Jürgen Markowitz unternimmt zum ersten Mal den Versuch, den bisher recht unspezifisch gebrauchten Begriff der Situation systematisch zu entfalten. Seine Hauptgesichtspunkte entstammen der phänomenologischen Soziologie und der funktionalistischen Systemtheorie.
Graveyard Gothic is the first sustained consideration of the graveyard as a key Gothic locale. This volume examines various iterations of the Gothic graveyard (and other burial sites) from the eighteenth century to the twenty-first, as expressed in numerous forms of culture and media including poetry, fiction, TV, film and video games. The volume also extends its geographic scope beyond British traditions to accommodate multiple cultural perspectives, including those from the US, Mexico, Japan, Australia, India and Eastern Europe. The seventeen chapters from key international Gothic scholars engage a range of theoretical frameworks, including the historical, material, colonial, political and religious. With a critical introduction offering a platform for further scholarship and a coda mapping potential future critical and cultural developments, Graveyard Gothic is a landmark volume defining a new area of Gothic studies.
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Europe's great colonial empires have long been a thing of the past, but the memories they generated are still all around us. They have left deep imprints on the different memory communities that were affected by the processes of establishing, running and dismantling these systems of imperial rule, and they are still vibrant and evocative today. This volume brings together a collection of innovative and fresh studies exploring different sites of imperial memory - those conceptual and real places where the memories of former colonial rulers and of former colonial subjects have crystallised into a lasting form. The volume explores how memory was built up, re-shaped and preserved across different empires, continents and centuries. It shows how it found concrete expression in stone and bronze, how it adhered to the stories that were told and retold about great individuals and how it was suppressed, denied and neglected. ;
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»Erst wenn schließlich auch die Werbeblöcke gestrichen werden,« so eine zuverlässige Faustregel, »ist die Sache wirklich ernst.« Eine weltmachterschütternde Kamikaze-Aktion oder wenigstens ein rekordverdächtiger Amoklauf vor der eigenen Haustür – es muß knüppeldick kommen, um die tägliche Infotainment-Maschinerie aus dem Takt zu bringen. »Das System, in dem wir leben«, ist auf den ersten Blick mehr ein mediales als ein politisch-ökonomisches. Auf den zweiten Blick ist beides identisch. In »Angela Davis löscht ihre Website« verbinden sich politisches Denken und Pop, der forcierte Blick auf die Gegenwarts-Oberfläche und dessen ständige Infragestellung vor dem Hintergrund der Historie auf. »Vortäuschung falscher Tatsachen«, so die Frage, »oder Vortäuschung richtiger Tatsachen?« Schwer zu durchschauen – gerade angesichts von Gewalt und kriegerischer Auseinandersetzung und ihren jeweiligen Rechtfertigungen –, was Realität ist, was Medienrealität, was auslösende Gewalt, was angeblich gerechte »Vergeltung der Vergeltung der Vergeltung«. »Gibt es die neue Weltordnung schon?« In »Angela Davis löscht ihre Website« geht es um nichts Geringeres als um »das Zeitalter, in dem wir leben/ die Epoche, in der wir leben«, in der Gegensätze und Haltungen mitunter ununterscheidbar geworden sind; Veronas Welt und Sofies Welt stehen ebenso selbstverständlich nebeneinander wie MTV und CNN. »Kriegsfilm?/ Antikriegsfilm?/ Kriegsberichterstattung?« heißt es wiederholt aus dem Off, denn es gilt die unmißverständliche Losung: »seit 5 Uhr 45 wird zurückgefragt.«
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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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Stockholm, November 1956, das Jahr, in dem Truppen des Warschauer Pakts den Aufstand in Ungarn niederschlagen und westliche Truppen den Suezkanal besetzen: Einen Tag lang folgt Peter Weiss in diesem Roman Schriftstellern, Schauspielern, Malern und Journalisten bei ihrem Bemühen, angesichts des Weltgeschehens Stellung zu beziehen, die allgemeine, die künstlerische und die private Situation zu bestimmen. Peter Weiss macht sich wie in kaum einem anderen seiner Prosawerke die Perspektive ganz unterschiedlicher Menschen zu eigen. Unverkennbar sind dem Roman Züge aus dem Leben des seit 1940 in Stockholm arbeitenden Autors eingeschrieben.
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Dieser Essay wurde gegen Ende 1939 fertiggestellt, kaum zwei Jahre nach der Veröffentlichung des ersten großen Werkes von Talcott Parsons: The Structure of Social Action. Als ein Kompendium der dort begründeten »Theorie des Handelns« sucht es deren systematischen Gehalt zu explizieren und weiterzuentwickeln. Es knüpft unmittelbar an das dort gestellte Problem der sozialen Ordnung und dessen Lösungsversuch an. Soziale Integration sollte demnach durch gemeinsame, interindividuell geteilte Wertorientierungen garantiert sein. In diesem Essay nun wird der dieser Konzeption von Ordnung zugrundeliegende Handlungsbegriff präzisiert: Handeln ist die durch normative Muster vermittelte »Orientierung« eines Aktors an seiner Situation.
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This edited book provides a valuable, unique and scholarly contribution to the study of Black families (African and African Caribbean) in the UK. It combines a systematic yet clear-headed approach with up-to-date and well-researched data to support its many stimulating assertions. All fifteen contributors (including academics, arts practitioners and community activists) are of African or African Caribbean descent and approach their subject matter with a dedicated 'hands-on' feel. Their committed approach is supported by empirical research and comprehensive review of the literature. With chapters on social policy, education, music, sports, social exclusion, racism, religion and spirituality, this book will become the essential text about UK families of African/Caribbean descent for higher education students, professionals, practitioners and the general reader. It will also appeal to professional organisations working with Black individuals and families. ;
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Curating empire explores the diverse roles played by museums and their curators in moulding and representing the British imperial experience. This collection demonstrates how individuals, their curatorial practices, and intellectual and political agendas influenced the development of a variety of museums across the globe. Taken together, these contributions suggest that museums are not just sites for accessing history but need to be considered as historical sites of significance in themselves. Individual essays examine the work of curators in museums in Britain and the colonies, the historical display and interpretation of empire in Britain, and the establishment of 'museum networks' in the British imperial context. Curating empire sheds new light on the relationship between museums, as repositories for objects and cultural institutions for conveying knowledge, and the politics of culture and the formation of identities throughout the British Empire. ;
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Curating empire explores the diverse roles played by museums and their curators in moulding and representing the British imperial experience. This collection demonstrates how individuals, their curatorial practices, and intellectual and political agendas influenced the development of a variety of museums across the globe. Taken together, these contributions suggest that museums are not just sites for accessing history but need to be considered as historical sites of significance in themselves. Individual essays examine the work of curators in museums in Britain and the colonies, the historical display and interpretation of empire in Britain, and the establishment of 'museum networks' in the British imperial context. Curating empire sheds new light on the relationship between museums, as repositories for objects and cultural institutions for conveying knowledge, and the politics of culture and the formation of identities throughout the British Empire.
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Not a single soul as far as the eye can see. Just sea, cliffs and the beach. And a lighthouse. It’s a wondrously beautiful place – not that Airin has a chance to enjoy it. The lighthouse has been converted into a cosy living space available for rent, and 24-year-old Airin has to look after the property while at the same time running her own bed and breakfast in Castledunn. It’s a lot of work for one person, but normally everything runs smoothly. Until Joshua, the nephew of the lighthouse owner, moves in. Arrogant and priggish, he complains ceaselessly about everything. Airin feels like strangling him. Or kissing him. Who cares, just as long as he stops talking! 16+ years The third volume of a unique romance trilogy about three young women, a lighthouse and love. All titles can be read separately! Rousing characters and a fine dry humor For all fans of Mona Kasten, Laura Kneidl and Colleen Hoover! More than 60.000 copies of this series were sold!
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Making a bold intervention into critical security studies literature, this book explores the ontological relationship between mortality and security. It considers the mortality theories of Heidegger and Bauman alongside literature from the sociology of death, before undertaking a comparative exploration of the memorialisation of four prominent post-terrorist sites: the World Trade Centre in New York, the Bali bombsite, the London bombings and the Norwegian sites attacked by Anders Breivik. By interviewing the architects and designers of these reconstruction projects, the book shows that practices of memorialisation are a retrospective security endeavour - they conceal and re-narrate the traumatic incursion of death. Disaster recovery is replete with security practices that return mortality to its sublimated position and remove the disruption posed by mortality to political authority. The book will be of significant interest to academics and postgraduates working in the fields of critical security studies, memory studies and international politics.
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The international exhibitions held around the world between 1851 and 1939 were spectacular gestures, which briefly held the attention of the world before disappearing into an abrupt oblivion, of the victims of their planned temporality. Known in Britain as Great Exhibitions, in France as Expositions Universelles and in America as World's Fairs, the genre became a self-perpetuating phenomenon, the extraordinary cultural spawn of industry and empire. Thoroughly in the spirit of the first industrial age, the exhibitions illustrated the relation between money and power, and revelled in the belief that the uncontrolled expression of that power was the quintessence of freedom. Philanthropy found its place on exhibition sites functioning as a conscience to the age although even here morality was inextricably linked to economic efficiency and expansion. Imperial achievement was celebrated to the full at international exhibitions. Nevertheless, most World's Fairs maintained an imperial element and out of this blossomed a vibrant racism. Between 1889 and 1914, the exhibitions became a human showcase, when people from all over the world were brought to sites in order to be seen by others for their gratification and education. In essence, the English national profile fabricated in the closing decades of the nineteenth century was derived from the pre-industrial world. The Fine Arts were an important ingredient in any international exhibition of calibre. This book incorporates comparative work on European and American empire-building, with the chronological focus primarily on the nineteenth and twentieth centuries, when these cultural exchanges were most powerfully at work.
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The author reveals structural problems and offers solutions – an urgently necessary book, not least with a view to the acute shortage of skilled workers 450,000 migrant workers toll on German construction sites, work in sometimes inhumane conditions in meat factories or as truck drivers, and let’s not forget the hordes of cleaners in German hotels and companies. They are systematically exploited and cheated out of their wages. Sascha Lübbe exposes the octopus-like network of partly criminal companies in a shadowy world where the boundary between the legal and the illegal is blurred. In his evocative book with interviews with those aff ected, he reveals how a parallel system has established itself in the German working world, but also how those affected resist.
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