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The imagining of disaster has intensified across a wide range of media entertainment formats and genres in recent years and themes of disaster are regularly deployed in fictional films, television drama series, drama-documentaries, comic books and video games. This being the case, it is therefore vital that film and media scholars pay attention to the ways in which disaster is presented to us, to the figurative strategies employed, to the representational history of disaster in media, to the metaphorical resonances of disaster themes, and even to the ways in which entertainment media texts might be understood as part of a broader discourse of disaster within certain historical and cultural contexts. Dramatising Disaster presents new and innovative research from both early career and more established academics. Some of the chapters in this edited collection are based upon papers originally presented at a highly successful conference study day held by the School of Film, Television and Media at the University of East Anglia in 2011, while others are specifically solicited contributions. Distinct from previous, more particularised film and media studies in this area, this edited collection is focused not upon a specific disaster or specific disaster context, but upon the wider topic of disaster in popular culture.
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The first detailed cultural and theatrical history of a major literary form, this landmark introduction examines Roman tragedy and its place at the centre of Rome’s cultural and political life. Analyzing the work of such names as Ennius, Pacuvius and Accius, as well as Seneca and his post-Neronian successors, Anthony J. Boyle delves into detailed discussion on every Roman tragedian whose work survives in substance today. Roman Tragedy examines: the history of Roman tragic techniques and conventions the history of generic form and change the debt that Rome owes to Greece, and text owes to text the birth, development and death of Roman tragedy in the context of the cities evolving, institutions, ideologies and political and social practices tragedy proper and the historical drama (fabula praetexta), which the Romans allied to tragedy. With parallel English translations of Latin quotations, this seminal work not only provides an invaluable resource for students of theatre, Roman political history and cultural history, but it is also accessible to all interested in the social dynamics of writing, spectacle, ideology and power.
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This book addresses the concept of ‘disaster’ through a variety of literary texts dating back to the early modern period. While Shakespeare’s age, which was an era of colonisation, certainly marked a turning point in men and women’s relations with nature, the present times seem to announce the advent of environmental justice in spite of the massive ecological destructions that have contributed to reshape our planet. Between then and now, a whole history of climatic disasters and of their artistic depictions needs to be traced. The literary representations of eco-catastrophes, in particular, have consistently fashioned the English identity and led to the progress of science and the ‘advancement of learning’. They have also obliged us to adapt, recycle and innovate. How could the destructive process entailed by ecological disasters be represented on the page and thereby transformed into a creative process encouraging meditation, preservation and resilience in the sixteenth and seventeenth centuries? To this question, this book offers nuanced, contextualised and perceptive answers. Divided into three main sections ‘Extreme Conditions’, ‘Tempestuous Skies’, and ‘Biblical Calamities,' it deals with the major environmental issues of our time through the prism of early modern culture and literature.
"Number nine in a series of monographs on pre-cinema and early film."
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Most writers associated with the first generation of British Romanticism - Blake, Coleridge, Wordsworth, Southey, Thelwall, and others - wrote against the slave trade. This edition collects a corpus of work which reflects the issues and theories concerning slavery and the status of the slave.
A Future for Criticism considers why fiction gives so much pleasure, and the neglect of this issue in contemporary criticism. Offers a brief, lively, and accessible account of a new direction for critical practice, from one of Britain's most prominent literary theorists and critics Proposes a new path for future criticism, more open to reflecting on the pleasures of fiction Written in a clear, jargon-free style, and illustrated throughout with numerous examples