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This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

Anthropology after Gluckman places the intimate circle around Max Gluckman, his Manchester School, in the vanguard of modern social anthropology. The book discloses the School’s intense, argument-rich collaborations, developing beyond an original focus in south and central Africa. Where outsiders have seen dominating leadership by Gluckman, a common stock of problems, and much about conflict, Richard Werbner highlights how insiders were drawn to explore many new frontiers in fieldwork and in-depth, reflexive ethnography, because they themselves, in class and gender, ethnicity and national origins, were remarkably inclusive. Characteristically different anthropologists, their careers met the challenges of being a public intellectual, an international celebrity, an institutional good citizen, a social and political activist, an advocate of legal justice. Their living legacies are shown, for the first time, through interlinked social biography and intellectual history to reach broadly across politics, law, ritual, semiotics, development studies, comparative urbanism, social network analysis and mathematical sociology. Innovation – in research methods and techniques, in documenting people’s changing praxis and social relations, in comparative analysis and a destabilizing strategy of re-analysis within ethnography – became the School’s hallmark. Much of this exploration confronted troubling times in Africa, colonial and postcolonial, which put the anthropologists and their anthropological knowledge at risk. The resurgence of debate about decolonization makes the accounts of fierce, End of Empire argument and recent postcolonial anthropology all the more topical. The lessons, even in activism, for social scientists, teachers as well as graduate and undergraduate students are compelling for our own troubled times.

Beyond the Happening uncovers the heterogeneous, uniquely interdisciplinary performance-based works that emerged in the aftermath of the early Happenings. Although by the mid-1960s Happenings were widely declared outmoded or even ‘dead’, this book shows how multiple practitioners continued to work with the form during the late 1960s and 1970s, pushing it into complex studies of interpersonal communication that drew on, but also contested, contemporary sociology and psychology. Focusing on Allan Kaprow, Marta Minujín, Carolee Schneemann and Lea Lublin, it charts how they revised and retooled the premises of the Happening. The resulting performances directly contributed to the wider discourse of communication studies, as it intersected with the politics of countercultural dropout, alternative pedagogies, soft diplomacy, cybernetics, antipsychiatry, sociological art and feminist consciousness raising. The network of activity generated through these interactions was inherently international, as artists sought to analyse the power dynamics involved in creating collaborative works in an increasingly globalised world. Beyond the Happening will be of interest to art historians engaged with performance practice after 1960, particularly in the USA, Europe and Latin America, and with the cross-fertilisation uniting Happenings, media art, body art, feminist art, conceptualism, photography film and video.

This collection of essays is set up to explore the dynamics of local/national political culture in seventeenth-century Britain, with particular reference to political communication. It examines the degree to which connections were forged between politics in London, Whitehall and Westminster, and politics in the localities, and the patterns and processes that can be recovered. The fundamental goal is to foster a dialogue between two prominent strands within recent historiography, and between the work of social and political historians of the early modern period. Chapters by leading historians of Stuart Britain examine how the state worked to communicate with its people and how local communities, often far from the metropole, opened their own lines of communication with the centre. The volume then is not meant to be an exhaustive study of all forms of political communication but it nevertheless highlights a variety of ways this agenda can be addressed. At present there is ongoing work on subscriptional culture across the nation from petitioning to Protestation, loyal addresses, lobbying and litigation to name but a few. It is hoped that this volume will provide a reminder of the gains to be made by placing political communication at the heart of both social and political history and to provide an impetus for further scholarship.

This book tells the story of critical avant-garde design in Japan, which emerged during the tumultuous 1960s and continues to inspire contemporary designers today. The postwar avant-garde milieu gave rise to a ground-breaking popular visual language and garnered tremendous attention across the fields of product design, graphic design, fashion design, and architecture. It created conceptually challenging artefacts and made decisions that radically altered the course of Japanese design history. The avant-garde works that were created in the sphere of popular culture communicated a form of visual and material protest inspired by the ideologies and critical theories of the 1960s and 1970s, which were concerned with feminism, body politics, the politics of identity, and, later, ecological, anti-consumerist, and anti-institutional critiques as well as an emphasis on otherness. These designers were driven by passion, anger, and a desire to critique and change society and introduce the avant-garde political thinking of the 1960s and subversive visual and material practices into the heart of consumer culture starting from the 1980s. Their creations thus combined two seemingly contradictory concepts: luxury and the avant-garde. By presenting the new arena of avant-garde Japanese design that is operating as a critical sociopolitical agent and involves an encounter between popular culture, postmodern aesthetics, critical theory, and new economic rules, the book carries the common discourse on Japanese design beyond aesthetic concerns and especially beyond ‘beautiful’ or ‘sublime’, revealing the radical aesthetic of the designed objects that forms an interface leading to critical social protest.

At a time when the world is faced with an unprecedented and growing number of people being displaced around the world, scholars strive to make sense of what appear to be constantly unfolding “crises.” These attempts, however, often operate within niche and increasingly fragmented fields, thus making it difficult to develop a historically nuanced and theoretically informed understanding of how forced displacement is produced, managed, and experienced globally and locally. To advance such an understanding, this book offers an interdisciplinary and transnational approach to thinking about structures, spaces, and lived experiences of displacement. This is a collective effort by sociologists, geographers, anthropologists, political scientists, historians, and migration studies scholars to develop new cross-regional conversations and theoretically innovative vocabularies in the work on forced displacement. We engage in a historical, transnational, interdisciplinary dialogue to offer different ways of theorizing about refugees, internally displaced persons, stateless people, and others that have been forcibly displaced. Our work opens critical discussions of forced displacement, drawing it together with other contemporary issues in different disciplines such as urbanization, securitization, race, and imperialism. The book brings together different regions and countries into dialogue with each other – from Latin America, to sub-Saharan Africa, Europe, North America, South and Southeast Asia. The book, while being of particular interest to scholars of forced migration, will be an important text for those interested in studying the intersection between displacement and contemporary political, social, and economic issues.

In the sixteenth century, many different stories on the Revolt in the Low Countries spread throughout Europe, written by very different authors with very different intentions. Over time this plethora of sources and interpretations faded away, leaving us with only a couple of canonical narratives, extremely opposed in essence. In this way, the Dutch and Spanish national myths were forged on the basis of two different visions of the conflict: as a liberation war and act of rebellion against cruel Spanish oppressors or as a glorious part of the history of the Spanish Empire. This book revolves around the concept of episodic narratives, factual texts on the events and its protagonists, which can be seen at first sight as anecdotic, but that happen to be the building blocks of history. This approach renders the book thought-provoking for anybody interested in the history of the Revolt in the Low Countries, but also for those who wish to understand the dynamics of early modern narratives. Since it offers a wide array of sources in different languages it also provides readers with the chance to engage with texts they do not have easy access to. How did the Spanish write about the Revolt, what can we find in Italian chronicles, what were the Jesuits writing in their letters and how does the war look like from the perspective of a local nobleman or a Spanish commander?

This book offers historical reappraisals of freedom of speech and freedom of the press in the early modern anglophone world. Prompted by modern debates about whether or not limitations on free expression might be necessary given religious pluralism and concerns about hate speech, it brings together historians, political theorists and literary scholars, and offers a longue durée approach to the topic. It integrates religion into the history of free speech, and rethinks what is sometimes regarded as a coherent tradition of more or less absolutist justifications for free expression. Contributors examine the aims and effectiveness of government policies, the sometimes messy and contingent ways in which freedom of speech became a reality, and a wide range of canonical and non-canonical texts in which contemporaries outlined their ideas and ideals. It is shown that – on this issue at least – the period from 1500 to 1850 is a coherent one, in terms of how successive governments reflected on the possibility of regulation, and in terms of claims that were and were not made for freedom of speech. While not denying that change can be detected across this period, in terms of both ideas and practices, it demonstrates that the issues, arguments and aims involved were more or less distinct from those that characterise modern debates. As a collection it will be of interest to religious and political historians, intellectual historians and literary scholars, and to anyone interested in the history of one of the most important and thorny issues in modern society.

This book aims to revisit the county study as a way into understanding the dynamics of the English civil war during the 1640s. It explores gentry culture and the extent to which early Stuart Cheshire could be said to be a ‘county community’. It investigates the responses of the county’s governing elite and puritan religious establishment to highly polarising interventions by the central government and Laudian ecclesiastical authorities during Charles I’s Personal Rule. The second half of the book provides a rich and detailed analysis of the petitioning movements and side-taking in Cheshire during 1641-42. This important contribution to understanding the local origins and outbreak of civil war in England will be of interest to all students and scholars studying the English Revolution.

Karl Polanyi (1886–1964) returned to public discourse in the 1990s, when the Soviet Union imploded and globalization erupted. Best known for The Great Transformation, Polanyi’s wide-ranging thought anticipated twenty-first-century civilizational challenges of ecological collapse, social disintegration and international conflict, and warned that the unbridled domination of market capitalism would engender nationalist protective counter-movements. In Karl Polanyi and Twenty-First-Century Capitalism, Radhika Desai and Kari Polanyi Levitt bring together prominent and new thinkers in the field to extend the boundaries of our understanding of Polanyi’s life and work. Kari Polanyi Levitt’s opening essay situates Polanyi in the past century shaped by Keynes and Hayek, and explores how and why his ideas may shape the twenty-first century. Her analysis of his Bennington Lectures, which pre-dated and anticipated The Great Transformation, demonstrates how Central European his thought and chief concerns were. The next several contributions clarify, for the first time in Polanyi scholarship, the meaning of money as a fictitious commodity. Other contributions resolve difficulties in understanding the building blocks of Polanyi’s thought: fictitious commodities, the double movement, the United States’ exceptional development, the reality of society and socialism as freedom in a complex society. The volume culminates in explorations of how Polanyi has influenced, and can be used to develop, ideas in a number of fields, whether income inequality, world-systems theory or comparative political economy. Contributors: Fred Block, Michael Brie, Radhika Desai, Michael Hudson, Hannes Lacher, Kari Polanyi Levitt, Chikako Nakayama, Jamie Peck, Abraham Rotstein, Margaret Somers, Claus Thomasberger, Oscar Ugarteche Galarza.

This book makes the case for a pragmatist approach to the practice of social inquiry and knowledge production. Through diverse examples from multiple disciplines, contributors explore the power of pragmatism to inform a practice of inquiry that is democratic, community-centred, problem-oriented and experimental. Drawing from both classical and neo-pragmatist perspectives, the book advances a pragmatist sensibility in which truth and knowledge are contingent rather than universal, made rather than found, provisional rather than dogmatic, subject to continuous experimentation rather than ultimate proof and verified in their application in action rather than in the accuracy of their representation of an antecedent reality. The power of pragmatism offers a path forward for mobilizing the practice of inquiry in social research, exploring the implications of pragmatism for the process of knowledge production.

This timely collection explores British attitudes to continental Europe that explain the Brexit decision. Analysing British discourses of Europe and the impact of British Euroscepticism, the book argues that Britain’s exit from the European Union reflects a more general cultural rejection of continental Europe: Britain is in denial about the strength of its ties to Europe and needs to face Europe if it is to face the future. The volume brings together literary and cultural studies, history, and political science in an integrated analysis of views and practices that shape cultural memory and the cultural imaginary. Part I, ‘Britain and Europe: political entanglements’, traces the historical and political relationship between Britain and Europe and the place of Europe in recent British political debates while Part II, ‘British discourses of Europe in literature and film’, is devoted to representative case studies of films as well as popular Eurosceptic and historical fiction. Part III, ‘Negotiating borders in British travel writing and memoir’, engages with border mindedness and the English Channel as a contact zone, also including a Gibraltarian point of view. Given the crucial importance of literature in British discourses of national identity, the book calls for, and embarks on, a Euro-British literary studies that highlights the nature and depth of the British-European entanglement.

The book reports on a major mixed-methods research project on dining out in England. It is a re-study of the populations of three cities – London, Bristol and Preston – based on a unique systematic comparison of behaviour between 2015 and 1995. It reveals social differences in practice and charts the dynamic relationship between eating in and eating out. It addresses topics including the changing frequency and meaning of dining out, patterns of domestic hospitality, changing domestic divisions of labour around food preparation, the variety of culinary experience for different sections of the population, class differences in taste and the pleasures and satisfactions associated with eating out. It shows how the practice of eating out in the three cities has evolved over twenty years. The findings are put in the context of controversies about the nature of taste, the role of social class, the application of theories of practice and the effects of institutional change in the UK. The subject matter is central to many disciplines: Food Studies, Sociology, Anthropology, Cultural Studies, Marketing, Hospitality and Tourism Studies, Media and Communication, Social History, Social and Cultural Geography. It is suitable for scholars, researchers, postgraduate students and advanced undergraduate students in the UK, Europe, North America and East Asia. Academic interest in the book should be accentuated by its theoretical, methodological and substantive aspects. It will also be of interest to the catering trades and a general readership on the back of burgeoning interest in food and eating fostered by mass and social media.

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Victorian touring actresses: Crossing boundaries and negotiating the cultural landscape provides a new perspective on the on- and offstage lives of women working in nineteenth-century theatre, and affirms the central role of touring, both within the United Kingdom and in North America and Australasia. Drawing on extensive archival research, it features a cross-section of neglected performers whose dramatic specialisms range from tragedy to burlesque. Although they were employed as stars in their own time, their contribution to the industry has largely been forgotten. The book’s innovative organisation follows a natural lifecycle, enabling a detailed examination of the practical challenges and opportunities typically encountered by the actress at each stage of her working life. Individual experiences are scrutinised to highlight the career implications of strategies adopted to cope with the demands of the profession, the physical potential of the actress’s body, and the operation of gendered power on and offstage. Analysis is situated in a wide contextual framework and reveals how reception and success depended on the performer’s response to the changing political, economic, social and cultural landscape as well as to developments in professional practice and organisation. The book concludes with discussion of the legacies of the performers, linking their experiences to the present-day situation.

Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.

Women of War is an examination of gender modernity using the world’s longest established women’s military organisation, the First Aid Nursing Yeomanry, as a case study. Formed in 1907 and still active today, the Corps was the first to adopt khaki uniform, prepare for war service, staff a regimental first aid post near the front line and drive officially for the British army in France. It was the only British unit whose members were sworn in as soldiers of the Belgian army, and it was the most decorated women’s corps of the First World War. Bringing both public and personal representations into dialogue through an analysis of newspaper articles, ephemera, memoirs, diaries, letters, interviews, photographs and poetry, this book sits at the crossroads of British, social, gender and women’s history, drawing upon the diverse fields of military history, animal studies, trans studies, dress history, sociology of the professions, nursing history and transport history. It reconstructs the organisation’s formation, its adoption of martial clothing, increased professionalisation, and wartime activities of first aid and driving, focusing specifically upon the significance of gender modernity. While the FANY embodied the New Woman, challenging the limits of convention and pushing back the boundaries of the behavour, dress and role considered appropriate for women, the book argues that the Corps was simultaneously deeply conservative, upholding imperial, unionist and antifeminist values. That it was a complex mix of progressive and conservative elements, both conformist and reformist, gets to the heart of the fascinating complexity surrounding the organisation.