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Focusing on a recent wave of international art cinema, Animal Worlds offers the first sustained analysis of the relations between cinematic time and animal life. Through an aesthetic of extended duration, films such as Bestiaire (Denis Côté, 2012), The Turin Horse (Béla Tarr and Ágnes Hranitzky, 2011) and A Cow’s Life (Emmanuel Gras, 2011) attend to animal worlds of sentience and perception, while registering the governing of life through biopolitical regimes. Bringing together Gilles Deleuze’s writings on cinema and his reflections (with Félix Guattari) on animals, while drawing on Jacques Derrida, Jean-Christophe Bailly, Nicole Shukin and others, the book argues that these films question the biopolitical reduction of animal life to forms of capital, opening up realms of virtuality, becoming and alternative political futures.

Examining a single broad tribal identity - al-Azd - from pre-Islamic Arabia through the Umayyad and into the early Abbasid era, this book notes the ways it was continually refashioned over that time. It explores the ways in which the rise of the early Islamic empire influenced the peoples of the Arabian Peninsula who became a core part of it, and examines the connections between the kinship societies and the developing state of the early caliphate. This helps us to understand how what are often called 'tribal' forms of social organisation identity conditioned its growth and helped shape what became its common elite culture. Studying the relationship between tribe and state during the first two centuries of the caliphate, the focus is on understanding the survival and transformation of tribal identity until it became part of the literate high culture of the Abbasid caliphate and a component of a larger Arab ethnic identity. The book argues that, from pre-Islamic Arabia to the caliphate, greater continuity existed between tribal identity and social practice than is generally portrayed.

Some of the world’s most exquisite medieval paintings, from late fifteenth-century Herat and the early Safavid workshops, illustrate well-known episodes of popular romances––like Leyla & Majnun––that give prominence to depictions of unrelated figures such as a milkmaid or a spinner at the scene of the hero Majnun’s death. This interdisciplinary study aims to uncover the significance of this enigmatic, century-long trend from its genesis at the Timurid court to its continued development into the Safavid era. The analysis of iconography in several luxury manuscript paintings within the context of contemporary cultural trends, especially the ubiquitous mystical and messianic movements in the post-Mongol Turco-Persian world, reveals the meaning of many of these obscure figures and scenes and links this extraordinary innovation in the iconography of Persian painting to one of the most significant events in the history of Islam: the takeover of Iran by the Safavids in 1501. The apparently inscrutable figures, which initially appeared in illustrations of didactic Sufi narrative poetry, allude to metaphors and verbal expressions of Sufi discourse going back to the twelfth century. These “emblematic” figure-types served to emphasize the moral lessons of the narrative subject of the illustrated text by deploying familiar tropes from an intertextual Sufi literary discourse conveyed through verses by poets like Rumi, Attar and Jami, and ended up complementing and expressing Safavid political power at its greatest extent: the conversion of Iran to Shiism.

Blood in the Streets investigates the various ways in which 1970s Italian crime films were embedded in their immediate cultural and political contexts. The book analyses the emergence, proliferation and distribution of a range of popular film cycles (or filoni) - from conspiracy thrillers and vigilante films, to mafia and serial killer narratives - and examines what these reveal about their time and place. The engagement in these films with both the contemporary political turmoil of 1970s Italy and the traumas of the nation's recent past offer fascinating insights into wider anxieties of this decade around the Second World War and its on-going political aftermath. Ultimately, these cycles' industrial conditions of rapid production schedules and concentrated release patterns are seen to be the key to understanding their significance, since these conditions allowed for swift responsiveness to political events, cinematic trends and attendant economic opportunities, while demanding the simplified construction of believable contemporary backdrops. The book thus reveals a repetitive accumulation of assumptions around historically constituted corruption, the impact of rapid socio-economic change and the lingering vestiges of wartime conflict.

Two hundred years after the massacre of peaceful protestors who had gathered in St Peter's Field, Manchester, to hear 'Orator' Henry Hunt speak for Parliamentary Reform, this volume brings together scholars of the Romantic Era to assess the implications of such state violence in England, Scotland, Ireland and North America. Chapters explore how attitudes toward violence and the claims of 'the people' to participate in government were reflected and revised in the works of figures such as P. B. Shelley, John Keats, Walter Scott, Sydney Owenson, John Cahuac and J.M.W. Turner. Their analyses provide fresh insights into cultural engagement as a means of resisting oppression and as a sign of the resilience of humanity in facing threats and force. On the whole, the book advances the hypothesis that 'Peterloo', as the event was termed to evoke the British military victory at Waterloo, was most of all a conflict over the perceived and aspirational identities of the participants and observers and that the conflict manifested the identity of 'the people' as claimants on government. Recognizing popular claim-making was crucial for the passage of Reform. Though Peterloo resulted in an immediate backlash of repression, it contributed in the longer term to the change in attitude enabling Reform. The book concludes that state violence ultimately proved ineffective against popular participation, though it also uncovers the ways in which repressive measures function as a subtle and hidden kind of violence that discourages civic activism and continues to call forth cultural resistance.

The September 11th attacks in 2001 and the subsequent ‘War on Terror’ have had a profound effect on American cinema, and the contemporary Western reflects this situation. This book explores the various ways in which recent Westerns – Open Range (2003), The Three Burials of Melquiades Estrada (2005), The Assassination of Jesse James by the Coward Robert Ford (2007), True Grit (2010), Django Unchained (2012), The Lone Ranger (2013), The Revenant (2015), and Jane Got a Gun (2016) – reinforce a conservative myth of America exceptionalism. As a whole, the films are seen to endorse the use of extreme force in dealing with enemies and highlight the importance of defending the homeland. Placing their characters within a dark world of confusion and horror, these films reflect the United States’ post-9/11 uncertainties, and the tension between assumed civilised values and the brutality employed to defend those values. Frequently, outside forces of singular magnitude that threaten to overwhelm either the individual, or the community, or both, are defeated by the Western hero who in these films is restored to a position of mythic power from which he is able to deliver some sense of hope for the future.

Sovereign violence is a dominant issue in contemporary political theory and has attracted much attention from proponents of critical theory, biopolitics, post-structuralism, and deconstruction. While heterogeneous, these commentators are united in rejecting the classic-juridical conception that holds sovereignty to be indivisible and orientated towards the establishment and maintenance of juridical order. This book argues that this rejection has been based on three distinct logics, termed the radical-juridical perspective, the biopolitical one, and the bio-juridical. The first, outlined through chapters on Benjamin, Schmitt, Arendt, and Deleuze and Guattari, offers a number of increasingly radical critiques of the classic-juridical conception of sovereignty, but continues to focus the inquiry around the creation/preservation/disruption of the juridical order. The second biopolitical logic, outlined through chapters on Foucault and Agamben, goes further by undermining the primacy that the classic and radical-juridical models give to law. Instead, sovereign violence is held to be concerned with the regulation of life, with this occurring through exclusion from law. The first two critical logics do, however, set up a binary opposition between law and life: the former affirming the sovereign’s connection to the former, the latter reversing this to claim that it primarily refers to the latter. The third model—called the bio-juridical and developed from Jacques Derrida’s late work on the death penalty—is held to overcome this by developing a compatibilist understanding in which sovereign violence is placed between law and life, simultaneously creating and regulating each through the other.

Both the philosophy of Deleuze and Guattari, and anarchism, have gained more academic interest over the past decades. Many authors have also recognised an anarchist sensibility in Deleuze and Guattari’s philosophy, yet there has been no sustained or explicit discussion of anarchism in their work to date. This collection aims to provide readers with a map detailing Deleuze and Guattari’s anarchistic thought and the ways in which it intersects with classic and contemporary anarchist discourse and practices found both in academia and society at large.

Discussions of Turkish Islam are still frequently dominated by political considerations and dualistic paradigms: modern vs. traditional, secular vs. religious. Yet there exists a body of Muslim institutions in Turkey, Turkish theology faculties, or ilahiyat faculties, whose work cannot always be so easily reduced to political considerations or black and white paradigms. By taking Turkish theology up on its theological rather than political concerns, this book sheds light on complex Muslim theological voices already entangled in encounters with a largely Western and Christian modernity. Rather than ask whether or not Turkish Muslim theology is “modern,” this book aims to re-frame the binary implied in such a question by delving into the conceptual worlds of Turkish Muslim theologians. As part of this reframing, this book examines how Turkish theology dialectically mediates multiple intellectual traditions, lending particular focus to Turkish Muslim engagement with Western Christian thought. Featuring the work of RecepAlpyağıl (Istanbul University) and Şaban Ali Düzgün (Ankara University), this study provides a concise survey of Turkish Muslim positions on religious pluralism and atheism as well as detailed treatments of both critical and appreciative Turkish Muslim perspectives on Western Christianity. The result is a critical reframing of the category of modernity through responses of Turkish theologians to the Western intellectual tradition alongside a detailed exploration of an ongoing chapter in Muslim-Christian relations.

While Western moral, philosophical, and theological thought has historically privileged the good, this has been accompanied by profound, if subterranean, interest in evil. This book charts a history of evil as it has been thought within this tradition. Showing that the problem of evil, as a conceptual problem—that is, as a problem to be dealt with through rational means—came to the fore with the rise of monotheism, this book initially outlines the dynamics that led to it becoming the problem of Christianity, before tracing how subsequent thought, first within an explicitly theological framework, and subsequently from secular foundations, developed from this problematic. With chapters on figures in early and Medieval Christian philosophy, modern philosophy, German Idealism, Nietzsche, Arendt, post-structuralism, and contemporary analytical philosophy, it demonstrates the breadth and depth of thinking on evil within this tradition and includes discussions on thinkers not normally included in analyses of the topic, such as Jacques Lacan and Cornelius Castoriadis. These reveal that, far from being something clear and obvious as common-sense, everyday intuition tends to hold, the meaning and nature of evil has been remarkably complex, differentiated, and contested.

As Hollywood shifts towards the digital era, the role of the media franchise has become more prominent. Over a series of essays by a range of international scholars, this edited collection argues that the franchise is now an integral element of American media culture. As such, the collection explores the production, distribution, and marketing of franchises as a historical form of media-making. In particular, the essays analyze the complex industrial practice of managing franchises across interconnected online platforms with a global scope, presenting a network of scholarly texts that critically look at the collision of new and old industrial logics against an ever more fragmented and consolidated mediascape. The authors address how traditional incumbents like film studios and television networks have responded to the rise of big data, Silicon Valley companies like Facebook, Apple, Amazon, Netflix, and Google; the ways in which legacy franchises are adapting to new media platforms and technologies; the significant historical continuities and deviations in franchise-making and how they shape the representation of on-screen texts across digital displays; and, finally, how emerging media formats are expanding the possibility for transmedia experiences. In this regard, The Franchise Era: Managing Media in the Digital Economy offers an in-depth analysis of the tectonic shifts that have disrupted entertainment companies in the twenty-first century, demonstrating that the media franchise stands front and center in this high-stakes environment.

Each essay in this collection, after the introduction, focuses on a particular kind of theory-Gothic relationship, every one of which has a history and each of which is still being explored in enactments of the Gothic and of theory today. Rather than recounting how different schools of theory and criticism have viewed the Gothic, these chapters argue how Gothic and theory have defined and affected - and still define and affect -- each other in particular aesthetic, intellectual, and cultural realms. In each case, the Gothic is revealed as containing and inciting the very theoretical schemes and assumptions that have purported to explain it from particular perspectives. Hence the Gothic, as it has progressed across Western and world history, emerges as both a producer of what each school of theory promulgates and an active Gothic-izer of each scheme, thereby advancing the development of every theoretical enterprise in Gothic works. This approach allows each essayist to reflect from the perspective of 2018-19 on how a particular realm of theory has opened up forms of the Gothic to our understandings and to the wider possibilities of Gothic texts (broadly defined) as performers of "cultural work." But it equally enlists each of them to explain how those very openings are incipient in forms of the Gothic and how the Gothic can also question existing theoretical claims, challenge them, and reorient them.

Casting fresh light on one of the most important movements in film history, Intermedial Dialogues: The French New Wave and the Other Arts is the first comprehensive study of the New Wave's relationship with the older arts. Traversing the fields of literature, theatre, painting, architecture and photography, and drawing on André Bazin alongside recent theories of intermediality, it investigates the 'impure', intermedial aesthetics of New Wave cinema. Filmmakers under discussion include critics-turned-directors François Truffaut, Eric Rohmer, Jean-Luc Godard, Jacques Rivette and Claude Chabrol, members of the Left Bank Group Alain Resnais, AgnèsVarda and Chris Marker, but also lesser-known directors, notably the 'secret child of the New Wave', Guy Gilles. This wide-ranging book offers an original reading of the complex, often ambivalent ways in which the New Wave engages the other arts in both its discursive construction and filmic practice.

The nineteenth-century Italian Risorgimento, or ‘resurgence’, re-drew Europe’s map to create a new nation-state: Italy. Italian Politics and Nineteenth-Century British Literature and Culture argues that the Risorgimento radically shaped nineteenth-century British political, literary and cultural landscapes. Crossing borders, political divides and genres, this study examines the intersections of literary works by Mary Shelley, Lady Morgan (Sydney Owenson), Giovanni Ruffini, Wilkie Collins, Elizabeth Barrett Browning and others with journalism, parliamentary records and pamphlets, to establish Britain’s imaginative investment in this seismic geopolitical realignment. This book explores four political focal points of British engagement with Italian unification, moving between two crucial turning points that shaped Europe’s geopolitical map, the 1815 Congress of Vienna and 1861 creation of the Kingdom of Italy, to excavate the unsettling fusion of political optimism and disaffection produced through the collision of British and Italian politics and culture. British and Anglo-Italian responses to the Risorgimento reveal a complicated, decades-long print contest that played out across high literary modes, pamphlets and propaganda, memoirs and travelogues, parliamentary debates, journalism and emerging genres like sensation fiction. This study argues that forging a new state demands both making and unmaking; as the Risorgimento re-mapped Europe’s geopolitical reality, it also reframed how the British saw themselves, their politics and their place within Europe. These chapters demonstrate that the nation-building enterprise of Risorgimento culture was a participatory, international field crossing borders, print forms, political parties and literary genres, which played an invigorating role for British political discourse and print culture.

This book constitutes the first exploration of artistic self-reflection in Islamic art. In the absence of a tradition of self-portraiture, how could artists signal their presence within a painting? Centred on late Timurid manuscript painting (ca. 1470-1500), this book reveals that pictures could function as the painter’s delegate, charged with the task of centring and defining artistic work, even as they did not represent the artist’s likeness. Influenced by the culture of the majlis, an institutional gathering devoted to intricate literary performances and debates, late Timurid painters used a number of strategies to shift manuscript painting from an illustrative device to a self-reflective object, designed to highlight the artist’s imagination and manual dexterity. These strategies include visual abundance, linear precision, the incorporation of inscriptions addressing aspects of the painting and the artist’s signature. Focusing on one of the most iconic manuscripts of the Persianate tradition, the Cairo Bustan made in late Timurid Herat and bearing the signatures of the painter Bihzad, this book explores Persian manuscript painting as a medium for artistic performance and self-representation, a process by which artistic authority was shaped and discussed. In addition, each chapter explores a different theme: how painters challenged the conventions of royal representation (chapter 1); the role of writing in painting, its relation to ekphrasis and the context of the majlis (chapter 2); image, mimesis and potential world (Chapter 3); the line and its calligraphic quality (Chapter 4); signature (Chapter 5); the mobility of manuscripts (epilogue).

Modernism and Time Machines places the fascination with time in canonical works of twentieth-century literature and art side-by-side with the rise of time-travel narratives and alternate histories in popular culture. Both modernism and this cardinal trope of science fiction produce a range of effects and insights that go beyond the exhilarations of simply sliding back and forth in history. Together the modernist time-obsession and the fantasy of moving in time help us to rethink the scales and shapes of time, the consistency of timespace, and the nature of history.

The prime objective of this book is to underpin the Maghrebi encounter with the Occident, which evolved from fascination (Occidentophilia), to Ambivalence, to rejection of the Occident (Occidentophobia) through a process of decolonization. It sheds light on many neglected areas in the study of Maghrebi literature and culture by rehabilitating and reintegrating the pre-1945 novels, hitherto shunned as politically decadent, into the history and the study of Maghrebi literature. It deconstructs this endangered literary corpus with depth, and situates it with other works produced concomitantly in the form of manifestos and letters addressed to the Occident. These works represent the voices of the pre-1945 elite who expressed their fascination of occidental culture with a plea to the Occident to extend its civilization to all factions of the colonized society. The book traces literary depictions of Algerian converts to Christianity; a community obliterated by mainstream discourse of nationalism. The book unearths their voices and gives explanation to their anguishes, and dilemmas as exemplified in the work of the Amrouche family of authors. It also delves into Imperial Feminism and the writings of French feminists on their mission to save native Maghrebi women. To complete the circle the book examines the birth of Algerian feminism and its depiction through literature, of the native women’s encounter with the Occident as advocated in the work of Djamila Débêche. The book concludes by analysing the reasons behind the failure of the East –West encounter as the end of a chimera.

Charting a new course between performance studies and literary criticism, this book discovers a poetics of figuration in English tragic drama. It demonstrates that our recognition of the dramatic person in printed drama of the early modern period is involved in the terms on which those plays were first realized in the theatre. Since many such tragedies challenge and confuse the straightforward discernment of dramatic character, a strong distinction between performance studies and literary criticism breaks down in the course of an attentive reading. In the past this problem of recognition was artificially resolved or ignored so as to launch various sorts of moral interpretation. In fact, the ethical and political difficulty of revenge in plays like The Spanish Tragedy, Hamlet and The Duchess of Malfi is inseparable from the difficulty of discerning human shapes in the theatre and on the page. Moreover, the epistemological issues created by these games of personation have been inadequately addressed by historicist criticism purporting to unearth the social, religious, and political impulsions of Shakespearean drama. Intervening in a wide range of current debates within early modern studies, The Origins of English Revenge Tragedyholds that the origins of English tragic drama cannot be understood without considering how the common player appears in the play.

In the 21st century, more than any other time, US agencies have relied on contractors to conduct core intelligence functions. This book charts the swell of intelligence outsourcing in the context of American political culture and considers what this means for the relationship between the state, its national security apparatus and accountability within a liberal democracy. Through analysis of a series of case studies, recently declassified documents and exclusive interviews with national security experts in the public and private sectors, the book provides an in-depth and illuminating appraisal of the evolving accountability regime for intelligence contractors.

Executive privilege (EP) as a political tool has created a grey area of constitutional power between the legislative and executive branches. By focusing on the post-WWII political usage of executive privilege, this research utilizes a social learning perspective to examine the power dynamics between Congress and the president when it comes to government secrecy and public information. Social learning provides the framework to understand how the Cold War's creation of the modern American security state led to a paradigm shift in the executive branch. This shift altered the politics of the presidency and impacted relations with Congress through extensive use of EP and denial of congressional requests for information. When viewed through a social learning lens, the institutional politics surrounding the development of the Freedom of Information Act is intricately entwined with EP as a political power struggle of action-reaction between the executive and legislative branches. Using extensive archival research, this historical analysis examines the politics surrounding the modern use of executive privilege from Truman through Nixon as an action-reaction of checks on power from the president and Congress, where each learns and responds based on the others previous actions. The use of executive privilege led to the Freedom of Information Act showing how policy can serve as a congressional check on executive power, and how the politics surrounding this issue influence contemporary politics.