Griots Lounge Publishing Nigeria
Griots Lounge and its imprints offers traditional publishing and sundry services to creative talents across Africa, as well as children friendly literature.
View Rights PortalGriots Lounge and its imprints offers traditional publishing and sundry services to creative talents across Africa, as well as children friendly literature.
View Rights PortalGriots Lounge Publishing was first founded in Nigeria in 2012 with a focus on new writers of fiction, poetry, and nonfiction, especially around the minority southeastern and Niger Delta parts of Nigeria.
View Rights PortalThis is the first book to explore the relationship between literary modernism and the British Empire. Contributors look at works from the traditional modernist canon as well as extending the range of work addresses - particularly emphasising texts from the Empire. A key issue raised is whether modernism sprang from a crisis in the colonial system, which it sought to extend, or whether the modern movement was a more sophisticated form of cultural imperialism. The chapters in Modernism and empire show the importance of empire to modernism. Patrick Williams theorises modernism and empire; Rod Edmond discusses theories of degeneration in imperial and modernist discourse; Helen Carr examines Imagism and empire; Elleke Boehmer compares Leonard Woolf and Yeats; Janet Montefiore writes on Kipling and Orwell, C.L. Innes explores Yeats, Joyce and their implied audiences; Maire Ni Fhlathuin writes on Patrick Pearse and modernism; John Nash considers newspapers, imperialism and Ulysses; Howard J. Booth addresses D.H. Lawrence and otherness; Nigel Rigby discusses Sylvia Townsend Warner and sexuality in the Pacific; Mark Williams explores Mansfield and Maori culture; Abdulrazak Gurnah looks at Karen Blixen, Elspeth Huxley and settler writing; and Bill Ashcroft and John Salter take an inter-disciplinary approach to Australia and 'Modernism's Empire'. ;
'Tears of laughter' examines the interactions of comedy and drama in three vital thematic strands of British cinema during the 1990s: comedies exploring issues of class, culture and community in British society, 'ethnic' comedy-dramas engaging with complex issues of identity and allegiance in modern Britain, and romantic comedies featuring characters searching (somewhat desperately or frantically) for a suitable and desirable long-term or short-term partner. Films to be discussed in detail include 'Brassed Off' (1996), 'The Full Monty' (1997), 'East is East' (1999), 'Four Weddings and a Funeral' (1994), 'Notting Hill' (1999) and a post-1990s romantic comedy, 'Love Actually' (2003). The study discusses these specific films and a range of other 1990s British comedy-drama films within the context of community-orientated Ealing comedy classics, contentious situation comedies treating race relations as both a laughing matter and a site of conflict ('Till Death Us Do Part' and 'Love Thy Neighbour'), and romantic comedies set and produced in Britain. It is aimed at film studies academics, students and film enthusiasts. ;
Tears of laughter' examines the interactions of comedy and drama in three vital thematic strands of British cinema during the 1990s: comedies exploring issues of class, culture and community in British society, 'ethnic' comedy-dramas engaging with complex issues of identity and allegiance in modern Britain, and romantic comedies featuring characters searching (somewhat desperately or frantically) for a suitable and desirable long-term or short-term partner. Films to be discussed in detail include 'Brassed Off' (1996), 'The Full Monty' (1997), 'East is East' (1999), 'Four Weddings and a Funeral' (1994), 'Notting Hill' (1999) and a post-1990s romantic comedy, 'Love Actually' (2003). The study discusses these specific films and a range of other 1990s British comedy-drama films within the context of community-orientated Ealing comedy classics, contentious situation comedies treating race relations as both a laughing matter and a site of conflict ('Till Death Us Do Part' and 'Love Thy Neighbour'), and romantic comedies set and produced in Britain. It is aimed at film studies academics, students and film enthusiasts.
The Independent Group is now the subject of global scholarly interest, and this book, a sequel to The Independent Group: Modernism and mass culture in Britain, 1945-59, explores the Anglo-American phenomenon from a new perspective. The Group included fine artists Magda Cordell, Richard Hamilton, Nigel Henderson, Eduardo Paolozzi and William Turnbull; architects Alison and Peter Smithson, James Stirling and Colin St John Wilson; graphic designer Edward Wright; music producer Frank Cordell; and writers Lawrence Alloway, Reyner Banham, John McHale and Toni del Renzio. This radical collective met at the ICA in London during the early 1950s, and worked with and within the new world of both the avant-garde and popular culture. This sequel includes an in-depth discussion of the recent historiography of the Independent Group, and examines its history from an alternative perspective - that of popular culture. The themes of domestic space, Hollywood film, fashion, mass-circulation magazines, science-fiction and popular music are explored, broadening our general understanding. ;
Colonial frontiers explores the formation, structure and maintenance of boundaries and frontiers in settler colonies. Drawing on the work of anthropologists, historians, archaeologists and post-colonial theorists, the authors in this fascinating collection explore the importance of cross-cultural interactions in the settler colonies of Australia, New Zealand, South Africa and America. Taking key historical moments to illuminate the formation of new boundaries and the interaction between the settler societies and the indigenous groups, this book raises many important questions about how the empire worked 'on the ground'. Importantly, the collection attempts to theorise the indigenous experience. As we move towards globalisation, borders and boundaries have begun to fall away. This book reminds us that not long ago the frontiers and boundaries were the key sites for cross-cultural interaction. This collection, which includes chapters by John K. Noyes, Nigel Penn, Kay Schaffer and Ian McNiven, is broad in scope and presents an exciting new approach to the issues surrounding group interaction in colonial settings. Students and academics, from backgrounds such as imperial history, anthropology and post-colonial studies, will find this collection extremely valuable.
This new edition considers the unifying legal attributes that span vastly differing inter-governmental organisations, from the UN to the EU. A law of international organisations has become established in certain areas, such as legal personality, powers, membership, finance, and decision-making. In other, newer, areas - accountability, responsibility and democracy - politics is still much rawer, and has not yet been fully converted into legal concepts and principles. As with the first edition, there are plenty of examples of organisations given in the text. Individual organisations dealing with issues such as security, health, civil aviation, finance and trade are scrutinised by way of example, to illustrate how different they can be, but also to show how it is possible to debate a set of legal principles that transcend each institution. This new edition of an established text will appeal to students and academics as well as individuals seeking a legal and political insight into international organisations.
This book analyses the use of the past and the production of heritage through architectural design in the developmental context of Iran, a country that has endured radical cultural and political shifts in the past five decades. Offering a trans-disciplinary approach toward complex relationship between architecture, development, and heritage, Mozaffari and Westbrook suggest that transformations in developmental contexts like Iran must be seen in relation to global political and historical exchanges, as well as the specificities of localities. The premise of the book is that development has been a globalizing project that originated in the West. Transposed into other contexts, this project instigates a renewed historical consciousness and imagination of the past. The authors explore the rise of this consciousness in architecture, examining the theoretical context to the debates, international exchanges made in architectural congresses in the 1970s, the use of housing as the vehicle for everyday heritage, and forms of symbolic public architecture that reflect monumental time.
The United Nations is one of the largest providers of assistance in post-conflict situations in the world. This book considers the human rights standards applicable to the United Nations and applied by the United Nations in post-conflict situations, including East Timor, Kosovo and Afghanistan. It looks at legal principles, peace agreements, support of democracy, human rights protection, development and other forms of reconstruction with which the UN has become involved, including the grandly-named task of "state-building". It deals both with the obligation upon the UN to respect human rights in post-conflict situations, and the obligation upon the UN to ensure that human rights are respected by those in positions of power in post-conflict situations. Written by an internationally renowned list of contributors, this book will be of vital use to anyone studying conflict analysis, international relations, international law and the role of the United Nations on the world stage. ;
Als Dramatiker und Gründer des Jewish Theater of New York wusste Tuvia Tenebom schon immer gutes Theater zu schätzen. Und wo kommen die besten Stücke zur Aufführung? In Großbritannien natürlich! Grund genug also, der Insel mal wieder einen Besuch abzustatten, zumal in einer Zeit, in der das große Brexit-Schauspiel über die Bühne geht. Ist es eine Komödie? Ist es eine Tragödie? Oder schlicht absurdes Theater?, wollte er von den Briten wissen. Das war zumindest der Plan. Aber: Der Mensch denkt, und Gott lacht, wie es so schön heißt. Denn seine Reise – die ihn über viele Monate durch das Vereinigte Königreich führte und während der er in Winston Churchills Zimmer ein Nickerchen machte, mit Jeremy Corbyn Katz und Maus spielte, mit Nigel Farage verbotenen Tabak rauchte, ein Monster verspeiste und einem Geist nachstellte – gestaltete sich ganz anders als angenommen. Die meisten Inselbewohner wollten nämlich mit ihm nur bedingt über den Brexit sprechen, dafür redeten sie bereitwillig über andere Themen – Themen, die ihnen am Herzen lagen, wie der allgegenwärtige Antisemitismus. Die Gespräche, die Tuvia Tenenbom mit Lords und Ladies führte, mit Politprofis und Pub-Philosophen, Wohlhabenden und Habenichtsen, Geistesgrößen und Geistlichen, mit Gangstern und Beauty Queens, mit Antisemiten und Palästina-Romantikern u.v.m., zeichnen nicht nur ein erhellendes Stimmungsbild der englischen Gesellschaft, sondern zeigen auch, dass sie zutiefst gespalten ist und erbittert um ihre Identität und ihre Zukunft kämpft.
Als Dramatiker und Gründer des Jewish Theater of New York wusste Tuvia Tenebom schon immer gutes Theater zu schätzen. Und wo kommen die besten Stücke zur Aufführung? In Großbritannien natürlich! Grund genug also, der Insel mal wieder einen Besuch abzustatten, zumal in einer Zeit, in der das große Brexit-Schauspiel über die Bühne geht. Ist es eine Komödie? Ist es eine Tragödie? Oder schlicht absurdes Theater?, wollte er von den Briten wissen. Das war zumindest der Plan. Aber: Der Mensch denkt, und Gott lacht, wie es so schön heißt. Denn seine Reise – die ihn über viele Monate durch das Vereinigte Königreich führte und während der er in Winston Churchills Zimmer ein Nickerchen machte, mit Jeremy Corbyn Katz und Maus spielte, mit Nigel Farage verbotenen Tabak rauchte, ein Monster verspeiste und einem Geist nachstellte – gestaltete sich ganz anders als angenommen. Die meisten Inselbewohner wollten nämlich mit ihm nur bedingt über den Brexit sprechen, dafür redeten sie bereitwillig über andere Themen – Themen, die ihnen am Herzen lagen, wie der allgegenwärtige Antisemitismus. Die Gespräche, die Tuvia Tenenbom mit Lords und Ladies führte, mit Politprofis und Pub-Philosophen, Wohlhabenden und Habenichtsen, Geistesgrößen und Geistlichen, mit Gangstern und Beauty Queens, mit Antisemiten und Palästina-Romantikern u.v.m., zeichnen nicht nur ein erhellendes Stimmungsbild der englischen Gesellschaft, sondern zeigen auch, dass sie zutiefst gespalten ist und erbittert um ihre Identität und ihre Zukunft kämpft.