This is the pioneering exploration of the history of a fundamentally geographical concept - the North-South divide of England. Six essays treating different historical periods in time are integrated by two geographical questions and a concludingessay reviews the social construction of England.
Volume 8 of The Cambridge History of Literary Criticism deals with the most influential and hotly debated areas of literary theory: those developing in Europe but having their main impact in the Anglo-American world of academic literary studies, whose course they have fundamentally redirected. The structuralism, poststructuralism, Russian formalism, semiotics, narratology, hermeneutics, phenomenology, reception theory, and speech act theory associated with European writers including Barthes, Todorov, Derrida, and Iser, are here described in the context of their original development, but with an eye also to their eventual influence; and the volume includes a reflective chapter by Richard Rorty on deconstruction. Incorporating full bibliographies, this volume engages systematically with the history of the twentieth century's most profound and extensive set of cross-cultural intellectual movements.
Thorough and practical in its treatment of individual and collective employment law issues. Selwyn's Law of Employment delivers broad and consistently detailed coverage of the topics, making it the ideal reference tool for students and practioners.
Over the past twenty years, historians have overturned nearly everything we once took for granted about human sexuality. Gender, sexual orientation, "deviance," and even the biology of sex have been unmasked for what they are-historically specific, culturally contested, and above all, unstable constructions.
In this cogent, accessible biography, Andy Stafford offers a new picture of the man and his work, one that helps us to understand him even as it acknowledges the complexity presented by his restless interests and unorthodox career. Stafford argues that Barthes is best classified as a journalist, essayist, and critic, and he emphasizes the social preoccupations in his work—how Barthes continually worked to analyze the self and society, as well as the self in society. In doing so, Stafford paints a fascinating picture not just of Barthes, but of the entire intellectual scene of postwar France. As Barthes continues to find new readers today, this book will make the perfect introduction, even as it offers new avenues of thought for specialists.
The new edition of The British Cinema Book has been thoroughly revised and updated to provide a comprehensive introduction to the major periods, genres, studios, film-makers and debates in British cinema from the 1890s to the present. The book has five sections, addressing debates and controversies; industry, genre and representation; British cinema 1895-1939; British cinema from World War II to the 1970s, and contemporary British cinema. Within these sections, leading scholars and critics address a wide range of issues and topics, including British cinema as a 'national' cinema; its complex relationship with Hollywood; film censorship; key British genres such as horror, comedy and costume film; the work of directors including Alfred Hitchcock, Anthony Asquith, Alexander Mackendrick, Michael Powell, Lindsay Anderson, Ken Russell and Mike Leigh; studios such as Gainsborough, Ealing, Rank and Gaumont, and recent signs of hope for the British film industry, such as the rebirth of the low-budget British horror picture, and the emergence of a British Asian cinema. Discussions are illustrated with case studies of key films, many of which are new to this edition, including Piccadilly (1929) It Always Rains on Sunday (1947), The Ladykillers (1955), This Sporting Life (1963), The Devils (1971), Withnail and I (1986), Bend it Like Beckham (2002) and Control (2007), and with over 100 images from the BFI's collection. The Editor: Robert Murphy is Professor in Film Studies at De Montfort University and has written and edited a number of books on British cinema, including British Cinema and the Second World War (2000) and Directors in British and Irish Cinema (2006). The contributors: Ian Aitken, Charles Barr, Geoff Brown, William Brown, Stella Bruzzi, Jon Burrows, James Chapman, Steve Chibnall, Pamela Church Gibson, Ian Conrich, Richard Dacre, Raymond Durgnat, Allen Eyles, Christine Geraghty, Christine Gledhill, Kevin Gough-Yates, Sheldon Hall, Benjamin Halligan, Sue Harper, Erik Hedling, Andrew Hill, John Hill, Peter Hutchings, Nick James, Marcia Landy, Barbara Korte, Alan Lovell, Brian McFarlane, Martin McLoone, Andrew Moor, Robert Murphy, Lawrence Napper, Michael O'Pray, Jim Pines, Vincent Porter, Tim Pulleine, Jeffrey Richards, James C. Robertson, Tom Ryall, Justin Smith, Andrew Spicer, Claudia Sternberg, Sarah Street, Melanie Williams and Linda Wood.