Books published by Cambridge University Press

This book uncovers how women and men from around the world really speak English based on empirical evidence.

This book offers a radical reinterpretation of the development of the modern world through the concept of Jacobinism. It argues that the French Revolution was not just another step in the construction of capitalist modernity, but produced an alternative (geo)political economy - that is, 'Jacobinism.' Furthermore, Jacobinism provided a blueprint for other modernization projects, thereby profoundly impacting the content and tempo of global modernity in and beyond Europe. The book traces the journey of Jacobinism in the Ottoman Empire and Turkey. It contends that until the 1950s, the Ottoman/Turkish experiment with modernity was not marked by capitalism, but by a historically specific Jacobinism. Asserting this Jacobin legacy then leads to a novel interpretation of the subsequent transition to and authoritarian consolidation of capitalism in contemporary Turkey. As such, by tracing the world historical trajectory of Jacobinism, the book establishes a new way of understanding the origins and development of global modernity.

Who has the right to wage war? The answer to this question constitutes one of the most fundamental organizing principles of any international order. Under contemporary international humanitarian law, this right is essentially restricted to sovereign states. It has been conventionally assumed that this arrangement derives from the ideas of the late-sixteenth century jurist Alberico Gentili. Claire Vergerio argues that this story is a myth, invented in the late 1800s by a group of prominent international lawyers who crafted what would become the contemporary laws of war. These lawyers reinterpreted Gentili's writings on war after centuries of marginal interest, and this revival was deeply intertwined with a project of making the modern sovereign state the sole subject of international law. By uncovering the genesis and diffusion of this narrative, Vergerio calls for a profound reassessment of when and with what consequences war became the exclusive prerogative of sovereign states.

Covers the chemistry and physics of conjugated polymers, and how they can be designed and optimised for various electronic applications.

"The first large-scale comparative study of epinikian song and epigram in English. Integrates these genres into the context of ancient Greek athletics, particularly the rituals associated with victory and competition, and will be invaluable for students and scholars of Pindar, ancient Greek lyric, and epigram"--

This Element focuses on Sleep No More, the iconic immersive theatre production of Macbeth produced by the British company Punchdrunk. Sleep No More and the Discourses of Shakespeare Performance frames this Shakespeare adaptation as part of a system of ghostly citationality through which audiences understand the significance of the past in performance today. Moreover, despite its seemingly analog format, Sleep No More is discussed as a valuable site for media research. And the concept of 'uncanny spectatorship' is introduced to describe audience practice in Sleep No More and other performance contexts. Ultimately, this Element offers readers the opportunity to explore a set of concepts that are significant to the study of Shakespeare in performance and to consider the ways in which audiences interact with bodies, spaces, text, and media in Sleep No More and other immersive experiences.

This Element turns to the stage to ask a simple question about gender and affect: what causes the shame of the early modern rape victim? Beneath honour codes and problematic assumptions about consent, the answer lies in affect, disgust. It explores both the textual "performance" of affect, how literary language works to evoke emotions and the ways disgust can work in theatrical performance. Here Shakespeare's poem The Rape of Lucrece is the classic paradigm of sexual pollution and shame, where disgust's irrational logic of contamination leaves the raped wife in a permanent state of uncleanness that spreads from body to soul. Staging Disgust offers alternatives to this depressing trajectory: Middleton's Women Beware Women and Shakespeare's Titus Andronicus perform disgust with a difference, deploying the audience's revulsion to challenge the assumption that a raped woman should "naturally" feel intolerable shame.