bluuebunny/crossref_metadata_2025 huggingface dataset:
A New Perspective on Mary Carmichael: Yuriko Miyamoto’s Novels and A Room of One’s Own
Authors: Matsumoto Hogara
Published: September 2021

This chapter examines the ambivalent inspiration Yuriko Miyamoto (1899–1951), the renowned Japanese feminist novelist and critic, draws from A Room of One’s Own. With Virginia Woolf – and especially the persona Mary Carmichael – in mind, Miyamoto develops the representation of Asian women characters in her autobiographical novel Dōhyō [Road Signs] (1948–51). I argue that Dōhyō performatively represents Miyamoto’s turn towards modernising Japanese women’s novels by generating a new textual space for modern Asian and Transeurasian women writers. Miyamoto’s protagonist can be construed as a modern Transeurasian woman who, through an acute observation of disparate modernities among Western and Asian nations, explores an alternative relationship between Asian women whose very existence is hidden and whose desires have yet to be fulfilled.
In Search of Spaces of Their Own: Woolf, Feminism and Women’s Poetry From China
Authors: Jaguścik Justyna
Published: September 2021

This chapter discusses the traveling of Woolf's writing, especially A Room of One's Own, into twentieth-century China. It argues, that since 1928, when this text had first been discussed by Xu Zhimo, A Room has remained an important point of reference in the Chinese-language feminist theory and literature. Particularly in post-Mao China, many female authors have been inspired by Woolf's spatial metaphoric and her reflections on female authorship. This chapter proposes close readings of poems and essays by Chinese contemporary female poets, such as Lu Yimin, Wang Xiaoni, Zhai Yongming and Zhang Zhen. It demonstrates that Woolf’s ideas have reverberated throughout works by the most innovative avant-garde female poets of the post-Mao era.
Virginia Woolf and French Writers: Contemporaneity, Idolisation, Iconisation
Authors: Rigeade Anne-Laure
Published: September 2021

This paper addresses the question of Woolf’s reception in France through a typology of its three aspects and features: contemporaneity, idolisation, iconisation. First, ‘contemporaneity’ refers not only to a historical coincidence between two writers or thinkers living at the same period of time but also to a form shared sensibility that can disrupt the chronology. Thus, Nathalie Sarraute considered Virginia Woolf her contemporary and came to transform her into a writer of the sixties. Second, ‘idolisation’ coincides mainly with the feminist reception of Virginia Woolf in the seventies-eighties when, in some French writers’ works, admiration became adoration, fascination, and even sanctification. This section of the chapter focuses on the examples of Anne Bragance’s La Dame sur le piédestal and Cecile Wajsbrot’s Une vie à soi in particular. Finally, the third type of reception converts Virginia Woolf into an icon (“iconisation”): she is no more a goddess in this process, but a trace in our collective memory. Anne-James Chaton’s biofiction, Elle regarde passer les gens, exemplifies particularly what is called here iconisation.
The Woolf Girl: A Mother–Daughter Story with Virginia Woolf and Lidia Yuknavitch
Authors: Hollis Catherine W.
Published: September 2021

This chapter uses the theoretical lens of Girls’ Studies and contemporary approaches to biofiction to analyse the intergenerational dynamic within and between the work of Virginia Woolf and Lidia Yuknavitch. Dwelling on the metaphor of Woolf as the foremother of contemporary women and femme writers, this chapter reads Woolf’s autobiographical essay “A Sketch of the Past” in conversation with Yuknavitch’s memoir A Chronology of Water and Woolf’s Three Guineas with Yuknavitch’s novel The Small Backs of Children. Yuknavitch’s experimental work in autobiography and fiction continues Woolf’s unfinished project of representing the intersections of bodies, violence and creativity, especially as experienced by children and adolescents.
Introduction to the 2008 Edition
Authors: Kadivar Mohsen
Published: September 2021

This Preface contains six sections. The author analyses the works of the most distinguished thinkers of Islam and human rights: Mahmoud Mohamed Taha, Abdullahi Ahmed An-Na‘im, Ann Elizabeth Mayer, Mohammad Mojtahed Shabestari and Abdulaziz Sachedina respectively in the first five sections. Each section has two parts: the first is a brief description of the thinker’s opinion on human rights, and the second is a brief critical analysis, reviewing the advantages and disadvantages of that opinion.
Taha represents the Arabic literature on Islam and human rights in this review, Shabestari the Persian, and the other three the English-language literature. Mayer is the author of the most popular book on Islam and human rights from a non-Muslim and Western perspective. The other four could be considered to be the most outstanding Muslim reformist thinkers regarding Islam and human rights.
The last section is the longest and contains four parts. The first outlines the author’s opinion on Islam and human rights, and the second compares his approach to the other five approaches. The third presents a comparative chronology of the six approaches, and the fourth and last part discusses the present book and the advantages of its English translation.
Imam Sajjad and the Rights of Mankind
Authors: Kadivar Mohsen
Published: September 2021

This chapter investigates critically the Treatise on Rights (Resalat al-Huquq) of the fourth Shi‘a Imam ‘Ali b. al-Husain Sajad (48–94 h/658–713 ad), which is mostly ethical teachings and in fact, was a letter he wrote to one of his companions.
The chapter includes the following: first, a brief consideration of the sources of the treatise, assessing the documents of the treatise, determining the most accurate text of the treatise among differing versions, and a general review of the introduction and categorization of the fifty-one rights listed in the treatise. Following this, the chapter addresses the meaning of “rights” in the Treatise of Rights.
To do so, the chapter will distinguish various terminologies of right in the Qur’an, the hadith as well as in philosophy, theology, ethics and fiqh, and compare Imam Sajjad’s notion of “right” with the concept as it appears in the philosophy of law, political philosophy and law.
Finally, and as an example, the chapter analyses the section on political rights (al-huquq al-asasi), that is, the rights of the sultan and the people (the ruler and the ruled) in relation to one another.
Questions and Answers about Human Rights and Reformist Islam
Authors: Kadivar Mohsen
Published: September 2021

This chapter is a response to questions from the students about the previous chapter on ‘Human Rights and Reformist Islam’. These issues are discussed in this chapter: the comparison of ratified rulings (ahkam imdha’i) and conventions of reasonable people (sira al-‘uqala), human rights: an achievement of contemporary humans, reasons for the lack of explicit expression of the temporary in changeable rulings, two forms of human knowledge about divine religion and human rights, homosexuality and human rights, and finally the rights of Baha’is.
Human rights are not related to religion, sect, thought or belief. There is no valid religious argument for the prevention of Baha’is from human rights, citizenship rights, and basic civil rights or considering them as impure (najis).
From the author’s perspective, there is no punishment for LGBT sexual orientation on one hand, and no discrimination of LGBT people is accepted in the public domain regarding non-sexual affairs on the other hand. Reformist Islam has not come across sufficient documentation for accepting homosexuality as a particular human right. It believes the only shari‘a premised sexual relationship is defined between a female and male under legal marriage.
Human Rights, Secularism and Religion
Authors: Kadivar Mohsen
Published: September 2021

The focus of this chapter is a comparative study between Läcité (secularism) and religious beliefs in the domain of human rights. These issues are discussed in this chapter: axes of the challenges of religions and human rights, the secular approach to human rights, the religious approach to human rights, categorisation of the orders of the public sphere as compared with religious and secular values, and particulars of the challenges of religion and secularism.
Among the most important examples of the challenges between Läcité (secularism) and religiosity in the public sphere, one can cite elementary education not only in public schools but also in compulsory public education, as well as media, free sexual relations outside marriage, homosexuality and mercy killings (euthanasia). In these cases, it is not wise to deny shared religious values as a source of reference.
Involuntary euthanasia is absolutely prohibited. Non-voluntary euthanasia (regardless of whether it is passive or active) is permitted by decision of a committee. The challenge is voluntary euthanasia. Religious believers reject voluntary euthanasia, especially its active variants.
The Freedom of Belief and Religion in Islam and Human Rights Documents
Authors: Kadivar Mohsen
Published: September 2021

This chapter considers the freedom of Belief and Religion in Islam and absolute rejection of worldly punishments for apostasy.
The first section analyses the conventional Islamic reading of the issue of freedom of belief and religion, as well the evidence it is based on. The second section addresses the task of proving that the freedom of religion and belief is desirable and beneficial. In looking at original Islamic texts, extracting the fundamental criteria of the religion, and criticising the arguments of the conventional reading, the third section provides the evidence for the freedom of belief and religion in Islam.
People are free to choose their religion and belief, and nobody can pressure or force another into accepting the religion of truth and correct beliefs. Islam recognizes the plurality of religions and beliefs, meaning that some will follow the Divine invitation and others will remain in error. No temporal punishments have been set for having a false religion or belief. One cannot force another into changing his or her religion. Apostasy has no temporal punishment
The choice of non-Muslims between acceptance of Islam or execution (or enslavement) is in deep conflict with the explicit verses of the Qur’an and Prophetic Tradition.
Reformist Islam and Women’s Rights
Authors: Kadivar Mohsen
Published: September 2021

This chapter critically analyses the challenges of traditional Islam in addressing the notion of human rights as it relates to women’s issues, and provides a solution using Quranic teachings.
It starts with requirement of justice in women’s rights, and continues with the evolution of the approach of human reason in the arena of women’s rights and factors in the development of women’s rights.
The chapter compares two different perspectives on women in Islamic texts: one view is more Qur’anic: woman is a different kind of human but she stands alongside man. No inferior characteristics are seen in this first view. The second view is more a view from the standpoint of fiqh. This viewpoint paints an inferior, a second-class person, vulnerable and needy picture of women who need the protection of men.
The chapter addresses some of these rulings that consider women as an inferior creature, in three brief sections: Women’s Civil Rights, Women’s Criminal Law, and Women’s Political Rights.
The chapter ends with the discussion of conditions for permanent Shari‘a rulings. Immoral, unjust, unreasonable or less functional rulings related to women in Islam cannot be accepted as a shari‘a ruling or an Islamic teaching.
The Rights of Non-Muslims in Contemporary Islam
Authors: Kadivar Mohsen
Published: September 2021

This chapter provides a framework for two types of rules for non-Muslims, time-bound rules and timeless rights. The concepts of “abode of Islam” and “abode of War” are examples of the former.
The latter are founded on six principles which are discussed: First, the essential dignity of human beings; second, the plurality of religions and the differences of people in religion, which is a reality related to God’s will; third, a Muslim is not obligated to question others about their religion; forth, coexistence in peace and with respect: Muslims are obligated to be at peace with others and are not permitted to enter into hostile campaigns against those who have not acted against Muslims. Rather, they are obligated to be friends with these people and nations and to spread good and act in fairness. Fifth, all relations between Muslims and non-Muslims are based on agreements and contracts. The sixth principle is that of reciprocity (muqabala bi al-mithl) while observing justice.
The chapter ends with the section on ‘The Rights of non-Muslims in Varying Circumstances’. There is no previously determined mould that applies to all times and places.
Social Security in Islamic Teachings
Authors: Kadivar Mohsen
Published: September 2021

This chapter discusses the Islamic arguments for “social security as a human right”. It has three sections. The first section ‘The Foundations of Social Security in Islam’ explores five principles: The Principle of Liking One’s Kind, Fairness and Justice, The Abomination of Poverty, The Principle of Goodness (ihsan) and Charity (infaq), and The Principle of Brotherhood in Faith.
Section two on ‘Systems Related to Providing Social Security in Shari‘a’ discusses fourteen institutions such as Zakat and Endowments.
Section three ‘New Ways of Social Security from an Islamic Perspective’ concludes in this way: Social security is a right of all citizens of an Islamic society regardless of religion, sect, gender, colour, race, etc., which is accorded to the citizen by the society at particular times. Islamic society is bound to providing this right for its citizens to have social security from its specific resources. When a ruling government in an Islamic society submits to Islamic teachings, the management of social security counts as a right and providing it is the responsibility of the government.
Churchill’s Wars
Authors: Ward Ian
Published: September 2021

This is the first of three chapters which focus, in their different ways, on the writing of history in contemporary theatre. This chapter concentrates on two ‘history’ plays written by Caryl Churchill during the 1970s; Light Shining in Buckinghamshire and Vinegar Tom. Churchill emerged as one of the most influential voices in radical British theatre during the closing decades of the last century. Both plays were set in the mid-seventeenth-century, but were written to resonate with themes familiar in modern legal and political thought. The title of the first play is taken from a Leveller tract published in the second part of the 1640s. Churchill uses it to explore the state of radical politics in later twentieth-century Britain. The second play, Vinegar Tom, is a contribution to a distinctive sub-genre of ‘witchcraft’ plays, which use the ‘crime’ of witchcraft as a vehicle for revisiting the relation of law and gender in modern society.
Feasts of Filth
Authors: Ward Ian
Published: September 2021

Sarah Kane’s Blasted is one of the most controversial plays written and produced by a British playwright over the last quarter century. A defining contribution to a genre of plays which emerged during the 1990s, and which are variously termed ‘in-yer-face’ and ‘new brutalist’. The principle strategy of ‘in-yer-face’ theatre was to shock its audience. Intimating a shared complacency between comfortable middle-class Britain and its comfortable middle-class theatre. A number of ‘in-yer-face’ plays were distinguished by their graphic presentation of extreme violence, commonly sexual. And nowhere was this presentation more explicit than in Kane’s Blasted, with successive scenes of rape and sexual abuse. This chapter re-reads Kane’s play in the closer context of familiar, and ongoing, debates regarding the relation of law and gender, and more particularly still the limitations of modern rape ‘law’. It is argued that these limitations are rooted in a series of particular rape ‘myths’. Many of which can be located in Kane’s writing, but which are also challenged by it.
Tears in the Fabric
Authors: Ward Ian
Published: September 2021

This chapter focusses its attention on the associated crimes of child-abuse and child-murder. Crimes which, as a consequence of the public interest they stimulate, must be comprehended within an often febrile cultural context. The chapter looks at a number of modern plays which address these crimes, including various contributions to the ‘in-yer-face’ genre. Its closer focus, however, is on on Bryony Lavery’s Frozen, a play which can be more squarely categorised as ‘realist’. In so doing, the chapter further considers the merits and demerits of strategies of ‘restorative’ justice. It is argued that the rooting of restorative justice, in associated ideas of compassion and empathy, makes it a peculiarly literate jurisprudence.
Once a Star, Always a Star
Authors: Salzberg Ana
Published: September 2021

The conclusion reflects on why, and how, Thalberg’s theories of filmmaking matter today. A concept established by Thalberg himself provides the framework: “Once a star, always a star. […] When you’re a champion in this business, you’re always a champion.” This “once a star, always a star” ethos speaks to more than just the longevity of a career; it is a kind of prophecy articulating the continual re-emergence of Hollywood’s, and Thalberg’s, history in the contemporary moment. Accordingly, the chapter traces the development of Thalberg’s afterlife – distinguishing between, while acknowledging the interconnectedness of, the allure of his myth and the importance of his cinematic and theoretical contributions.
Introduction: Cohn-Bendit on the Roof in Gan Shmuel
Authors: Fiedler Lutz
Published: September 2021

The book opens with an Introduction that gives a tight description of the historical place Matzpen occupied in the Israel of the 1960s and 70s. Looking at Daniel Cohn-Bendit’s famous visit to Israel in the spring of 1970, the chapter offers an extensive interpretation of the Israeli debate that was triggered by the arrival of the leader of the European student revolt, but much more by his advocacy of the Israeli leftists of Matzpen. Taking this event as my departure point, an overview of Israeli society in the years following the Six-Day War is given, with an emphasis on three aspects that become relevant for the entire book: first, the return of the Palestine question with the beginning of the occupation, second, the place of Matzpen as a dissenting voice within Israeli society, and third, the continuing impact of Holocaust memory on political debates about the Israel-Palestine conflict. Only within this broader historical context is it possible to evaluate not only the significance of Matzpen in Israeli history but also the rejection the group encountered.
Communist Dissidents
Authors: Fiedler Lutz
Published: September 2021

The first chapter illuminates the genesis of Matzpen, which started with the expulsion of four members from the Communist Party of Israel in autumn 1962. The chapter begins by situating this event within the much broader processes of de-Stalinization after Nikita Khrushchev’s “secret” revelations at the 20th Congress of the Soviet Communist Party in 1956. Yet, although the founding of Matzpen paralleled in many ways the path of the European New Left, the chapter emphasizes the specific objections to the Communist Party’s analysis of Israeli society and the Middle East conflict that played a role in the early evolution of Israel’s New Left. First, Matzpen’s criticism of the Israeli trade union Histadrut is reconstructed. Matzpen’s call for the establishment of a new, democratic representation for the Israeli workers is traced back to the famous seamen strike in Haifa in 1951. Second, the chapter discusses the emergence of the dissidents’ independent interpretation of Israel’s conflict with the Arab world: At variance with their party’s ideological interpretations of the war of 1948, they began delving into the questions of Israel’s borders and Palestinian refugees to expose a previously concealed link between the founding of the Jewish state and the Palestinian catastrophe – the Nakba.
The Invention of a Hebrew Nation
Authors: Fiedler Lutz
Published: September 2021

The third chapter, ‘The Invention of a Hebrew Nation’, examines the enormous cultural foundation underpinning Matzpen’s political vision of a post-colonial existence for Israeli Jews. Matzpen built on a process of transformation that had worked to turn Diaspora Jews into new Hebrews, or Israelis. Drawing on the research of Yaacov Shavit and James Diamond into the movement of the Young Hebrews, or ‘Canaanites’, the chapter outlines an emerging Hebrew-language culture that blossomed in the young Israeli state of the 1950s and ’60s and defied the discourse of a unified Jewish people. This exposes a cultural context that had its roots in the Zionist Right, but grew far beyond its political origins. Culturally, it centred on the magazine Haolam Hazeh, which was published by Uri Avnery (1923–2018), and extended as far as Matzpen on its far-left fringe. This vibrant creative milieu included such figures as Shimon Tzabar, Amos Kenan, and Dan Ben-Amotz. Finally, the internal political differences within this milieu, gaps that the Six-Day War ultimately rendered unbridgeable, are highlighted.
Khamsin: A New Vision for the Middle East
Authors: Fiedler Lutz
Published: September 2021

This chapter explores the history of the journal Khamsin. Revue des socialistes révolutionnaires du Proche-Orient. The chapter demonstrates how the language of progress, socialism, and revolution provided the basis for cooperation between Jewish-Israeli and Arab intellectuals throughout the Middle East of the 1970s. The publication of Khamsin, which was founded in 1975 and published until 1987, was one major result of this cooperation. First the biography of Matzpen’s Eli Lobel is outlined, who was known for his unparalleled support for post-colonial states in Asia and Africa but who was also the guiding spirit behind Khamsin. Proceeding from the biographies of Leila S. Kadi, Sadik J. Al-Azm and Lafif Lakhdar, the chapter sketches in the experiences of a generation of the Arab Left that, after the defeat of June 1967, voiced a radical self-critique of the Arab world and the demand for its secularization and modernization. These two different political constellations eventually found a common political platform in 1975 with the creation of Khamsin. Finally, the chapter illustrates how Khamsin provided a political platform that opposed the rise of religious fundamentalism and Islamization in the Middle East. Socialist internationalism seemed to point to a common future beyond national and religious partisanship.
Max’s stylish shoes
Authors: Flinn Margaret C.
Published: September 2021

In the 1912 Max Linder film Max lance la mode/Max Sets the Style, Max’s typical bumbling with objects leads not (or at least not only) to him appearing as a figure of ridicule, but rather opens an avenue of social critique. While Max is not a class interloper, his incompetence at managing the material world (the enjoyment of which he is entitled, under the logic of capitalism) sets him at odds with society. Normally, the Max character is himself the butt of the joke, but in this film, society at large falls willing victim to Max’s incompetence, thereby exposing their gullibility and the emptiness of bourgeois conventions.
Feet of strength: the sword-and-sandals film
Authors: Rushing Robert A.
Published: September 2021

The “sword and sandals” film may be the only cinematic genre named after an article of footwear; called “peplum” films in Europe, these largely Italian, low-budget films of the 1950s and 1960s starred American bodybuilders as iconic strongmen of mythological and Biblical antiquity (Hercules, Samson, Goliath, etc.). The foot plays a largely defensive role in these films (feet and footwear are the most iconic site of the Freudian fetish), with sandals providing a way for the genre to alleviate anxieties for its putatively male adolescent spectators about their immature bodies and their masculinity. At the same time, the genre also flirts with a more haptic kind of openness, a different sort of strength that might emerge from lowering one’s defences and touching the Earth directly—an openness that is almost invariably foreclosed in a genre of anxious and defensive masculinity.
‘The brunette with the legs’: the significance of footwear in Marnie
Authors: Bolton Lucy
Published: September 2021

Marnie (1964, Alfred Hitchcock) is a film about sex and crime; in particular, about ‘the sexual aberrations of the criminal female’, according to the title of the book Mark Rutland reads to try to understand his new wife. The conduct of said criminal female, Margaret Edgar, Marion Holland, or just plain Marnie, is based on feminine masquerade and an aesthetics of what Michele Montrelay might call ‘dotty objects’: gloves, purses, handbags, nail files, hair combs, stockings and – most significantly – shoes. This chapter demonstrates the film’s deployment of shoes as a trope of Marnie’s identity, and explore how they symbolise different sides to Marnie at stages in her story. In so doing, the film imbues feminine artifice with significance and stature, enabling Marnie’s identity to be explored by elements of the mise-en-scene that might ordinarily be considered simply decorative.
Sex, corruption and killer heels: footwear in the Korean corporate crime drama
Authors: Taylor-Jones Kate
Published: September 2021

Focusing on Im Sang-soo’s The Taste of Money (2012), this chapter explores the interplay between gender, corporate corruption, age, nationhood and footwear. The film directly references a series of social and cultural debates that have taken place inside South Korea in the last decades, highlighting the sexual, class and ethnic tensions that exist inside the state. The chapter also examines the filmmaker’s 2010 film The Housemaid. Both films show how women are trapped between the neo-liberal agenda of defining the self and the desire/need to maintain a more traditional female narrative.
It’s gotta be the shoes: Nike in the Spike-o-sphere
Authors: Scheible Jeff
Published: September 2021

This chapter traces the history and significance of Nike shoes within the auteurist mediascape that Spike Lee has cultivated for over three decades. Lee has steadily created his own dynamic, paracinematic universe that both parallels the logic of Hollywood’s dominant mode of production and resists some of its core tenets by retaining at its centre the distinct idea of the auteur—precisely what transmedial storytelling and postmodern textuality are often viewed to have obliterated. The chapter focuses on the beginning of Lee’s professional career in the 1980s and its current moment, noting the strong affinities between these moments both in American culture and in Lee’s work, which are intimately bound up with one another. Examining Lee’s career in this way provides insight into Lee’s engagement with the problem of police brutality and the enduring injustices faced by the black community in the US.
Vowels
Authors: Maguire Warren
Published: September 2021

This chapter examines the vowels of MUE from a historical perspective. Following an overview of the vowel system of the dialect compared to those of the input and neighbouring varieties, it concentrates on three topics which give a detailed insight into the history of the dialect: vowel quality; vowel quantity; the lexical distribution of vowel phonemes. It finds that although the lexical distribution of vowel phonemes is mostly of English origin, their quality and, especially, quantity show considerable evidence of input from Scots.
Introduction
Authors: Kelly Gillian
Published: September 2021

This introductory chapter justifies the need for reappraising Power’s screen work and his underexplored position as a talented actor, not just a beautiful star. It discusses the approaches which will be applied to the rest of the book, the complex term ‘beauty’, particularly male beauty, from its origins with the Ancient Greek philosophers to how it is used today, mostly in fine art. An overview of the academic study of stars and genre studies then follows before Power’s background as part of a theatrical acting legacy and his strong ties to Britain are introduced. An exploration of the origins and growth of Twentieth Century-Fox, where Power was a top leading man then follows, before the chapter concludes by discussing Power’s earlies screen roles and bit parts before becoming a star.
The musical star
Authors: Kelly Gillian
Published: September 2021

This chapter looks at Power’s work within the genre of musicals. Despite his lack of singing and dancing ability, he was cast as the lead in five musicals between 1937 and 1939, although he made no more films in this genre after the decade ended. To compensate for his lack of musical talent, Power was cast opposite female stars who were skilled musical performers, being paired with ice-skating champion Sonja Henie twice and singer-actress Alice Faye three times. This move by Twentieth Century-Fox demonstrates the actor’s appeal to contemporary audiences at a time when musicals were extremely popular and its plans for his maximum exposure. Power’s characterisations in all five musicals are slightly different, some building on his already established screen image and others advancing it either slightly or significantly. Indeed, while his films with Henie have many similarities to his comedic pairings with Young, Faye provides his most sensual screen pairing to date, suggesting a new sexual maturity to his image at the end of the 1930s.
The tough Westerner
Authors: Kelly Gillian
Published: September 2021

This chapter explores Power’s work within the Western genre. When Power was cast in the title role of Hollywood’s first ‘A Western’ of the 1930s: Jesse James (Henry King) in 1939 it marked the first major curve in Power’s career trajectory. When it became Twentieth Century-Fox’s biggest hit of the year this proved that audiences were ready to accept Power in more masculine roles at the close of the decade. Released in the period directly preceding America’s entry into World War II, the film was integral in developing a much-needed shift in Power’s screen masculinity, appearance and performance style, reflecting the shifting industrial and social context in which it was made. In advancing his star image away from a womaniser, and instead placing it within an overtly homosocial environment, Power was able to convincingly demonstrate male bonding and leadership through a tougher masculinity which was essential for both the historical timeframe and Power’s own upcoming real-life war service. Despite the film’s huge success, it was another 12 years before Power starred in another Western, and made just four in overall: Jesse James, Rawhide (Henry Hathaway, 1951), Pony Soldier (Joseph M. Newman, 1952) and The Mississippi Gambler (Rudolph Maté, 1953).
Conclusion
Authors: Kelly Gillian
Published: September 2021

The book’s conclusion brings together elements from throughout the book, the first substantial academic study of Tyrone Power, to cement why he is an important but considerably overlooked actor of Hollywood cinema’s classical era. It goes back to exploring the concept of male beauty as a social construct, as discussed in the introduction, and applies it specifically to Power’s stat image and where it appears most overt across his career and how this was reinforced by cinematic techniques such as bright lighting, extreme close-ups and costuming. It brings together the book’s main conclusions that Power often portrayed cocky youths in his early films, being highly animated in comedies and musicals of the 1930s, before becoming more solemn as he matured and acquired a more staid, masculine presence which was both a natural, biological process and part of the studio’s adjusting of his persona as he aged. It then ends by suggesting that although Power’s beauty was key to his becoming and remaining a star, it also detracted from his performance skills for far too long, with the book aiming to readdress and reconfigure Power’s status and prove that he was a great star, a great beauty and a great actor.
Performing the Military–Peace Complex: Logics that Entangle
Authors: Partis-Jennings Hannah
Published: September 2021

This chapter critically explores the practices of three significant actors within the international project in Afghanistan: civilian actors, military actors and private security actors. It focuses on ideas of embodiment and performativity to posit particular logics which, the book argues, shape and structure the concept of the military-peace complex.
The Martial Politics of Things and Spaces
Authors: Partis-Jennings Hannah
Published: September 2021

Chapter three presents an innovative approach to peace and conflict studies. It focuses on examples from the material and spatial domain to understand disaggregation between international and Afghan bodies within the military-peace complex. It highlights the ways that everyday and unnoticed elements of material and spatial practice contribute to the politics of intervention and statebuilding.
Liberal Feminism, the Third World Woman and the Third Gender
Authors: Partis-Jennings Hannah
Published: September 2021

Chapter four focuses on the operation of gender, particularly the complex, embodied place of different women within the military-peace paradigm. It explores the concept of the third sex/gender in relation to international praxis and discusses tropes around Afghan womanhood that are contested, navigated, instrumentalised and implicitly or explicitly endorsed.
Intersectional Avant-Garde: Paul Leni’s Rebus-Film Series and the Confluence of Experimental Visual Styles
Authors: Tortolani Erica
Published: September 2021

This chapter focuses on Leni’s eight-part short film series, Rebus-Film (1925-26), and the ways that it relates to various avant-garde art movements of the 1910s and 1920s. Using Rebus-Film Nr. 1 as a starting point, the essay analyses the series’ connections to contemporaneous artistic movements such as Cubism, Futurism, and Dada and to cinematic styles and genres of the time, including Soviet montage and the ‘City Symphony’ films. To supplement this analysis, the essay draws upon reviews, trade magazine articles, and other written records from the period. This chapter sheds light on the ways that critics and audiences received the films and regarded Leni’s use of experimental aesthetic styles. While it is debatable as to whether Leni considered himself a modern art practitioner, a close reading of these short films shows that they are in dialogue with the visual avant-garde. This chapter also discusses the ways that the series fits into, and extends, Leni’s German and American careers.
Bravura Beginnings: Paul Leni and the Art of the Prologue
Authors: Norden Martin F.
Published: September 2021

This chapter looks at the conclusion of Leni’s film-related work in Germany and the beginning of his employment with Universal Studios. “Bravura Beginnings” argues that the bridge between these two phases of Leni’s career was his work on a series of prologues: live stage productions that led into others’ films. Relying heavily on contemporaneous newspaper and trade-journal accounts, this chapter examines Leni’s work immediately before and after his arrival in Manhattan in 1926. In particular, it explores the prologues he staged in Berlin for Ernst Lubitsch’s Forbidden Paradise, E. A. Dupont’s Varieté, and Herbert Brenon’s Peter Pan, and two he created for Universal: ‘The Police Sergeant’s Story,’ performed as a lead-in to Tod Browning’s Outside the Law, and ‘Tremendous Trifles,’ which served a similar introductory function for William Seiter’s Rolling Home. This chapter posits that Leni’s work on these live productions paved the way for his brief but successful career as a Hollywood director and carried themes and motifs that later appeared in his films for Universal.
Misfitting in America: Paul Leni, Conrad Veidt, and The Man Who Laughs
Authors: Gergely Gábor
Published: September 2021

“Misfitting in America” offers an analysis of The Man Who Laughs that suggests the film’s importance in four key areas: (1) as a transitional piece between silent cinema and the talkies, (2) as the last instalment of the Universal super productions, (3) as a thematic precursor to Universal’s famous horror cycle, and (4) as one of the most complete Hollywood attempts to adopt and co-opt German filmmaking practices and personnel. Moreover, this chapter focuses on the star of The Man Who Laughs, Conrad Veidt, as representative of an exilic body. Analysing Veidt’s physicality, performance, makeup, and costuming as Gwynplaine, this contribution looks at the corporeal inscription of the character’s permanent disfiguration, which underpins Gwynplaine’s understanding of himself and his peripheral position in society. With its intrinsic linking of disfigurement and dislocation in an endless cycle where one leads seamlessly into the other, the film becomes a way to understand how Hollywood studios situated their European émigré stars in the years following World War I.
Unquiet on the Home Front: Scottish Popular Fiction and the Truth of War
Authors: Goldie David
Published: September 2021

This chapter focuses on the popular writing of the war, from the serial fiction of popular newspapers to the volumes of wartime non-fiction and fiction of Scottish writers such as Patrick MacGill, Ian Hay, Boyd Cable, and R. W. Campbell. The chapter will attempt to qualify the notion that popular war writing helped effect a separation between soldiers and civilians through its tendency to glamourise and sanitise war scenes and describe them in euphemistic terms. This chapter will argue there was, in fact, a considerable amount of realism and violence in popular war writing.
A Bounded Heaven: George A. C. Mackinlay and Great War Pastoral
Authors: Stevenson Randall
Published: September 2021

Randall Stevenson brings attention to the peripheral poetic voice of George A.C. Mackinlay. Like other poets, Mackinlay’s channelling of Georgian pastoral mode was to some extent challenged by the war. Stevenson considers the limited propensity of Scottish topography – often more forbidding than England’s tranquil southern shires – to offer a pastoral mode which is at once distinctively Scottish but also redolent of the consolatory values embraced (sometimes ironically) by English poets.
The Presentation of Self as Student
Authors: Jacknick Christine M.
Published: September 2021

The theoretical framework for the study is presented in this chapter, with discussions of Goffman’s concepts of participation structure and the performance metaphor. Classroom discourse research inspired by Goffman’s ideas is reviewed here. Finally, the author’s reconceptualization of participation and engagement are fully discussed in this chapter, including clear, discursive definitions for participation, non-participation, engagement, and disengagement.
Multimodal (Non-)Participation and (Dis)Engagement
Authors: Jacknick Christine M.
Published: September 2021

While subtler forms of engagement exist, the ones that “count” most are often verbal, because teachers notice those contributions more readily and they seem to have greater potential to affect the trajectory of classroom interaction. This chapter prompts researchers and teachers to examine the full range of students’ multimodal actions to characterize their participation and engagement. Students create meaning with their bodies while also speaking, but given the constraints of multiparty interaction, students often display their engagement with the ongoing interaction primarily in an embodied way. In operationalizing the concept of “engagement” as an embodied phenomenon, this chapter shows the crucial importance of the alignment, temporality, and sequentiality of students’ multimodal actions. Finally, this chapter uncovers the moment-by-moment nature of students’ embodied responses, showing how these actions often occur in a wave, potentially obscuring the teacher’s (and analyst’s) sense of how any individual student is participating in classroom interaction.
Conclusion
Authors: Jacknick Christine M.
Published: September 2021

This final chapter focuses on theoretical and pedagogical implications of the reconceptualization of “participation” and “engagement” presented in this volume. The immeasurably complex work of doing-being-a-student in a classroom in all its varied forms creates a monumental job for teachers as they engage in participation monitoring. This chapter reviews the contributions of this volume, including the concepts of studenting, waves of embodied action, and multimodal listening. The challenges of multimodal analysis are discussed, including single-case analyses of two new phenomena: covert disengagement and domino (dis)engagement. The importance of spatial organization for creating participation frameworks for engagement is illustrated through two comparative examples. Finally, this chapter returns to the concept of “participation,” including discussion of the performance required of students in the classroom, and the relationships between participation, engagement, and learning.
Self-Limitation and Democracy Lefort’s Model of Council Democracy
Authors: Popp-Madsen Benjamin Ask
Published: September 2021

This chapter explores the theory of council democracy developed by the French political thinker Claude Lefort. Like his onetime compatriot in Socialisme ou Barberie, Cornelius Castoriadis, Lefort also developed an early and a late theory of council democracy. While Lefort and Castoriadis were basically in agreement on the principles of council democracy at the time of Hungarian Revolution of 1956, while they were both members of Socialisme ou Barberie, Lefort provided a markedly different analysis of the council system after he broke with Socialisme ou Barberie and developed with famous theory of the democracy as the empty place of power. In Lefort’s late theorisation of council democracy, the councils collaborate with trade unions and political parties to make up a conglomerated, federalised polity, which is founded upon the principles of self-limitation and mixed constitution. While liberal interpretations of Lefort have stressed how representative, parliamentary government is the best expression of ‘the empty place of power’ and radical democratic interpretations have argued of inherent hostility between democracy and institutions in Lefort’s writings, this chapter argues that Lefort’s theory of council democracy could productively be understood as an institutional approximation of democracy as an empty place of power.
Between Liberal Constitutionalism and Permanent Revolution Arendt’s Republic of Councils
Authors: Popp-Madsen Benjamin Ask
Published: September 2021

This chapter reconstructs Hannah Arendt’s theory of council democracy, as it is primarily developed in her twin study of the American and French Revolution in On Revolution (1963). According to Arendt, the council tradition discloses a way in which the constituent power can be controlled and institutionalised, hereby providing a ‘third way’ between liberal constitutionalism and permanent revolution. Arendt was as afraid of ‘overpoliticisation’ as she was of depoliticization – she was both afraid of revolutions that never reached their end (i.e., a free constitution) and became permanent and liberal constitutions that effectively contained the repressed the constituent power altogether. Beyond this binary, Arendt found in the council tradition a way of organising and acting politically as well as some guiding principles that would allow the polity to continually re-express the constituent power and continually re-politicise its foundations.
Council Democracy and Contemporary Movements of Occupation
Authors: Popp-Madsen Benjamin Ask
Published: September 2021

The conclusion summarises the main arguments of the book and relates the council tradition to contemporary protest movements such as Occupy Wall Street and Indignados. Although the council movements of the 20th century cannot be used as a blueprint for future protest and organisation, the council tradition and contemporary movements of Occupation share the ambitions of self-organisation, of pluralising the traditional spaces of politics, and of giving institutional form to the constituent power.
Introduction
Authors: Brown Catherine , Reid Susan
Published: September 2021

The Introduction to The Edinburgh Companion to D. H. Lawrence and the Arts summarises the volume’s aims and findings. It presents Lawrence as engaged with a wide variety of art forms, often simultaneously, and not just as a practitioner but also as a critic; it therefore qualifies a received view of him as anti-aesthetic. Likewise, apprehension of his engagement with the work and themes of his fellow modernist artists allows him to be more comfortably classed as ‘modernist’ than has hitherto been the case, although he departed from several of them in his greater validation of Romanticism’s engagement with the emotions. He is presented as perpetually in flux, in both his artistic practice and ideology, allowing different works to influence each other as he reworked them simultaneously, and forbidding conclusive statements about his positions, even his famed rejection of technology. He is in several respects presented as progressive, with more sympathy for his native working class than is sometimes remembered, and as proleptic of the ideas of the Frankfurt School, of queer theory, and of modern ecological concerns. His ongoing relevance is attested by works of art, responding to his own, created in many media between his death and the present.
The Idea of the Aesthetic
Authors: Bell Michael
Published: September 2021

Lawrence spoke readily of art and its relation to life but was suspicious of the word ‘aesthetic’, which had been inflected by the aestheticism of the preceding generation. It is nonetheless a necessary term which his thought and practice help to clarify. The idea of the aesthetic has been controversial since its emergence in the late eighteenth century partly in response to the movement of moral sentiment and the fashion of sensibility. Rather than simply reject the excesses of sensibility, the aesthetic condition sought to transmute the quality of the emotion, turning feeling into impersonal understanding. But the cultural war over the value of feeling continued into the modernist generation who sometimes identified as ‘classical’ or ‘romantic’ in their view of emotion. Lawrence mocked such ‘classiosity’ as fear of feeling. This chapter compares him with his major contemporaries and suggests his significance within a broader history of thinking on the aesthetic.
Gesamtkunstwerk
Authors: Reid Susan
Published: September 2021

Lawrence’s engagement with a remarkable range of arts is demonstrated throughout this Companion; this chapter considers the extent to which he brought aspects of these various arts into play within single artworks, notably in Women in Love and The Plumed Serpent. The Gesamtkunstwerk (or total artwork) is usually associated with Wagner, whose influence disseminated through Nietzsche and the German Expressionists into a modernism that sought to engage all the senses at once. Yet, despite its totalising potential, the Gesamtkunstwerk consists of separate artistic media that struggle for coherence or supremacy, and thus it also works to fragment and loosen form, as illustrated by Lawrence’s most experimental works of the 1920s. This chapter considers Lawrence in the context of his German contemporaries ‒ Brecht, Kandinsky, Mann and Schoenberg ‒ and how the paradoxes inherent in the totalising and non-totalising potential of the Gesamtkunstwerk influenced his ambivalent attitudes to society as a form of brotherhood.