt das kleine Tier nur her? Während Schildkröte Serafine das niedliche Wollknäuel am liebsten adoptieren möchte, wittert Äffchen Parker sofort ein großes Abenteuer. Das kleine Ding kommt bestimmt aus dem Dschungel! Und dahin müssen Poldi und seine Partner es unbedingt zurückbringen. Koste es, was es wolle! Doch das ist gar nicht so einfach. Denn weder kennen sie den Weg zum Dschungel noch ahnen die Freunde, welch großer Tier-Verschwörung sie auf der Spur sind.
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This volume of new, spellbinding essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, featuring new perspectives on their collaboration. Featuring essays by leading scholars of Hitchcock's work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and the contribution that Herrmann's work brings to Hitchcock's idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the essays explore approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann's work with Hitchcock brought to this body of films, examining the significance, meanings, histories and enduring legacies of one of film history's most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the book explores the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways in which such partnerships inspire later work.
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The present volume emerges from a practice-based research that focuses on experiences of migration and border crossing during what are perceived as existential 'turning points' by the protagonists themselves. It recognizes the fundamental role that imagination plays in people's perceptions of reality, in their decisions and actions, and finally in the way they narrate their experiences. As a consequence, it makes a stance for ethnographic practice to include more creative and collaborative methodologies in order to explore such intangible and unstructured realms of existence. In particular, this ethnography developed theoretically and methodologically in close collaboration with a group of Egyptian men who crossed the Mediterranean Sea in search of better living opportunities in Italy, by engaging them through a range of the co-creative processes such as theatre improvisations, storytelling practices, collaborative filmmaking and participatory animation.
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The history of contemporary art is also a history of its newsletters, manifestos, magazines, pamphlets, and journals. Those periodical publications do not simply communicate or record ideas but have worked in exciting ways to shape art's practices, histories and communities. As a new generation of artists, activists and scholars seek to uncover the histories of alternative publishing and artistic networks, this book gathers original archival discoveries while offering methodologies for studying and thinking with those artefacts. As the first essay collection to focus on the periodical art press and the ways we study it, Counter print offers readers an alternative route into the past fifty years of contemporary art, one that is defiantly collaborative, border crossing and disruptive.
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Knowing COVID-19 demonstrates how researchers in the humanities shone a light on some of the many hidden problems of COVID-19, in the very depths of the pandemic crisis. Drawing on eight COVID-19 research projects, the volume shows how humanities researchers, alongside colleagues in the clinical and life sciences, addressed some of the major critical unknowns about this new infectious disease - from the effects of racism to the risks of deploying shame; from how to design an effective instructional leaflet to how to communicate effectively to bus passengers. Across eight novel case studies, the book showcases how humanities research during a pandemic is not only about interpreting the crisis when it has safely passed, but how it can play a vital, collaborative and instrumental role as events are still unfolding.
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This book is concerned with the complexities of defining 'place', of observing and 'seeing' place, and how we might write a poetics of place. From Kathy Acker to indigenous Australian poet Jack Davis, the book touches on other writers and theorists, but in essence is a hands-on 'praxis' book of poetic practice. The work extends John Kinsella's theory of 'international regionalism' and posits new ways of reading the relationship between place and individual, between individual and the natural environment, and how place occupies the person as much as the person occupies place. It provides alternative readings of writers through place and space, especially Australian writers, but also non-Australian. Further, close consideration is given to being of 'famine-migrant' Irish heritage and the complexities of 'returning'. A close-up examination of 'belonging' and exclusion is made on a day-to-day basis. The book offers an approach to creating poems and literary texts constituted by experiencing multiple places, developing a model of polyvalent belonging known as 'polysituatedness'. It works as a companion volume to Kinsella's earlier Manchester University Press critical work, Disclosed Poetics: Beyond Landscape to Lyricism.
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Empirical art: Filmmaking for fieldwork in practice is an insightful exploration of what the craft of filmmaking brings to social science research. Providing creative avenues on how to narrate encounters, relationships, and experiences during fieldwork, this comprehensive volume offers a rich tapestry of theoretical explorations and explorative methodologies. Skilfully connecting the worlds of ethnography, art and cinema, the contributors in this book act as a compass for filmmakers and researchers venturing to use a camera and microphone to relate and narrate their research collaborations and fieldsites. Drawing from the authors' extensive experience in disciplines like social anthropology, environmental humanities, and political science, "Empirical Art" breaks down the intricate process of crafting ethnographic films that departs from the researcher's subjectivity. Covering aspects of filmmaking from conceptualisation to production and distribution, readers are equipped with a treasure trove of collaborative techniques, innovative approaches, and ethical considerations necessary to generate and examine storytelling practices in contemporary fields of study. The authors discuss the significance of the multiple roles that technologies of filmmaking play in reflecting on cultural practices, social dynamics, and (beyond) human storytelling and their transformative potentials. Whether a seasoned filmmaker, an aspiring ethnographer, or an academic seeking new dimensions for their research, Empirical Art serves as a guide to integrating visual storytelling, cinema craft and empirical research.
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Charting a collaborative art-based project using carpet-making skills and the industrial heritage of the region, the book investigates how a cleaved ex-industrial community used arts methodologies as a cohesion strategy. Drawing on images from the company's archives, the book mines the history of Firths Carpets Limited, a firm that carpeted interiors across the globe from the mid-1800s. Women's labour and tastes were business critical to the production and sale of Firths carpets. Drawing on the author's personal connection to the village, an ethnographic sensibility and novel research techniques, ex-worker responses to a village radically altered by ruination are explored. Ex-workers felt nostalgia for the dignity of work and a sense of homesickness in a village ghosted by industrial spectres of the past. Threads of Labour argues that left-behind deindustrialised places require acts of social re-making if their communities are to survive.
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