Penny Legg

What is German history? Where did it take place? And what role did Germans living outside of Central Europe play in it? This polycentric history offers a new vision: It uses communities of Germans, from Austria to Chile to Russia, to rethink our narratives of modern German history. Focusing on the great plurality of Germans, and their interconnections around the world, it pointedly de-centers the nation-state while arguing that resisting its dominance in our historical narratives has high intellectual and political stakes. For within an unbound German history there are characteristics, clues, models, and precedents that can do much to undermine the return of violent, exclusionary nationalism. To that end, this book calls for a greater integration of mobilities, migration flows, different ways of belonging, and transcultural places into our narratives of Germans' histories. Ultimately, it reveals how embracing a range of narratives can help us to better understand people's actions, inte

What is German history? Where did it take place? And what role did Germans living outside of Central Europe play in it? This polycentric history offers a new vision: It uses communities of Germans, from Austria to Chile to Russia, to rethink our narratives of modern German history. Focusing on the great plurality of Germans, and their interconnections around the world, it pointedly de-centers the nation-state while arguing that resisting its dominance in our historical narratives has high intellectual and political stakes. For within an unbound German history there are characteristics, clues, models, and precedents that can do much to undermine the return of violent, exclusionary nationalism. To that end, this book calls for a greater integration of mobilities, migration flows, different ways of belonging, and transcultural places into our narratives of Germans' histories. Ultimately, it reveals how embracing a range of narratives can help us to better understand people's actions, inte

What does it mean to focus on the decade as a unit of literary history? Emerging from the shadows of iconic Victorian authors such as Eliot and Tennyson, the 1880s is a decade that has been too readily overlooked in the rush to embrace end-of-century decadence and aestheticism. The 1880s witnessed new developments in transatlantic networks, experiments in lyric poetry, the decline of the three-volume novel, and the revaluation of authors, journalists and the reading public. The contributors to this collection explore the case for the 1880s as both a discrete point of literary production, with its own pressures and provocations, and as part of literature's sense of its expanded temporal and geographical reach. The essays address a wide variety of authors, topics and genres, offering incisive readings of the diverse forces at work in the shaping of the literary 1880s.

This volume analyses the ways in which the works of one of the most influential philosophers of the twentieth century, Michel Foucault, have been received and re-worked by scholars of South Asia. South Asian Governmentalities surveys the past, present, and future lives of the mutually constitutive disciplinary fields of governmentality - a concept introduced by Foucault himself - and South Asian studies. It aims to chart the intersection of post-structuralism and postcolonialism that has seen the latter Foucault being used to ask new questions in and of South Asia, and the experiences of post-colonies used to tease and test the utility of European philosophy beyond Europe. But it also seeks to contribute to the rich body of work on South Asian governmentalities through a critical engagement with the lecture series delivered by Foucault at the Collège de France from 1971 until his death in 1984, which have now become available in English.

This volume analyses the ways in which the works of one of the most influential philosophers of the twentieth century, Michel Foucault, have been received and re-worked by scholars of South Asia. South Asian Governmentalities surveys the past, present, and future lives of the mutually constitutive disciplinary fields of governmentality - a concept introduced by Foucault himself - and South Asian studies. It aims to chart the intersection of post-structuralism and postcolonialism that has seen the latter Foucault being used to ask new questions in and of South Asia, and the experiences of post-colonies used to tease and test the utility of European philosophy beyond Europe. But it also seeks to contribute to the rich body of work on South Asian governmentalities through a critical engagement with the lecture series delivered by Foucault at the Collège de France from 1971 until his death in 1984, which have now become available in English.

Taking a practical view with examples from all areas of health, the third edition of this textbook provides a clear, contemporary introduction to epidemiology.

Focusing on the relationship between England and Scotland and the interaction between history and geography, Penny Fielding explores how Scottish literature in the Romantic period was shaped by the understanding of place and space. This book examines geography as a form of regional, national and global definition, addressing national surveys, local stories, place-names and travel writing, and argues that the case of Scotland complicates the identification of Romanticism with the local. Fielding considers Scotland as 'North Britain' in a period when the North of Europe was becoming a strong cultural and political identity, and explores ways in which Scotland was both formative and disruptive of British national consciousness. Containing studies of Robert Burns, Walter Scott and James Hogg, as well as the lesser-known figures of Anne Grant and Margaret Chalmers, this study discusses an exceptionally broad range of historical, geographical, scientific, linguistic, antiquarian and politica

This study, first published in 1986, is an examination of the many facets of Mallarmés relationship to the visual arts. Dr Florence proceeds by analysing Mallarmés writing on painting and literature, and its bearing on specific paintings, lithographs, and poems. These analyses reveal and define important common structures and innovatory developments, the coherence of which is masked by conventional histories of art. A new relationship is revealed between the word and the image, which has significant implications for an understanding of the self and the world in these texts. The book is particularly original in two respects: first, it shows how developments in verbal and visual innovation are interdependent in Mallarmés work; second, it integrates hitherto discrete traditions of the avant-garde in painting to present a new perspective on the history of modernism.

Focusing on the relationship between England and Scotland and the interaction between history and geography, Penny Fielding explores how Scottish literature in the Romantic period was shaped by the understanding of place and space. This book examines geography as a form of regional, national and global definition, addressing national surveys, local stories, place-names and travel writing, and argues that the case of Scotland complicates the identification of Romanticism with the local. Fielding considers Scotland as 'North Britain' in a period when the North of Europe was becoming a strong cultural and political identity, and explores ways in which Scotland was both formative and disruptive of British national consciousness. Containing studies of Robert Burns, Walter Scott and James Hogg, as well as the lesser-known figures of Anne Grant and Margaret Chalmers, this study discusses an exceptionally broad range of historical, geographical, scientific, linguistic, antiquarian and politica

The Parallel Worlds of Classical Art and Text is the first study to consider the relationship between artists and texts throughout classical antiquity and to cover the entire range of illustrated text from traditional literary to technical works. By systematically applying new and objective criteria to judge the fidelity between picture and text, it is becomes clear that artists illustrate stories, not texts. Jocelyn Penny Small argues that artistic transmissions follow the model of oral, not textual, transmission where the variant rules and where there is no original. Pictures on vases, she demonstrates, should not be used to reconstruct lost literary works. Finally, Small offers an analysis of literary sources on pictures in texts, proving that the appearance of the first illustrated literary classical texts occurred at the end of the Late Roman Republic.

Why did theatre audiences laugh in Shakespeare's day? Why do they still laugh now? What did Shakespeare do with the conventions of comedy that he inherited, so that his plays continue to amuse and move audiences? What do his comedies have to say about love, sex, gender, power, family, community, and class? What place have pain, cruelty, and even death in a comedy? Why all those puns? In a survey that travels from Shakespeare's earliest experiments in farce and courtly love-stories to the great romantic comedies of his middle years and the mould-breaking experiments of his last decade's work, this book addresses these vital questions. Organised thematically, and covering all Shakespeare's comedies from the beginning to the end of his career, it provides readers with a map of the playwright's comic styles, showing how he built on comedic conventions as he further enriched the possibilities of the genre.

This book addresses the needs of the undergraduate nurse by presenting a series of classic case studies in nursing, in the adult and elderly population. Each case follows a standardised layout for ease of reference and includes photographs or clear line diagrams where appropriate, to illustrate key points. Each case is also accompanied by timed, structured questions with comprehensive referenced model answers to enhance the book's utility as a self-assessment tool.

Why did theatre audiences laugh in Shakespeare's day? Why do they still laugh now? What did Shakespeare do with the conventions of comedy that he inherited, so that his plays continue to amuse and move audiences? What do his comedies have to say about love, sex, gender, power, family, community, and class? What place have pain, cruelty, and even death in a comedy? Why all those puns? In a survey that travels from Shakespeare's earliest experiments in farce and courtly love-stories to the great romantic comedies of his middle years and the mould-breaking experiments of his last decade's work, this book addresses these vital questions. Organised thematically, and covering all Shakespeare's comedies from the beginning to the end of his career, it provides readers with a map of the playwright's comic styles, showing how he built on comedic conventions as he further enriched the possibilities of the genre.

Women, Modernism, and Performance is an interdisciplinary 2004 study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do not address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life.

Between 1300 and 1550, London's courts were the most important English lay law courts outside Westminster. They served the most active and innovative of the local jurisdictions in which custom combine

Jane Austen was fascinated by theatre from her childhood. As an adult she went to the theatre whenever opportunity arose. Scenes in her novels often resemble plays, and recent film and television versions have shown how naturally dramatic her stories are. Yet the myth remains that she was 'anti-theatrical', and readers continue to puzzle about the real significance of the theatricals in Mansfield Park. Penny Gay's book describes for the first time the rich theatrical context of Austen's writing, and the intersections between her novels and contemporary drama. Gay proposes a 'dialogue' in Austen's mature novels with the various genres of eighteenth-century drama - laughing comedy, sentimental comedy and tragedy, Gothic theatre, early melodrama. She re reads the novels in the light of this dialogue to demonstrate Austen's analysis of the pervasive theatricality of the society in which her heroines must perform.

Women, Modernism, and Performance is an interdisciplinary 2004 study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do not address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life.

This book studies the differences of pronunciation and grammar that exist within the Spanish-speaking world, and traces their origins in the frequent mixing of dialects in Spanish-speaking communities

The Parallel Worlds of Classical Art and Text is the first study to consider the relationship between artists and texts throughout classical antiquity and to cover the entire range of illustrated text from traditional literary to technical works. By systematically applying new and objective criteria to judge the fidelity between picture and text, it is becomes clear that artists illustrate stories, not texts. Jocelyn Penny Small argues that artistic transmissions follow the model of oral, not textual, transmission where the variant rules and where there is no original. Pictures on vases, she demonstrates, should not be used to reconstruct lost literary works. Finally, Small offers an analysis of literary sources on pictures in texts, proving that the appearance of the first illustrated literary classical texts occurred at the end of the Late Roman Republic.

This is a thoroughly revised, updated and expanded 2002 edition of Ralph Penny's authoritative textbook, first published in 1991, which provides a clear and elegant account of the development of Spanish over the last 2,000 years. Although principally oriented towards 'internal' history, 'external' history is also considered and referred to throughout. In this new edition, as well as adding insights from more recent scholarship throughout the text, Professor Penny has added a chapter which discusses the nature of linguistic history, the concept of World Spanish, processes of convergence and divergence in Spanish, and the English/Spanish interface. This edition also contains a glossary of technical terms, guidance on further reading, and suggested topics for discussion.

This is a thoroughly revised, updated and expanded 2002 edition of Ralph Penny's authoritative textbook, first published in 1991, which provides a clear and elegant account of the development of Spanish over the last 2,000 years. Although principally oriented towards 'internal' history, 'external' history is also considered and referred to throughout. In this new edition, as well as adding insights from more recent scholarship throughout the text, Professor Penny has added a chapter which discusses the nature of linguistic history, the concept of World Spanish, processes of convergence and divergence in Spanish, and the English/Spanish interface. This edition also contains a glossary of technical terms, guidance on further reading, and suggested topics for discussion.

This book studies the differences of pronunciation and grammar that exist within the Spanish-speaking world, and traces their origins in the frequent mixing of dialects in Spanish-speaking communities

Congregations in Conflict examines the nature of American congregations as institutions, looking in particular at how they deal with conflict within their ranks, to gain insight into religious culture, or the moral order of local religious life. In detailed and well documented case studies of conflict in twenty-three congregations Becker examines such factors as organizational processes, the extent and types of ties between church members, their shared understandings about mission and identity, and level of public commitment. From these factors, the author develops four models of local religious cultures, each of which emphasizes different aspects of the mission imperatives that broadly characterize American religion - to reproduce an historic faith, to provide a caring community of believers, and to witness. Becker finds vital 'public religion': congregations that provide caring and support for members, service to the local community, and important arenas for moral debate and public a

Congregations in Conflict examines the nature of American congregations as institutions, looking in particular at how they deal with conflict within their ranks, to gain insight into religious culture, or the moral order of local religious life. In detailed and well documented case studies of conflict in twenty-three congregations Becker examines such factors as organizational processes, the extent and types of ties between church members, their shared understandings about mission and identity, and level of public commitment. From these factors, the author develops four models of local religious cultures, each of which emphasizes different aspects of the mission imperatives that broadly characterize American religion - to reproduce an historic faith, to provide a caring community of believers, and to witness. Becker finds vital 'public religion': congregations that provide caring and support for members, service to the local community, and important arenas for moral debate and public a