Books published by Anthem Press

This collection of essays explores digital art in Ireland. Comprising contributions from scholars and practitioners, it examines how new media technologies are shaping the island¿s contemporary artistic practices. As one of the first dedicated treatments of Irish digital art, it fills a major gap in the national media archaeology of Ireland.

The Puritan Ideology of Mobility: Corporatism, the Politics of Place, and the Founding of New England Towns before 1650 examines the ideology that English Puritans developed to justify migration: their migration from England to New England, migrations from one town to another within New England, and, often, their repatriation to the mother country. Guided by the Protestant scholasticism of Cambridge University, Puritan leaders accepted the ancient corporatist image of society as a living, organic body politic, a model which they applied to nations, colonies, business corporations like the Massachusetts Bay Company, and towns.But if a town, a colony, or a nation were a living body, how could Puritans justify withdrawing from one body to form a new social body, as they so often did? Drawing on the prevailing humoral theory of health, Puritans leaders believed that if a social body became "e;distempered"e; because of insufficient resources or political or religious disagreements, it might become necessary to bring about a new body politic in order to restore balance and harmony to the existing one. This theory gave rise to a robust "e;politics of place"e; in colonial New England, where one's choice of residence could make a strong political statement.In order to facilitate the founding of new town bodies, colonial elites were endowed with unique privileges of mobility. But these entrepreneurs also needed ordinary inhabitants to make a successful migration, so that the various "e;members"e; of the new social body all benefited from the opportunities conferred through the privilege of migration. The body of a new town was articulated through the social ritual of land distribution, carried out in proportion to rank according to Aristotelian "e;distributive justice."e; The book will trace this process at work in the founding of Ipswich and its satellite towns in Massachusetts.

Reconnaissance au Maroc is Charles de Foucauld¿s adventurous memoir of exploring Morocco. For eleven months in 1883¿84, Foucauld travelled incognito through a country then off-limits to Europeans, mapping its waterways. This book is a translation of Foucauld¿s memoir into English, with an extensive introduction and notes that contextualize the work within Francophone post-colonial studies.

Urban Crisis, Urban Hope is an urgent, informed, and passionate critique at the crisis that has been allowed to develop in our cities, and a wide-ranging agenda for change to challenge all political and government institutions.

The collected essays from noteworthy dramatists and scholars in this book represent new ways of understanding theater in the Middle East not as geographical but transcultural spaces of performance. What distinguishes this book from previous works is that it offers new analysis on a range of theatrical practices across a region, by and large, ignored for its history of traditions and cultures, and it does so by emphasizing diverse performances in changing contexts. Topics include Arab, Iranian, Israeli, diasporic theatres from pedagogical perspectives to reinvention of traditions, from translation practices to political resistance through various performances from the nineteenth century to the present.The book is, therefore, concerned with not just the theatrical content of specific or range of plays in a variety of mediums, from stage to the radio, but also political implications, changing imaginaries of home and exile, and practices of identity through a range of performances in both local and translocal settings. The book argues that there are indigenous performers, ranging from actors to producers and audiences, who (re)make theatre through the reinvention of traditions, pedagogy, media, and translation. The book also shows that while all theatre is performance what precisely "performance" means is contingent to the lived context of audiences and performers who make theatre in its diverse forms and also in response to conflict, war, occupation, patriarchy, home, and exile.

Marx in the Field is a unique edited collection illustrating the relevance of the Marxian method to study contemporary capitalism and the global development process. Essays in the collection bring Marx ''to the field'' in three ways. They illustrate how Marxian categories can be concretely deployed for field research in the global economy, they analyse how these categories may be adapted during fieldwork and they discuss data collection methods supporting Marxian analysis. Crucially, many of the contributions expand the scope of Marxian analysis by combining its insights with those of other intellectual traditions, including radical feminisms, critical realism and postcolonial studies. The book defines the possibilities and challenges of fieldwork guided by Marxian analysis, including those emerging from the COVID-19 pandemic. The collection takes a global approach to the study of development and of contemporary capitalism. While some essays focus on themes and geographical areas of long-term concern for international development - like informal or rural poverty and work across South Asia, Southern and West Africa, or South America - others focus instead on actors benefitting from the development process - like regional exporters, larger farmers, and traders - or on unequal socio-economic outcomes across richer and emerging economies and regions - including Gulf countries, North America, Southern Europe, or Post-Soviet Central and Eastern Europe. Some essays explore global processes cutting across the world economy, connecting multiple regions, actors and inequalities. While some of the contributions focus on classic Marxian tropes in the study of contemporary capitalism - like class, labour and working conditions, agrarian change, or global commodity chains and prices - others aim at demonstrating the relevance of the Marxian method beyond its traditional boundaries - for instance, for exploring the interplays between food, nutrition and poverty; the links between social reproduction, gender and homework; the features of migration and refugees regimes, tribal chieftaincy structures or prison labour; or the dynamics structuring global surrogacy. Overall, through the analysis of an extremely varied set of concrete settings and cases, this book illustrates the extraordinary insights we can gain by bringing Marx in the field.

The essays gathered in Magazines and Modernity in Brazil explore transnational topics such as architecture; cosmopolitanism and universalism; antisemitism, anti-war movements; visual artistic movements; advertising; anti-racism; avant-garde; class; consumer society; design; ethnicity and race; fascism and anti-fascism; intellectual elites; literature; modernity; publishing; translation, as well as book and periodical exchange, which is the main focus of this collection.Together, these essays propose a critique of traditional comparatist approaches, promoting instead the study of contact zones and intersections, highlighting the place of production and reception of cultural products, as well as the role of mediators. What guide these analyses of magazines are concepts such as connected and shared histories, which emphasize transnational interactions. Within the spectrum of global history, this collection is related to a recent body scholarship on cultural transfers, which opened a fertile field for new research based on the analysis of transnational movements not only of ideas but also of networks and magazines.Organized chronologically, the chapters explore a period from the mid-nineteenth century to the aftermath of World War II, always having key magazines as the focus of analysis. The authors deliberately move away from traditional comparative approaches, in which two or more nations are set as a parameter, leading to emphasize their similarities and differences in a rigid framework that does not take into account interactions and cross-pollination of cultures and ideas. Some of the keywords that appear here are transnational models, global, circulation, mediation, hybridity, mestizaje, as well as histories that are shared and connected. These keywords help the authors to analyse the formation and development of the participation of Brazil in the global, modern periodical print culture. However, it should be noted that the purpose of this book is not to suggest a supposed singularity of the Brazilian case. The contribution of this volume of essays is precisely the opposite of this, showing how modernity in Brazil, including what is conventionally called modernism, is a complex expression of transnational movements and cross-cultural exchanges.

'Rabindranath Tagore's Drama in the Perspective of Indian Theatre' maps Tagore's place in the Indian dramatic/performance traditions by examining unexplored critical perspectives on his drama such as his texts as performance texts; their exploration in multimedia; reflections of Indian culture in his plays; comparison with playwrights; theatrical links to his world of music and performance genres; his plays in the context of cross-cultural, intercultural theatre; the playwright as a poet-performer-composer and their interconnections; and his drama on the Indian stage.The book explores both dramatic as well as theatrical traditions in Tagore's plays by discussing vital issues on Tagore's drama including gender politics; Tagore's poetic tradition of dramatic action, time and space; his use of myth humour and satire in the Indian dramatic milieu and discussing Tagore and his contemporaries; modern Indian drama and also the nation and Tagore's drama. The book also identifies Tagore's drama of performance art; his stories that inspired many film creations; furthers the view of Tagore's theatre as the creations of a poet-dramatist, poet-translator, dramatist-producer, actor-singer-choreographer and dramatist-scenographer, all the while not missing the vitality of the dramatist as seen in his intercultural performance/s; his use of environ, mise en scène and the theatrical milieu and last but not the least, the modern productions of Tagore plays.

The gothic is a dark mirror of the fears and taboos of a culture. This collection brings together a dozen chilling tales of the nineteenth-century American South with non-fiction texts that illuminate them and ground them in their historical context. The tales are from writers with enduring, world-wide reputations (Edgar Allan Poe), and others whose work will be unknown to most readers. Indeed, one of the stories has not been reprinted for nearly a hundred years, and little is known about its author, E. Levi Brown.Similarly, the historical selections are from a range of authors, some canonical, others not, ranging from Thomas Jefferson and the great historian and sociologist W. E. B. DuBois to the relatively obscure Leona Sansay. Some of these readings are themselves as disturbingly gothic as any of the tales. Indeed, the boundaries between fiction and non-fiction are tenuous in the gothic South. It is our contention that southern gothic fiction is in many ways realistic fiction, and, even at its most grotesque and haunting, is closely linked to the realities of southern life.In America, and in the American South especially, the great fears, taboos, and boundaries often concern race. Even in stories where black people are not present, as in Poe's "The Fall of the House of Usher" and "The System of Professor Tarr and Dr. Fether," slavery hangs in the background as a ghostly metaphor. Our background readings place the fiction in the context of the South and the Caribbean: the revolution in Haiti, Nat Turner's rebellion, the realities of slavery and the myths spun by its apologists, the aftermath of the Civil War, and the brutalities of Jim Crow laws.

'Music Scenes and Migrations' brings together new work from Brazilian and European scholars around the themes of musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe. Moving beyond now-contested models for conceptualizing international musical relations and hierarchies of powers and influence, such as global/local or centre/periphery, the volume draws attention instead to the role of the city, in particular, in producing, signifying and mediating music-making in the colonial and post-colonial Portuguese-speaking world. In considering the roles played by cities as hubs of cultural intersection, socialization, exchange and transformation; as sites of political intervention and contestation; and as homes to large concentrations of consumers, technologies and media, Rio de Janeiro necessarily figures prominently, given its historical importance as an international port at the centre of the Lusophone Atlantic world. The volume also gives attention to other urban centres, within Brazil and abroad, towards which musicians and musical traditions have migrated and converged - such as São Paulo, Lisbon and Madrid - where they have reinvented themselves; where notions of Brazilian and Lusophone identity have been reconfigured; and where independent, peripheral and underground scenes have contested the hegemony of the musical 'mainstream'.The contributions to the volume are grouped according to three key thematic areas. 'Colonial and Post-Colonial Transnationalisms, Migrations and Diasporas' focuses on the musical movements and fluxes that have traversed the Atlantic world since the colonial period, including the diasporic extensions of African music-making; the role of early forms of mechanical music-recording in mediating between Portuguese and Brazilian popular songs in nineteenth-century Rio de Janeiro; the story of música caipira in articulating the 'rooting' and 'uprooting' migratory experience of the São Paulo peasantry in the twentieth century; and the contemporary phenomenon of Brazilian musicians living in the cities of Lisbon and Madrid, where they negotiate the needs and expectations of their expatriate communities, tourists and local audiences.'Relocating Rio de Janeiro' considers how, in its identification with key musical traditions such as samba, pagode and choro, the city has been a contested space - geographically, symbolically and politically - whether in the memories and mythologies of key neighbourhoods and locations of music-making as expressed in the musical discourses themselves, through music's involvement in the material forms of community life and popular culture, including religion, carnival and other festivals, or through the competing claims of official state institutions and policies, the recording industry and grassroots communitarian initiatives.The essays in 'Demetropolitanizing the Musical City: Other Scenes, Industries, Technologies' explore how contemporary developments in the independent, underground and peripheral music scenes in Brazil and Portugal have challenged traditional narratives and hierarchies that dichotomized the field in terms of national tradition v. internationalism, mainstream v. margins, pop v. popular. Genres such as sertaneja universitária, funk, heavy metal, Brazilian jazz and instrumental music, post-Vanguarda Paulista MPB and rap are considered in the light of profound shifts in the economy and technology of the music industry, including fluctuations in the recording sector, the internationalization of audiences, and the rise of YouTube, among other video-based digital platforms, as a predominant medium for the consumption of music.

In 1955 'Jedda' was released in Australian cinemas and the international film world, starring Indigenous actors Rosalie Kunoth and Robert Tudawali. That year Eric Bell watched the film in the Liberty Cinema in Yass. Twelve years later he was dismayed to read a newly erected plaque in the main street of the Yass Valley village of Bowning. It plainly stated that the Ngunnawal people, on whose country Bowning stood, had been wiped out by an epidemic of influenza. The local Shire Council was responsible for the plaque; they also employed Bell's father. The Bells were Ngunnawal people. The central paradox of 'Dispossession and the Making of Jedda (1955)' is the enthusiasm of a pastoral community, made wealthy by the occupation of Ngunnawal land, for a film that addressed directly the continuing legacy of settler-colonialism, a legacy that was playing out in their own relationships with the local Ngunnawal people at the time of their investment in the film. While the local council and state government agencies collaborated to minimize the visibility of Indigenous peoples, and the memory of the colonial violence at the heart of European prosperity, a number of wealthy and high-profile members of this pastoral community actively sought involvement in a film that would bring into focus the aftermath of colonial violence, the visibility of its survivors and the tensions inherent in policies of assimilation and segregation that had characterized the treatment of Ngunnawal people in their lifetimes. Based on oral histories, documentary evidence, images and film, 'Dispossession and the Making of Jedda (1955)' explores the themes of colonial nostalgia, national memory and family history. Charles Chauvel's 'Jedda' (1955), a shared artefact of mid-twentieth-century settler-colonialism, is its fulcrum. The book newly locates the story of the genesis of 'Jedda' and, in turn, 'Jedda' becomes a cultural context and point of reference for the history of race relations it tells.