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Nostalgia has become a major force in global politics. While Donald Trump hopes to "make America great again," Xi Jinping calls for a "great rejuvenation of the Chinese people," and a majority of Russians still mourn the Soviet Union. But it is Brexit, with its idealization of a bygone era of full sovereignty, that epitomizes nostalgic nationalism in its purest form. Despite its romantic flavor, nostalgia is a malaise--a combination of paranoia and melancholy that idealizes the past, while denigrating the present. This epidemic of mythicizing national history is shaping politics in risky ways, fueled by ageing populations, shifts in the global order, and technological disruption. When deployed in the political debate, collective nostalgia is used as an emotional weapon, capable of mobilizing a nation towards illusory goals. Drawing on psychology, political science, history and popular culture, Anglo Nostalgia analyses the rapid spread of this global phenomenon, before focusing on Brexit as a case study. With the detachment of informed outsiders, Campanella and Dassù expose nostalgia's great danger: the oversimplification of reality, leading to unprecedented political miscalculations and rising geopolitical tensions.
Does not seek to judge the wisdom of Britain leaving the EU, but exposes nostalgia's great danger: the oversimplification of reality.
Aesthetics of Nostalgia reads Anglo-Saxon historical verse in terms of how its aesthetic form interacted with the culture and politics of the period.
The story of how the country house, historically a site of violent disruption, came to symbolize English stability during the eighteenth century. Country houses are quintessentially English, not only architecturally but also in that they embody national values of continuity and insularity. The English country house, however, has more often been the site of violent disruption than continuous peace. So how is it that the country how came to represent an uncomplicated, nostalgic vision of English history? This book explores the evolution of the country house, beginning with the Reformation and Civil War, and shows how the political events of the eighteenth century, which culminated in the reaction against the French Revolution, led to country houses being recast as symbols of England’s political stability.
• The book demonstrates how a vernacular British performance form emerged as a hybrid of forms from Afro-American and minstrel, as well as French mime and Italian commedia dell’arte roots. • Theatre history is an essential part of theatre and drama courses across the UK and would be recommended reading. • There is no comparable book which makes critical analysis of British pierrot troupes and concert parties in existence – the only ones that do exist on the specific topic are written as reminiscence and anecdote.
A short, polemical study of the persistence of imperial nostalgia in modern British culture, politics, heritage and media.
Released in 1969, the film Battle of Britain went on to become one of the most iconic war movies ever produced. The film drew many respected British actors to accept roles as key figures of the battle, including Sir Laurence Olivier as Hugh Dowding and Trevor Howard as Keith Park. It also starred Michael Caine, Christopher Plummer and Robert Shaw as squadron leaders. As well as its large all-star international cast, the film was notable for its spectacular flying sequences which were on a far grander scale than anything that had been seen on film before. At the time of its release, Battle of Britain was singled out for its efforts to portray the events of the summer of 1940 in great accuracy. To achieve this, Battle of Britain veterans such as Group Captain Tom Gleave, Wing Commander Robert Stanford Tuck, Wing Commander Douglas Bader, Squadron Leader Bolesław Drobiński and Luftwaffe General Adolf Galland were all involved as consultants. This detailed description of the making of the film is supported by a mouth-watering selection of pictures that were taken during the production stages. The images cover not only the many vintage aircraft used in the film, but also the airfields, the actors, and even the merchandise which accompanied the film’s release in 1969 – plus a whole lot more. There are numerous air-to-air shots of the Spitfires, Messerschmitts, Hurricanes and Heinkels that were brought together for the film. There are also images that capture the moment that Battle of Britain veterans, some of whom were acting as consultants, visited the sets. Interviews with people who worked on the film, such as Hamish Mahaddie, John Blake and Ron Goodwin, among others, bring the story to life.
The Anglo-Saxon world continues to be a source of fascination in modern culture. Its manifestations in a variety of media are here examined.
Reflecting the profound impact of critical theory on the study of the humanities, this collection of original essays examines the texts and artifacts of the Anglo-Saxon period through key theoretical terms such as ‘ethnicity’ and ‘gender’. Explores the interplay between critical theory and Anglo-Saxon studies Theoretical framework will appeal to specialist scholars as well as those new to the field Includes an afterword on the value of the dialogue between Anglo-Saxon studies and critical theory