Governing the young poor in switzerland. How the Moral Foundations of Work Ethics Guide Social Assistance Discourse

The historiography concerning The War of the Jews by Flavius Josephus has underlined the various aspects (economic, social, political, religious) of the Roman-Jewish conflict from 66 to 73 AD. A study of the Jew's vision of himself and the Other, the Roman, makes it possible to see this conflict from the point of view of the conquered. Analysis of the events which, from 6 to 66 AD, resulted in the opening of hostilities, suggests that the Jewish-Roman conflict was also a conflict of mentalities. The Jewish mentality implies a concept of war which contributed to the development of the divisions and schisms between the supporters of full-scale war against Rome (the Zealots) and the non-belligerents (Rabbi Yohanan ben Zaccaï and the Yavne School, Flavius Josephus). Furthermore, the discourse of Flavius Josephus is Jewish discourse. So far as certain options are concerned, such as his rejection of the war against Rome on the one hand, and his hatred of the Zealots on the other, a literal reading of that discourse shows that they are in the direct line of Jewish tradition as represented by RYBZ and his Yavne School. Josephus can be taken literally ; the interest of his writing lies in its presentation of an internal cohesion and in the light that throws on the points of convergence and divergence in the same Pharisaic options. Finally, Josephus' text leads us to reconsider the problem of his 'betrayal'.

Fêter Noël dans une cellule de dégrisement. Quel programme ! "Fairytale Of New York" est décidemment l'anti "All I Want For Christmas Is You" (ou l'inverse, puisque le premier single date de 1987, le second de 1994). Très très loin du duo Justin Bieber / Mariah Carey, Shane McGowan s'adjoint le talent incommensurable de la regrettée Kirsty McColl. Malgré un enregistrement en plein cagna de l'été, les Pogues ont su capturer la magie de Noël pour un hymne punk et folk. Il n'en fallait pas plus pour Yann Liotard, grand fan des Pogues devant l'Eternel (au point d'avoir déjà écrit un livre sur le deuxième LP, Rum, Sodomy And The Lash aux Editions Densité dans la collection Discogonie), pour se plonger dans l'histoire du plus parfait single irish de Noël. Puis de visiter d'autres Christmas songs plus ou moins subversives.

"Tidjani Alou's writing sketches the commonplace and the metaphysical, with heft, honesty, and audacity. The range is compelling, as she takes us through lives in places as diverse as Accra and Niamey. The prose is deft, her metaphors sting with accuracy. This is a writer to think and feel with". - Emmanuel Iduma, editor, Saraba Magazine. In fifteen formidable lyrical prose, Tina Shot Me Between the Eyes explores how the self is shaped and transformed by the knots we yearn to tie around ourselves : familial, spousal, parental, and societal. It tackles how we struggle in relationships for nourishment and fulfilment, and how connections could kill us and how we could kill to survive - a potent force for understanding humanity and the nuances of acts of violence, tolerance, faith and love.

Thomas Carlyle (1795-1881), essayist, biographer, historian, philosopher, translator, literary and social critic, was one of the great intellectual forces of his period, indispensable to our understanding of Victorian Britain and the 19th century in general. Scholars from Canada, France, Germany, Great Britain, Sweden and the United States assembled at the Scottish Studies Centre of the University of Mainz in Germersheim for the International Thomas Carlyle Centenary Symposium 1981. Their papers, published in this volume, open up a new - European - dimension of Carlyle's personality, work and thought. They offer evidence that the subject is not exhausted, quite the reverse, and that in many aspects Carlyle is as topical today as in his own time.

This book presents the life and work of the Victorian landscape painter Alfred Augustus Glendening (1840-1921). With beautiful illustrations of his pictures, showing a timeless countryside, it explores Glendening's rapid rise from railway clerk to acclaimed artist. Whilst critics often reviewed his exhibited works, very little has been written about the artist himself. Here, new and extensive research removes layers of mystery and misinformation about his life, family and career, accurately placing him in the midst of the British art world during much of the nineteenth and into the twentieth century. Glendening was a man from humble origins, working fulltime as a railway clerk, yet was able to make his London exhibition debut at the age of twenty. This would have been almost impossible before the Victorian era, an extraordinary period when social mobility was a real possibility. Although his paintings show a tranquil and unspoiled landscape, his environment was rapidly being transformed by social, scientific and industrial developments, while advances in transport, photography and other technical discoveries undoubtedly influenced him and his fellow painters. Celebrating his uniquely Victorian story, the book places Glendening within his historical context. Running alongside the main text is a timeline outlining significant landmarks, from political and social events to artistic and technical innovations. Thoroughly researched over many years, the narrative explores why and for whom he painted, his artistic training and inspirations. Painting at Hampton and Greenwich, beside the River Thames, Glendening soon discovered the Welsh hills and became a member of the Bettws-y-Coed Artists' Colony, founded by David Cox. His masterful landscapes also include views of the Scottish Highlands, the Lake District, the Norfolk Broads, the South Downs and the Isle of Wight. The book uncovers new information about the Victorian art world and embraces such aspects as Royal Academy prejudices, the popularity of Glendening's work at home and abroad, especially Australia and America, his use of photography, and the sourcing of his art materials. Family trees are included, and other artistic family members discussed, notably his son and pupil Alfred Illman Glendening (1861-1907). There is a comprehensive list of their exhibited works at the Royal Academy and other major institutions, and details of their paintings in public collections.

Accompanying a major exhibition of new and recent works by Peter Doig at The Courtauld, London, this publication will present an exciting new chapter in the career of one of the most celebrated and important painters working today and will include paintings and works on paper created since the artist's move from Trinidad to London in 2021. Doig (born Edinburgh, 1959) is widely acknowledged as one of the world's leading artists. He secured his early reputation in the 1990s as a highly original figurative painter, producing large-scale, immersive landscape paintings that exist somewhere between actual places and the realms of the imagination. Layered into his paintings is a rich array of inspirations, such as scenes from films, album covers, and the art of the past. His works are often related to the places where he has lived and worked, including the UK, Canada and Trinidad. In 2021, Doig moved back to London where he has set up a new studio. This new studio has become the crucible for developing paintings started in Trinidad and New York and elsewhere, which are being worked up alongside completely fresh paintings, including a new London subject. The works produced for the exhibition at The Courtauld convey this particularly creative experience of transition, as Doig explores a rich variety of places, people, memories and ways of painting that have accompanied him to his new London studio. For Doig, printmaking is an integral part of his artistic life : his prints and his paintings often work in dialogue with one another. The catalogue will also showcase the artist's work as a draughtsman and printmaker by exploring a series of his new and recent drawing and prints, allowing readers to consider the full span of Doig's creative process. Doig has long admired the collection of The Courtauld Gallery. The Impressionist and Post-Impressionist artists who are at its heart have been a touchstone for his own painting and printmaking over the course of his career. His works presented here will reflect his current artistic preoccupations, from remarkable landscapes to monumental figure paintings. Readers will be able to consider Doig's contemporary works in the light of paintings by earlier artists in The Courtauld's collection that are important for him, such as those by Cézanne, Gauguin, Manet, Monet, Pissarro and Van Gogh. The publication will explore how Doig recasts and reinvents traditions and practices of painting to create his own highly distinctive works.

Bien qu'il y ait eu des monographies sur les artistes voyageurs britanniques du XVIIIème et du début du XIXème siècles, il n'existe aucune enquête de ce que l'écrivain Henry Blackburn décrivait de "voyage artistique" un siècle plus tard. A partir de 1900, le "Grand Touriste" est devenu un globe-trotteur muni d'un appareil photo et, malgré le développement de la photographie instantanée, l'enregistrement visuel immédiat en huile et aquarelle reste le plus répandu. Kenneth McConkey's exciting new book explores the complex reasons for this in a series of chapters that take the reader from southern Europe to north Africa, the Middle East, India and Japan revealing many artist-travellers whose lives and works are scarcely remembered today. He alerts us to a generation of painters, trained in academies and artists' colonies in Europe that acted as crèches for those would go on to explore life and landscape further afi eld. The seeds of wanderlust were sown in student years in places where tuition was conducted in French or German, and models were often Spanish, Italian, or North African. At fi rst the countries of western Europe were explored afresh and cities like Tangier became artists' haunts. Training that prioritized plein air naturalism led to the common belief that a well-schooled young painter should be capable of working anywhere, and in any circumstances. At the height of British Imperial power, and facilitated by engineering and technological advance, the burgeoning tourism and travel industry rippled into the production of specialist goods and services that included a dedicated publishing sector. Essential to this phenomenon, the artist-traveller was often commissioned by London dealers to supply themed exhibitions that coincided with contracts for colour-illustrated books recording those exotic parts of the world that were newly available to the tourist, traveller, explorer, emigrant, or colonial civil servant. These works were not, however, value-neutral, and in some instances, they directly address Orientalism, Imperialism, and the Post-Colonial, in pictures that hybridize, or mimic indigenous ways of life. Behind each there is a range of interesting questions. Does experience live up to expectation ? Is the street more desirable than the ancient ruin or sacred site ? How were older ideas of the 'picturesque' reborn in an age when 'Grand Tours' once confi ned to Italy, now encompassed the globe ? McConkey's wideranging survey hopes to address some of these issues. This richly illustrated book explores key sites visited by artist-travellers and investigates artists including Frank Brangwyn, Mary Cameron, Alfred East, John Lavery, Arthur Melville, Mortimer Menpes, as well as other under-researched British artists. Drawing the strands together, it redefi nes the picturesque, by considering issues of visualization and verisimilitude, dissemination and aesthetic value.

The legendary Schumacher design house presents an inspiring interiors survey exploring the versatile and transformative use of blue and white Divided by style (charming, modern, boho, traditional, etc.), Schumacher will take you on a tour of the best of blue and white decorating, featuring interiors that show just how versatile this color combination can be. The book features a guide to iconic blue and white colors (from robin's egg to sky, to cerulean and oyster, to alabaster to porcelain) as well as a roundup of best-in-class product from tabletop to fabrics and wallcoverings.

This book offers a significant, original and timely contribution to the study of one of the most important and notorious Latin American authors of the twentieth century : Reinaldo Arenas. The text engages with the many extraordinary intersections created between Arenas' writing, the autobiographical construction of the literary subject and the exilic condition. Through focusing on texts written on the island of Cuba and in exile, the author analyses the ways in which Arenas' writing emblemises a complex process of identification with, and rejection of, his homeland – always an imagined place and which is, as the place of his origins, intrinsically related to the maternal. She examines how the maternal and the motherland are conflated and how the narrator-protagonists' identification is always in relation to, and dependent upon, this dominant motif. The book also explores the extent to which Arenas' writing is a tortuous attempt to escape from this dominance and to free himself and his writing from the ties that bind him to the mother and the motherland, and shows that Arenas suffered the exilic condition long before his move to the United States in 1980 as part of the Mariel exodus.

Julien VERMEULEN : Hugo Claus à New York (1959) In 1959-1960, Hugo Claus spent six months in the US, Mexico and Cuba. In the course of his trip he wrote down a number of impressions and experiences which he later turned into a cycle of poems, entitled "Reportage" (1961). In terms of contents and style these poems differ from his previous work. Claus now uses a style which is less hermetical : apart from this remarkable transparency, a wide range of ironic expressions, ambivalent idioms, contrasting registers and playful characterisations constitute a lexicological diversity. The great number of assonances and the use of non-literary text registers also characterize these poems. In this way this cycle anticipates later work in which Claus systematically applies diverse collage techniques. The poems "N. Y. 1" and "N. Y. 2" are also an exceptional testimony of the feelings of isolation and vulnerability of the lyrical "I". In 1959-1960 bracht Hugo Claus zes maanden door in de VS, Mexico en Cuba. Tijdens zijn verblijf noteerde hij enkele indrukken en ervaringen die hij later in de gedichtenreeks "Reportage" (1961) uitwerkte. Inhoudelijk en stilistisch wijkt deze poëzie af van zijn vroeger werk. Claus hanteert hier immers een stijl die minder hermetisch is : naast een opmerkelijke transparantie constateren we ook lexicografische diversiteit met allerlei ironische en ondermijnende dubbele bodems, kritische en contrastieve registers, ludieke en spottende typeringen. Ook het grote aantal assonanties en het gebruik van niet-literaire tekstregisters karakteriseren deze gedichten. In die zin anticipeert deze cyclus op zijn later werk waarin hij talrijke collagetechnieken op een systematische wijze toepast. De openingsgedichten "N. Y. 1" en "N. Y. 2" getuigen ook op een uitzonderlijke wijze van het isolement en de kwetsbaarheid van de ik-figuur. Sarah BEEKS : Masscheroen ou trois messieurs nus. L'engagement artistique de Hugo Claus dans les années soixante In the spring of 1968 Hugo Claus was officially charged with public indecency. The fact that he had staged three naked men in his play Masscheroen, could not be tolerated by to the conservative judiciary in Flanders. The lawsuit caused a great fuss within the artistic milieu : art and literature had regularly been censored and something had to be done. Inspired by the activist élan of May '68, Claus and his colleagues chose to act upon their artistic commitment. Through cheerful happenings and poetic protest evenings they fought for the autonomy of art and literature. In het voorjaar van 1968 werd Hugo Claus aangeklaagd wegens openbare zedenschennis. In zijn toneelstuk Masscheroen had hij drie naakte mannen laten optreden en dat kon volgens de conservatieve rechterlijke macht in Vlaanderen niet door de beugel. De zaak leidde tot veel ophef binnen het artistieke milieu : kunst en literatuur werden eind jaren zestig veelvuldig gecensureerd en dat werd niet langer geaccepteerd. Aangestoken door het activistische elan van mei '68 besloten Claus en zijn collega's zich artistiek geëngageerd te tonen. Door middel van vrolijke happenings en poëtische protestavonden bevochten zij de autonomie van kunst en literatuur. Pieter VERSTRAETEN : Le corps du Christ. Le roman A propos de Dédé et le catholicisme Hugo Claus's short novel Omtrent Deedee [With regard to Deedee], which appeared in 1963, can be read in a variety of ways. In general, two slightly antagonistic interpretative models have been dominant so far : whereas the early literary analysis by Julien Weverbergh focuses on the symbolic dimension of the story, a commentator such as Bert Vanheste emphasizes the novel's connection with contemporary social discussions, such as the debates on the democratization of Catholic faith in the context of Vaticanum II (1962-1965). In this article I want to further develop the latter perspective by reading the book primarily as a commentary on Catholic faith, understood in its institutional as well as its ideological dimensions. In particular, I focus on the kind of priesthood the main character Deedee is embodying, on the relation between the priest Deedee and the young homosexual Claude, who seems to represent an alternative kind of priesthood, and on the process of transubstantiation, which plays a major role in all this. Finally, I relate the motif of transubstantiation to Claus's conception of meaning and symbolism. It appears that the religious sacrament as well as the signifying process are based on the interaction between the concrete and material on the one hand and the abstract and ideal on the other. In the end, in Omtrent Deedee, both categories are unmasked as mere social constructs, failing to do what they promise : restoring an original, sacral union or wholeness. Van Hugo Claus' korte roman Omtrent Deedee, verschenen in 1963, zijn heel verschillende interpretaties mogelijk. Grosso modo staan daarbij twee verschillende lectuurmodellen tegenover elkaar. Terwijl de vroege analyse van Julien Weverbergh vooral inzet op de symbolische dimensie van het verhaal, vraagt iemand als Bert Vanheste expliciet aandacht voor de betrokkenheid van de roman op contemporaine maatschappelijke problemen, zoals de discussies rond de democratisering van het katholieke geloof die plaatsvinden in de context van Vaticanum II. In dit artikel wil ik dat tweede perspectief verder uitwerken door Omtrent Deedee in de eerste plaats te lezen als een commentaar op het katholieke geloof, zowel op de institutionele als op de ideologische dimensie ervan. Ik focus daarbij op de aard van het priesterschap van het hoofdpersonage Deedee, op de relatie tussen de geestelijke Deedee en de jonge homoseksueel Claude, die een alternatieve priesterrol op zich neemt, en op het sacrale proces van de transsubstantiatie, dat bij dit alles een cruciale rol lijkt te spelen. Tenslotte verbind ik het motief van de transsubstantiatie met Claus' visie op betekenis en symboliek. Zowel het religieuze sacrament als het proces van betekenisgeving zijn immers gebaseerd op de interacties tussen het concrete en materiële enerzijds en het abstracte en ideële anderzijds. Finaal worden beide categorieën in Omtrent Deedee ontmaskerd als louter sociale constructies die er niet in slagen hun belofte waar te maken en een oorspronkelijke, sacrale eenheid en heelheid te herstellen. Tom SINTOBIN : Raconter en bafouillant, bafouiller en racontant. Traumatisme et narrativité chez Hugo Claus In this article two novels by Hugo Claus are analysed from the perspective of Trauma theory : Desire (1978) and The sorrow of Belgium (1983). Trauma destroys an individual's life-narrative and results in a Post Traumatic Stress Disorder. In Desire it is Didi that seems to suffer from it : she lost her human identity and her awareness of time, she is barely able to speek - which means that she has lost the plot that can give her life meaning and coherence. The reader is never told what exactly is the matter : all he gets are flashes, which are not sufficient to tell him the whole story. Moreover, he is confronted with the fact that the language of the novel is very ambiguous. These two characteristics - the unability to get to a fullblown story and the loss of language - the reader shares with a PTSD-patient, which suggests that this novel has a performative aspect : the reader lives through the same drama as that of the characters. In The sorrow of Belgium, uncle Omer is confronted with a malfunctioning language and ability to narrate. His problem manifests itself in repetition and in misunderstandings due to the ambiguity of words. The reader encounters exactly the same problem at the end of the novel, when a passage that seemed rather superficial at first sight in reality turns out to be full of meaning. However, there are characters in this novel whom one would expect to be traumatised that nevertheless do not show the typical characteristics. Above all the father, Staf, talks endlessly about the terrible things that happened to him, even so much that the members of his family are no longer interested. The feeling of the "surplus" of narratives, that are as a consequence not healing any more but aim at hiding something, is a feeling shared by the reader while he is reading this strange novel, which gets in its turn a performative aspect. In dit artikel worden twee romans van Hugo Claus, Het verlangen (1978) en Het verdriet van België (1983) bestudeerd vanuit het perspectief van traumastudies. Daarbij wordt een trauma gedefinieerd als datgene wat het levensnarratief van een individu vernietigt, met een Post Traumatic Stress Disorder tot gevolg. In Het verlangen blijkt Didi's pathologie daar nogal wat kenmerken van te hebben : ze is haar menselijke identiteit kwijt, haar tijdsbesef is ontregeld, ze kan amper nog spreken - zij heeft dus niet langer de beschikking over een levensnarratief dat haar bestaan zinvol en coherent kan maken. De lezer verneemt echter nooit precies wat er aan de hand is : hij krijgt slechts flitsen te zien en komt niet tot een sluitend verhaal. Bovendien wordt hij ermee geconfronteerd dat de taal van de roman wel heel meerzinnig wordt. Deze beide kenmerken - het onvermogen om tot een verhaal te komen en het verlies van taal - deelt de lezer met een PTSD-patiënt, zodat het verhaal in overdrachtelijke zin performatief is geworden : de lezer ondervindt het drama van de personages aan den lijve. Ook in Het verdriet van België komt er een personage voor wiens taal en verhalend vermogen hapert : Nonkel Omer. Zijn aandoening uit zich onder meer in herhaling en in misverstanden door dubbelzinnige woorden en blijkt ook de lezer parten te spelen wanneer die zich tegen het einde van de roman met een ogenschijnlijk anekdotische maar in werkelijkheid uitermate beladen passage geconfronteerd ziet. Nochtans zijn er ook personages waarvan men zou kunnen aannemen dat ze getraumatiseerd zijn zonder dat ze de kenmerken van een PTSD vertonen : vooral vader Staf vertelt honderduit over wat hem is overkomen, zelfs in die mate dat zijn verhalen niet meer interessant gevonden worden door zijn huisgenoten. Het gevoel van de overdaad aan verhalen, die niet langer heilzaam zijn maar iets verbergen, maakt zich ook van de lezer meester bij zijn lectuur van deze vreemde roman. Het verdriet van België heeft zodoende op zijn beurt iets performatiefs. Dirk VAN HULLE : Claus et la narratologie exogénétique. La cognition externe (extended mind) et les notes de lecture autour du Chagrin des Belges This article combines genetic criticism with a post-Cartesian approach to cognitive narratology, notably to the examination of literary evocations of the fictional mind. The case study is the genesis of Hugo Claus' novel Het verdriet van België. The exogenetic analysis of two extant notebooks shows how the author's reading notes contribute not just to the fictional cosmology of the novel, but also to the cognitive cosmology of the characters' 'extended' minds. The article argues that for Claus, as for many twentieth-century authors, the materiality of the avant-texte served as a cognitive model for the evocation of the workings of the fictional mind. Dit artikel combineert tekstgenetisch onderzoek met een post-Cartesiaanse benadering van de cognitieve narratologie, in het bijzonder het onderzoek naar vormen van literaire bewustzijnsrepresentatie. De gevalstudie is de genese van Hugo Claus' roman Het verdriet van België. Uit de exogenetische analyse van twee bewaard gebleven notitieboeken blijkt hoe de lectuurnotities bijdragen, niet alleen tot de fictionele kosmologie van de roman, maar ook tot de cognitieve kosmologie van personages en hun "extended mind" . Het artikel argumenteert dat voor Claus, net als voor heel wat twintigste-eeuwse auteurs, de materialiteit van de avant-texte heeft gefungeerd als cognitief model voor literaire bewustzijnsrepresentatie. Malgorzata DUBROWSKA : Die mythische Welt Anna Seghers'. Literarische Bilder aus dem französischen Exil Alongside her journalistic undertakings, literary works by Anna Seghers left trajectories of her residence as an immigrant in France between the years 1933-1941. In her literary works, the writer often depicted in a metaphorical way the world of immigration experiences : Sense of instability, isolation, life intimidations and also consciousness of replication of the immigrant' destiny. She brought a universal literary vision that corresponded to the biblical tradition and the world of the Greek and Roman mythologies. The author of this article, based on the selected literary works of Anna Seghers that were created in France, catalogues the universal experiences of the existence of the human kind, that in Seghers' works become mythical. Les textes littéraires d'Anna Seghers, qui complètent son activité publicistique, où elle décrit d'une manière métaphorique ses expériences d'expatriée, en disent long sur les années de son exil en France (1939-1941). La précarité, l'isolement, le danger de mort et la conscience de réitération de l'existence d'exilé font naître une vision littéraire universelle qui puise tant dans la tradition biblique que dans les mythologies grecque et romaine. A travers les textes littéraires retenus, issus de la période française, l'auteur de la présente contribution tente de concrétiser cette expérience atemporelle de l'existence humaine à laquelle Seghers donne une dimension mythique.

Elisabet Delbrück (1876-1967) was one of a number of Germans who came to New Zealand in the late 1930s. Unlike most, she had not intended to emigrate but was touring the country when World War II broke out. She was at first forbidden to leave and then chose to remain in Wellington. Her thirty years in Mahina Bay on Wellington harbour had a profound effect on all who knew her. This study aims to discover why she was so remarkable. It explores her early life, her marriage into a prominent German family and her qualification as an artist. She turned this into a profession, teaching and exhibiting on five continents in the 1920s and 1930s. She always travelled alone, observing the customs and beliefs of the people she met. In Australia and New Zealand in 1938 and 1939 she was wrongly suspected of spreading Nazi propaganda. Her story is also the story of a heroic group of Wellingtonians who helped her in the 1940s and valued her friendship till her death.

Legal Friction : Law, Narrative, and Identity Politics in Biblical Israel tracks the mystery of narratives in the Hebrew Bible and their allusions to Sinai laws by highlighting intertextual allusions created by verbal resonances. While the second and the third parts of the volume illustrate allusions to Sinai narratives made by some narratives occurring in the post-Sinaitic era, twenty-three Genesis narratives are analyzed to show that the protagonists were bound by Sinai Laws before God supposedly gave them to Moses, anticipating the Book of Jubilees. Legal Friction suggests that most of Genesis was composed during or after the Babylonian exile, after the codification of most Sinai laws, which Genesis protagonists consistently violate. The fact that they are not punished for these violations implies to the exiles that the Sinai Covenant was unconditional. In addition, the author proposes that Genesis contains a hidden polemic, encouraging the Judean exiles to follow the revisions of laws of the Covenant Code by the Holiness Code and Deuteronomy. Genesis narratives, like those describing post-Sinai events, often cannot be understood properly without recognition of their allusions to biblical laws.

This study reconstructs Brittain's feminist theory, which mainly refutes assumptions made about women, supports companionate marriage, and demands the communal reorganization of child care and domestic work to enable a married woman to work outside her home. It compares her theory to her five novels. Doing so, it uncovers revealing feminist 'flaws', above all that marriage remains, the sine qua non for a woman's happiness. The study describes Brittain's way to the top as a formidable obstacle race, in which she constantly had to fight the men she loved, her children, her parents, and resulting domesticity in order to find time to write "the book of the decade". She reached her goal with the publication of Testament of Youth in 1933.

The "Ambazonian" Nightmare tells the story of how the now almost six years of instability started in the two English speaking regions of the Republic of Cameroon. The swiftly consolidating insecurity dilemma holds within two contradictory historical mistakes : the enforcement of the English speaking Cameroon's populations resentment of specificity and marginality and the paradoxical laxism of Cameroon's national security and defence system. Yet, the security system was not weak but negligent of the threat of an "Anglophone" revolutionary agenda and the challenge it was posing to the unity of the nation and the philosophy of national integration.

Scarlet is the colour of sin, and the letter " A " stands for " Adultery ". In the 1600s, in Boston, Massachusetts, love was allowed only between a husband and a wife. A child bore outside marriage was a child of sin. Hester Prynne must wear the scarlet letter on her dress for the rest of her tife. How can she ever escape from this public shame? What will happen to her child, growing up in the shadow of the scarlet letter? The future holds no joy for Hester Prynne. And what will happen to her sinful lover - the father of her child?

This book deals with métissage in New France and Canada in the period 1508 to 1886. Métissage is understood as a syncretistic process of cultural, social and political encounter and mixture of ethnic groups that resulted from mixed marriages and relationships. Those led to the rise of the Métis people in North America, which were distinguished as French-speaking Métis and English-speaking Halfbreeds. The process of mixture began in 1508, when first Indians were shipped to France with the intention to use them as multipliers of French culture on their return to the colony. In 1886, the Act of Savages legally distinguished between "Indians" and "Metis", thus marking the beginning of a mixed-blood identity in Canada that was differentiated from neighbouring Whites, Indians and Inuit. The theoretical approach of the history of concepts is employed in the longue durée to show the variance throughout four centuries.

Architect, designer and world traveler, Serge Gladky was a major figure in the rise of the modernist aesthetic and the decorative style known as Art Deco. In that style, he created a series of compositions widely regarded as among the most inspired and innovative in modem design. Among them are intricate lattice works of geometric inspired motifs, bizarre compositions containing surreal animals and images, bold abstracts, mysterious collages of symbolic forms and shapes, whimsical Cubist-flavored constructions resembling heads, and much more. This beautiful volume, faithfully reprinted in glowing full color from rare original French portfolios, contains over 60 of Gladky's finest designs. A landmark achievement in the evolution of a great international design style, the patterns are now available for the first time to artists and craftspeople for copyright-free use in design and craft projects. Because of Gladky's far-ranging travels and studies throughout Asia and Eastern Europe, his designs and use of color brought a new and potent exoticism to the essentially Western European, Paris-centered Art Deco aesthetic. His striking originality and innovative conceptions are on display here, ready to delight and inspire artists, illustrators and craftspeople, who will find Gladky's work one of the most imaginative and beautifully wrought achievements in 20th-century design.

Nikolaj Gumilev occupies a paradoxical place within the history of Russian modernism. Although he is well known as the founder of Acmeism and is regarded as an important poet and critic, much of his work is difficult to reconcile with prevailing concepts of modernism. The present study seeks to explain this marginal position by reinterpreting Gumilev's work within the broader context of a modernist aesthetic of order, or "neo-classical modernism." The term refers to an aesthetic line within modernism that sought to reconcile certain features of traditional rhetoric - in particular the triadic style system - with modernist strategies of innovation. Although primarily devoted to Gumilev, the study also touches on Russian and French writers adhering to comparable aesthetic values, among them Annenskij, Kuzmin, Gautier, Leconte de Lisle, Valéry and Gide.

Physical scientists are problem solvers. They are comfortable "doing" science: they find problems, solve them, and explain their solutions. Roger Newton believes that his fellow physicists might be too comfortable with their roles as solvers of problems. He argues that physicists should spend more time thinking about physics. If they did, he believes, they would become even more skilled at solving problems and "doing" science. As Newton points out in this thought-provoking book, problem solving is always influenced by the theoretical assumptions of the problem solver. Too often, though, he believes, physicists haven't subjected their assumptions to thorough scrutiny. Newton's goal is to provide a framework within which the fundamental theories of modem physics can be explored, interpreted, and understood. "Surely physics is more than a collection of experimental results, assembled to satisfy the curiosity of appreciative experts," Newton writes. Physics, according to Newton, has moved beyond the describing and naming of curious phenomena, which is the goal of some other branches of science. Physicists have spent a great part of the twentieth century searching for explanations of experimental findings. Newton agrees that experimental facts are vital to the study of physics, but only because they lead to the development of a theory that can explain them. Facts, he argues, should undergird theory. Newton's explanatory sweep is both broad and deep. He covers such topics as quantum mechanics, classical mechanics, field theory, thermodynamics, the role of mathematics in physics, and the concepts of probability and causality. For Newton the fundamental entity in quantum theory is the field, from which physicists can explain the particle-like and wave-like properties that are observed in experiments. He grounds his explanations in the quantum field. Although this is not designed as a standalone textbook, it is essential reading for advanced undergraduate students, graduate students, professors, and researchers. This is a clear, concise, up-to-date book about the concepts and theories that underlie the study of contemporary physics. Readers will find that they will become better-informed physicists and, therefore, better thinkers and problem solvers, too.

The twelve lessons forming this volume were originally issued in the shape of monthly lessons, known as "The Advanced Course in Yogi Philosophy and Oriental Occultism" during a period of twelve months beginning with October 1904, and ending September 1905. We have been told, so often, that we must take certain things "on faith, " and that it was "no use bothering our minds concerning them, " but this is only a partial statement of truth, for the Intellect does give us a reliable report concerning the real nature of things. . ". New Thought proponents at the turn of the twentieth century sought to use mysticism to unleash the forces of the universe in themselves. One of the most influential thinkers of this early "New Age" philosophy promises here, in this 1904 book, to show the reader "to see with the clear vision of the Spirit" and how to "achieve the peace of the awakened and conscious soul". As the yogi reminds us, "No occult teaching is ever wasted-all bears fruit in its own good time". With this significant document of the New Thought movement back in print, now may be the time. Content : Lesson I. Light On The Path Lesson II. Some More Light On The Path Lesson III. Spiritual Consciousness Lesson IV. The Voice Of Silence Lesson V. Karma Yoga Lesson VI. Gnani Yoga Lesson VII. Bhakti Yoga Lesson VIII. Dharma Lesson IX. More About Dharma Lesson X. Riddle Of The Universe Lesson XI. Matter And Force Lesson XII. Mind And Spirit American writer WILLIAM WALKER ATKINSON (1862-1932)-aka Yogi Ramacharaka-was born in Baltimore and had built up a successful law practice in Pennsylvania before professional burnout led him to the religious New Thought movement. He served as editor of the popular magazine New Thought from 1901 to 1905, and as editor of the journal Advanced Thought from 1916 to 1919. He authored dozens of New Thought books-including The Philosophies and Religions of India, Arcane Formula or Mental Alchemy and Vril, or Vital Magnetism-under numerous pseudonyms, some of which are likely still unknown today.

Raised as a slave in the Darkoath camps of Aqshy, Kiri dreams of a better life. Of a city of wonders, the place of her birth… Lifestone ! She despairs of ever reaching it until a fateful day arrives when her barbarian captors are attacked by Sigmar's noblest warriors, the Stormcast Eternals. Seizing her chance, Kiri flees through a mysterious realmgate that takes her far from the fiery lands of Aqshy. She arrives in the realm of Ghyran and finds the city of Lifestone. But a curse lies on this place, withering its noble spirit. Her path leads her to a special group of children who, like her, are realm-marked the prophecised saviours of Lifestone. There's Thanis, the fighter ; Alish, the inventor ; Kaspar ; the sneak and Elio, the healer. But dark forces are allying against the children and will do anything to stop them achieving their destiny.

In this clear and detailed reading guide, we've done all the hard work for you ! The Truth About the Harry Quebert Affair by Joel Dicker is an admirable novel with an intoxicating plot mixing shady past and shifting present. It recounts the investigation of Marcus Goldman, a successful novelist, who attempts to clear the name of his former professor, accused of having murdered a young girl. This practical and insightful reading guide includes : - A complete plot summary - Character studies - Key themes and symbols - Questions for further reflection Why choose BrightSummaries. com ? Available in print and digital format, our publications are designed to accompany you in your reading journey. The clear and concise style makes for easy understanding, providing the perfect opportunity to improve your literary knowledge in no time. Shed new light on your favorite books with BrightSummaries. com !

This one-of-a-kind, class-tested textbook introduces the possibilities arising from the convergence of computing and communications technologies to students who don't have an information technology background. By combining the appropriate technical detail with illustrative examples, nontechnical issues, review sections, discussion items, and exercises, it empowers students to envision how networked computing applications con support individuals, groups, and organizations. Whether students are preparing for careers in business, information management, education, low, or public policy, no other book equips them with the broad understanding needed to effectively exploit these powerful technologies. Features. Thoroughly explains the use of networked computing in collaboration, information retrieval, education, business, and e-commerce. Covers a brood range of subjects including applications - their acquisition, the supporting technical infrastructures (architecture, security, databases, middleware, network, and communications), and performance - as well as important industry, economic, and policy issues. Provides supplementary materials via a companion Web site, links to other relevant Web sites, and additional resources for instructors.

As the first translation of Karl Gutzkow's 1835 novel, Wally the Skeptic, this edition is meant to make an important, yet long misunderstood work available to a non-German-speaking audience. The extensive footnotes and the critical introduction attempt to interpret and explicate this pivotal novel - the best of the so-called Young Germans - and to make clear its vital role in the literary and cultural history of the 1830's.

Marie was born around the end of World War II in a small village near Chaveniac-Lafayette where General Lafayette lived. It is the mountainous region of Auvergne known as the heart of France. Take Marie's hand and she will guide you through her humble childhood. Through her eyes you will see what it was like to live in the country in France. With Marie's many brothers end sisters you will participate in hay making, harvesting... At this time, they used traditional methods and tools. Her parents will demonstrate the making of bread, butter and cheese... It's here that you meet Mathias, a boy her age, who becomes her best friend. Later, their love story unfolds... Just after the war, it was a time when the French countryside was populated with farmers that still lived in economic self-sufficiency. In the story, the author makes these peasants from depths of France come alive. The feeling, the candor, and the authenticity of the book will remind you of the Little House on the Prairie

The present survey of the critique of mathematical logic in Germany at the turn of the 20th century attempts to answer several interesting questions : How did the contemporary German philosophers see the role and significance of logic ? What kind of relationships did they claim to exist between logic, mathematics, linguistics and psychology ? Pulkkinen starts by giving a historical survey of the development of German logic 1830-1920 as it appears against the background of German academic philosophy. Next he studies the interrelationships between logic and psychology, logic and linguistics, and logic and mathematics. After this the author presents the general features of the reception of mathematical logic in Germany between 1880 and 1920. This is followed by a more detailed account of the arguments of three individual critics : Fritz Mauthner, Heinrich Rickert, and Theodor Ziehen.

Pierre Jean BRUNEL : Oti et dioti. Les enjeux métaphysiques de l'éthique aristotélicienne dans Woldemar de Friedrich Heinrich Jacobi While Aristotle's authority is being challenged by modern philosophy, Jacobi quotes from his Nicomachean Ethics in Woldemar. Daniel Jenisch's edition of the Aristotle Ethics proves to be a major source for the understanding of the novel's "philosophical intent" . What is the significance of such a philosophical revival of Aristotle as the result of the novel ?? To what extent does the variance between the "commercial society" and the ancient doctrine of virtue throw light upon ethical and metaphysical stakes ?? How does the novel handle the philosophical question of immediate knowledge ?? The reading of Nicomachean Ethics does provide us with a model of conversion for the crisis of the modern subject. Während die Autorität des Aristoteles von der modernen Philosophie in Frage gestellt wird, bezieht sich Jacobi in Woldemar auf die Nikomachische Ethik. Daniel Jenischs Übersetzung (1791) stellt eine wichtige Quelle dar, um die "philosophische Absicht" dieses Romanes zu verstehen. Was bedeutet diese Rückkehr des Aristoteles dank des Romans ?? Inwieweit hat der Konflikt zwischen der modernen commercial society und der alten Tugendlehre eine ethische und metaphysische Tragweite ?? Wie wird die philosophische Frage nach der unmittelbaren Erkenntnis im Roman behandelt ?? Bedeutet die Lektüre der Ethik ein Bekehrungsmodell für die Krise des modernen Subjektes ?? Ives Radrizzani : La Destination de l'homme - la réponse de Fichte à la Lettre ouverte de Jacobi ?? The Vocation of Man is Fichte's response to Jacobi. Fichte follows a double strategy : he provides us with his system of defense against the accusations made to the Doctrine of Science in the Letter to Fichte (subjectivism, solipsism, nihilism), on the other part, he tries to build a link to the non-knowledge of Jacobi. With the ternary structure of the work, Fichte shows its commitment to the position that was already his at the time of the Quarrel of pantheism : he still holds necessary a mediation of Knowledge between Doubt and Faith and doesn't agree the Jacobian salto mortale. But the Knowledge and the Faith staged in the last two books of the work are precisely calibrated to demonstrate to Jacobi their agreement in these two areas. The reaction of Jacobi shows the discrepancy between the expectations of Fichte and the result. Die Bestimmung des Menschen bringt Fichtes Antwort auf Jacobi. Fichte verfolgt zwei Ziele : es gilt auf der einen Seite für ihn, sein Verteidigungssystem gegen die im Brief an Fichte entgegen der Wissenschaftslehre geäußerten Anschuldigungen (Subjektivismus, Solipsismus, Nihilismus) darzustellen, auf der anderen Seite einen Übergang zum jacobischen Nichtwissen zu ermitteln. Mit der dreiteiligen Struktur der Schrift zeigt Fichte, daß er der Position, die er schon beim Pantheismusstreit vertrat, treu bleibt : er hält eine Vermittlung durch das Wissen zwischen dem Zweifel und dem Glauben für notwendig und setzt sich dem jacobischen salto mortale entgegen. Aber die in den zwei letzten Büchern der Schrift inszenierten Wissen und Glaube sind genau darauf abgezielt, um Jacobi ihre Übereinstimmung in jenen zwei Bereichen unter Beweis zu stellen. Jacobis Reaktion zeigt die ganze Diskrepanz zwischen Fichtes Erwartungen und dem Ergebnis. Patrick Cerutti : Naître à l'existence "Je me souviens de cet instant plein de joie et de trouble, où je sentis pour la première fois ma singulière existence" . This paper traces the historical evolution of a metaphor, the one of awakening or birth to being, as it appears in Buffon's, then Rousseau's, Jean Paul's and Jacobi's works. Jacobi, after many modifications of meaning, bases his whole conception of a feeling of existence on it, since it depends on the spirit rather than the senses. "Je me souviens de cet instant plein de joie et de trouble, où je sentis pour la première fois ma singulière existence" . Der vorliegende Artikel gibt die Geschichte der Metapher des Erweckens oder der Geburt zur Existenz wieder, wie sie in Werken Buffons, dann Rousseaus, Jean Pauls und Jacobis erscheint. Durch manche Bedeutungsveränderungen baut Jacobi auf diesem Bild seine ganze Konzeption des Gefühls der Existenz auf, insofern als sie eher von einem Gefühl des Geistes als von der Empfindung abhängt. Alain muzelle : Friedrich Schlegel lecteur critique de Jacobi Jacobis Woldemar is a review Friedrich Schlegel wrote in 1796 from the final version of the novel. With this work, the young writer inaugurates the series of his "Charakteristiken" . Under the influence of Fichte's philosophy, he develops a new form of criticism, a genetic method that explains the poetic works from the point of view of their progressive construction, on the basis that "one can understand a book or a mind only through reconstructing its internal dynamics" . After having showed the weakness of the plot and portrayed Woldemar as a vulgar and selfish immoralist, he refuses to acknowledge the work any specifically philosophical value, arguing that he cannot succeed in finding any consistency in the course of the argument. Finally, the profound unity of the book is to be found, for Schlegel, in the individuality of its creator, whom he defines as a "mystical sophist" . Mit Jacobis Woldemar, einer Rezension, die Friedrich Schlegel 1796 über die endgültige Fassung dieses Romans verfasst, entsteht die erste seiner Charakteristiken. Unter dem Einfluß von Fichtes Philosophie entwickelt Schlegel eine neue Art von Kritik, eine genetische Methode, welche die poetischen Werke aus ihrem Werden erklärt, da man erst "ein Werk, einen Geist [versteht], wenn man den Gang und Gliederbau nachkonstruieren kann". Nachdem er auf die innere Brüchigkeit der Romanhandlung hingewiesen und von der Titelgestalt das Porträt eines immoralistischen groben Egoisten entworfen hat, was ihn dazu führt, Jacobis ethische Lehre in Frage zu stellen, spricht er dem Werk jegliche echt philosophische Dimension ab, da es ihm an einer Kontinuität der philosophischen Gedankenführung fehle. Schlegel erkennt schließlich die eigentliche Grundeinheit des Romans in der Persönlichkeit des Schriftstellers selbst, den er als einen mystischen Sophisten definiert. Sylvie LE MOËL : La traduction française de Woldemar, "roman philosophique et sentimental" - une médiation avortée ?? This study proposes to reassess the only translation in French of the novel Woldemar, published soon after it appeared in Germany but which quickly sank into oblivion. As the first attempt of Franco-German mediation by the publicist Charles Vandenbourg, who, at the time, had emigrated to Germany, it represents an enlightening example of the philological and philosophical stakes specific to the Franco-German intellectual transfer around the 1800s. The current article analyses the initial conditions and the publishing modes of the transfer, the translation strategy of Charles Vandenbourg as well as the revealing role played by the text in resetting the intellectual fields under the Directoire. Although it was a failure, this translation lead up to the penetration of Jacobi's philosophy in France, in a context of the philosophical debates opposing the Idealists and the Ideologists, later echoed by Madame de Staël. Vorliegender Beitrag untersucht die einzige französische Übersetzung von Jacobis Roman Woldemar, die zwar kurz nach der deutschen Originalfassung erschien, dafür aber schnell in Vergessenheit geriet. Als erster Versuch deutsch-französischer Vermittlung durch den nach Deutschland emigrierten französischen Publizisten Charles Vanderbourg stellt sie ein einleuchtendes Beispiel für den philologischen und philosophischen deutsch-französischen Transfer um 1800 dar. Die Studie befasst sich mit den Ausgangsbedingungen und den verlegerischen Modi des Transfers sowie mit Vanderbourgs Übersetzungsstrategien, wobei der französische Text die Neugestaltung des französischen intellektuellen Feldes zur Zeit des Direktoriums erkennen lässt. Dieser scheinbar gescheiterte Transfer nimmt also doch die Einführung von Jacobis Philosophie in Frankreich vorweg, und zwar im Kontext von Debatten zwischen Idealisten und Ideologen, an die Madame de Staël kurz darauf anknüpft. Norbert WASZEK : La référence à Adam Ferguson dans Woldemar de Friedrich Heinrich Jacobi At the centre of this article is an analysis of the presence of Adam Ferguson, a leading member of the Scottish Enlightenment, in Jacobi's philosophical "novel" Woldemar. Although often neglected by Jacobi scholarship, Ferguson is mentioned and quoted approvingly on several occasions in Woldemar, and his implicit impact might reach even further. Initially, the ground for such an analysis is prepared by recalling the empirical evidence for Jacobi's reading of Ferguson as is to be found in the catalogue of his personal library and in his voluminous correspondence. Then, standing back from details of the reception, the wider question is opened, whether an appropriate appreciation of Jacobi's indebtedness to Ferguson might contribute to a correction of certain older images and clichés of Jacobi's thought. Der Beitrag geht einem noch zu wenig beachteten Bezugspunkt von Jacobis Woldemar nach, dem schottischen Philosophen Adam Ferguson, welcher in Jacobis Buch mehrfach ausdrücklich und zustimmend erwähnt und zitiert wird und dessen Einfluss implizit vermutlich noch weiter reicht. Vor dieser zentralen Analyse werden einleitend noch weitere Belege für Jacobis Beschäftigung mit Ferguson aus seinem Briefwechsel und seinen Bibliotheksbeständen vorgestellt und eine kurze Charakterisierung von Fergusons Werk geboten. Ein Ausblick nimmt ein wenig Abstand von den Einzelheiten der Rezeption und eröffnet die weiterführende Frage, ob eine angemessene Würdigung seiner Lektüre von Ferguson dazu beitragen kann, noch immer verbreitete Klischees über Jacobis Denken zu korrigieren. Niall Bond : Ferdinand Tönnies und seine Wechselwirkungen mit der französischsprachigen Welt Research on the institutional establishment of sociology in Europe has for the most part ignored exchanges between the earliest leading French and German sociologists. Yet our research in Ferdinand Tönnies' estate in Kiel has shown us that there were fruitful exchanges and mutual effects between Tönnies and Emile Durkheim, René Worms, Gabriel Tarde and other French-speaking sociologists and philosophers. At the same time, constructions and representations of national traits were obstacles to the fluid transfer of scientific interests and knowledge even across the borders of Europe. This becomes particularly clear when we read Tönnies' and Durkheim's writings during the Great War. Nevertheless, the transposing of Tönnies, who had resisted National Socialism, to other cultural contexts such as the French-speaking world made it possible to deal with his thought in a more neutral and objective fashion than was possible in post-war Germany, which had been traumatised by the recuperation of the term "Volksgemeinschaft" by the Nazis. Dans une grande mesure, la recherche sur la mise en place institutionnelle de la sociologie en Europe a fait jusqu'alors abstraction des échanges entre les premiers sociologues français et allemands. En puisant dans les archives de Ferdinand Tönnies à Kiel, nous constatons toutefois des échanges fructueux et des actions réciproques entre Tönnies et Emile Durkheim, René Worms, Gabriel Tarde et d'autres sociologues et philosophes de langue française. En même temps, les constructions et les représentations de traits nationaux représentaient autant d'obstacles à un passage fluide d'interrogations scientifiques et de savoirs même à travers les frontières de l'Europe. Cela devient surtout clair à la lumière des écrits de Tönnies et de Durkheim sous l'influence de la Grande Guerre. Cependant la transposition de Tönnies, résistant au nazisme, à d'autres aires culturelles comme l'aire francophone a permis un traitement davantage neutre et objectif que celui qui a été possible dans une culture allemande de l'après-guerre traumatisée par l'exploitation du terme de "Volksgemeinschaft" par les nazis. Sonja VANDERLINDEN : Journal fictif, vie romancée, roman, mémoires, confession. Le cas de Tine of de dalen waar het leven woont (1987) de Nelleke Noordervliet The central theme of this contribution is the interaction between fiction and reality in Noordervliet's novel about Multatuli's wife. Speaking is Everdine van Wijnbergen during the last months of her life ?; in a fictional diary she looks back on episodes out of her whole life, with or without Douwes Dekker at her side. This fictional (auto)biography of a historical person is also a confession, an introspection, a self-examination. In this novel three "Tines" appear side by side : the real Everdine, Multatuli's and Max Havelaar's idealized Tine, and Noordervliet's Tine. Nelleke Noordervliet gives a voice to this writer's wife ?; she brings her out of the shadows and offers a nuanced and complex image of her personality. De rode draad in deze bijdrage is het spel met fictie en realiteit in Noordervliets roman over de vrouw van Multatuli. De auteur laat Everdine van Wijnbergen aan het woord tijdens haar laatste levensmaanden ?; in een fictief dagboek kijkt zij terug op episodes uit haar gehele leven, met of zonder Douwes Dekker aan haar zij. Deze fictieve (auto)biografie van een historisch personage is tegelijkertijd ook een biecht, een introspectie, een gewetensonderzoek. In deze roman komen drie "Tines" naast elkaar te staan : de werkelijke Everdine, de geïdealiseerde Tine van Multatuli en van Max Havelaar, en de Tine van Noordervliet. Nelleke Noordervliet geeft een stem aan deze schrijversvrouw, haalt haar uit de schaduw en biedt een genuanceerd en complex beeld van haar persoonlijkheid.

Ce livre réexamine la représentation de la famille dans des romans, albums ou pièces de théâtre pour la jeunesse relevant de différentes aires géographiques, culturelles et linguistiques. Bienveillants ou aliénants, les liens tissés entre générations ou au sein de la fratrie conditionnent la construction des jeunes protagonistes. La littérature de jeunesse reflète la diversité de la famille et sa capacité à évoluer, voire à se réinventer (familles monoparentales ou homoparentales, recomposées, adoptives...). En proposant des modèles parfois éloignés des réalités connues des lecteurs, elle les invite à réévaluer leur propre expérience mais témoigne aussi d'une certaine constance des attentes et des interrogations que l'institution suscite. This book re-examines the representation of the family in novels, picture books or theatre plays for young people, belonging to various geographical, cultural and linguistic areas. The bonds between generations or among siblings, whether benevolent or destructive, play a decisive part in the young protagonists' development. Children's literature is shown to reflect the diversity of the family as an institution and its ability to change or even to reinvent itself (single-parent, same-sex-parent, blended or adoptive families...). Its fictional representations of the family may differ from the realities experienced by the readers, and invites them to reconsider their own experiences, yet show expectations and questions related to family life to remain fairly constant.

Where do feelings of national belonging come from ? Why is it that this belonging often seems both fundamental and banal, both intangible and omnipresent ? This book argues that the answers to these questions lie in childhood and the socialisation to the nation that we experience as children. It suggests that the banality of our own everyday nationalism is due to the fact that we have spent our lives learning to take it for granted. Just as our first understandings of reality are learned during childhood socialisation, so nationhood and national belonging are internalised as natural and necessary from the very beginning of our lives. The specific nature of this early socialisation is what confers upon banal nationalism its characteristic combination of omnipresence, inscrutability and self-evidence. To try and get around this self-evidence and explore this socialisation and its results, this study has adopted an innovative methodology involving semi-directive projective interviews with young children in France and England. This book presents an analysis of how this early socialisation to the nation plays out on young children's visions of national belonging and its justifications and implications. It also looks at what this transmission in childhood means for nationalism as an ideology and the power and pertinence of the nation today.

This book brings together twelve specially commissioned essays that showcase current research on Spanish Republican exile theatre and performance, including work by some of the foremost scholars in the field. Covering a range of periods, geographical locations and theatrical phenomena, the essays are united by the common question of what it means to ‘stage exile', exploring the relationship between space, identity and performance in order to excavate the place of theatre in Spanish Republican exile production. Each chapter takes a particular case study as a starting point in order to assess the place of a particular text, practitioner or performance within Hispanic theatre tradition and then goes on to examine the case study's relationship with the specific sociocultural context in which it was located and/or produced. The authors investigate wider issues concerning the recovery and performability of these documentary traces, addressing their position within the contemporary debate over historical and cultural memory, their relationship to the contemporary stage, the insights they offer into the experience and performance of exile, and their contribution to contemporary configurations of identity and community in the Hispanic world. Through this commitment to interdisciplinary debate, the volume offers a new and invigorating reimagination of twentieth-century Hispanic theatre from the margins.