Darton, Longman & Todd Ltd
An internationally respected publisher, Darton, Longman & Toddpublish a wide range of books includingbiography, spirituality, theology, wellbeing, contemporary issues, fiction and humour.
View Rights PortalAn internationally respected publisher, Darton, Longman & Toddpublish a wide range of books includingbiography, spirituality, theology, wellbeing, contemporary issues, fiction and humour.
View Rights PortalProviding fresh insights from the archival record, Who governs Britain? revisits the 1970-74 Conservative government to explain why the Party tried - and failed - to reform the system of industrial relations. Designed to tackle Britain's strike problem and perceived disorder in collective bargaining, the Industrial Relations Act 1971 established a formal legal framework to counteract trade union power. As the state attempted to disengage from and 'depoliticise' collective bargaining practices, trade union leaders and employers were instructed to discipline industry. In just three-and-a-half years, the Act contributed to a crisis of the British state as industrial unrest engulfed industry and risked undermining the rule of law. Warner explores the power dynamics, strategic errors and industrial battles that destroyed this attempt to tame trade unions and ultimately brought down a government, and that shape Conservative attitudes towards trade unions to this day.
The second of Lorca's trilogy of rural dramas, Yerma, is a blend of contrasting moods through which Lorca charts the increasingly destructive obsession of a childless young country wife, and probes the darker zones of human fears and desires. The play's rich mode of expression - a combination of verbal, visual and auditory images and rhythms - is also geared to celebrating sexual attraction and fertility, creation and procreation. Through his characterization of the play's central figure, Lorca raises the question of women's social status - a controversial question both then and now, and one to which Robin Warner pays particular attention in his critical introduction to the play. He also examines the links between the dramatic structure of Yerma and the importance of cultural politics during the course of the Second Spanish Republic. The Spanish text is supported by an introduction and notes in English, as well as by an extensive vocabulary and section of discussion questions. ;
Jacques Martineau, Olivier Ducastel, Alain Guiraudie, Sébastien Lifshitz and Céline Sciamma. The films of these five major French directors exemplify queer cinema in the twenty-first century. Comprehensive in scope, Queer cinema in contemporary France traces the development of the meaning of queer across these directors' careers, from their earliest, often unknown films to their later, major films with wide international release. Whether having sex on the beach or kissing in the high school swimming pool, these cinematic characters create or embody forward-looking, open-ended and optimistic forms of queerness and modes of living, loving and desiring. Whether they are white, beur or black, whether they are lesbian, gay, trans* or queer, they open up hetero- and cisnormativity to new ways of being a gendered subject.
»Es war einmal eine ehrliche, wohlerzogene junge schwarze Katze« … Dass Kitty alles andere als ehrlich und wohlerzogen ist, liegt bei einer Erzählung von Beatrix Potter natürlich auf der Hand. Dass sie ihrem Frauchen, einer liebenswürdigen alten Dame, aber derart hinterlistige Streiche spielt, damit konnte niemand rechnen. Anstatt nämlich brav im Gartenhäuschen zu nächtigen, streunt Kitty in Frack, Pelzstiefeln und mit einer Schrotflinte bewaffnet durch die Wälder und begegnet allerlei fiesen Gestalten wie zwei ungehobelten Frettchen und – zu Kittys großem Entsetzen – schließlich auch dem hundsgemeinen Fuchs Mr. Todd. Zum Glück gibt es da noch ihre Freunde, die Kitty aus dem größten Schlamassel wieder heraushelfen … Eine bisher unveröffentlichte Geschichte von Beatrix Potter - erstmals auf Deutsch Mit Illustrationen des britischen Großmeisters Sir Quentin Blake
Drawing on the recent ontological turn in critical theory, Spectral Dickens explores an aspect of literary character that is neither real nor fictional, but spectral. This work thus provides an in-depth study of the inimitable characters populating Dickens' illustrated novels using three hauntological concepts: the Freudian uncanny, Derridean spectrality, and the Lacanian real. Thus, while the current discourse on character studies, which revolves around values like realism, depth, and lifelikeness, tends to see characters as mimetic of persons, this book invents new critical concepts to account for non-mimetic forms of characterization. These spectral forms bring to light the important influence of developments in nineteenth-century visual culture, such as the lithography and caricature of Daumier and J.J. Grandville. The spectrality of novelistic characters developed here paves the way for a new understanding of fictional characters in general.
»Der Ort vor dem Palast ist der Ort der Transformation, des Figurwerdens, des Tragödiewerdens, er ist der eigentliche Ort des Theaters«, sagt die Theaterwissenschaftlerin Ulrike Haß im Gespräch. Dort, inszenierend und über das Theater schreibend (Droge Faust Parsifal), hat sich der Theatermann Schleef aufgehalten. Von dort aus hat er operiert. Aber wer war Einar Schleef (1944-2001)?Die Gespräche dieses Bandes kreisen die kontroverse Ausnahmeerscheinung und das Werk dieses Künstlers ein, der Regisseur, Autor, Maler, Darsteller, Filmer und Fotograf in einer Person war. Die Herausgeberin fragt: Was machte ihn aus? Welche Entdeckungen sind in den künstlerischen Disziplinen, die er beherrschte, zu machen? Was an den Erkenntnissen, Thesen, Provokationen und Demonstrationen, die Einar Schleefs Arbeiten bereithalten, verlangt danach, vorgezeigt und diskutiert, verwandelt und weitergegeben zu werden? Wo steht das Theater heute? Wie geht es weiter?Mit der Herausgeberin gesprochen haben: Sebastian Baumgarten, Bibiana Beglau, Jakob Fedler, Michael Freitag (über den Maler), Christine Groß, Ulrike Haß, Carl Hegemann, Regine Herrmann (über den Fotografen), Jürgen Holtz, Elfriede Jelinek, Wolfram Koch, Thomas Köck, Hans-Ulrich Müller-Schwefe (über den Autor), Armin Petras, Claus Peymann, Günther Rühle, Ulrich Rasche, Hans-Jürgen Syberberg, Heiner Sylvester (über den Filmer), Rita Thiele, Susan Todd, Martin Wuttke.
This 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'. ;