Recipes are not just instructions. They also embody culture, class, belief, linguistic and literary form, and even include celebrity endorsement. Medieval and early modern recipes can be short and simple but sometimes are not - sometimes they work, and sometimes they do not. They can also be remarkably performative, imaginative, and playful. These essays explore recipes 1350-1600 from a range of perspectives and are unified by an interest in the complexity and richness of these texts.

This volume is the first of its kind. It presents new critical perspectives on medieval and early modern recipes, moving beyond concerns with utility to reframe recipes as part of a dynamic textual and intellectual culture. Contributors build on the sustained scholarly interest in recipes and bring fresh approaches to them. The thirteen essays explore topics including medical, culinary and domestic recipes and charms, as well as how they relate more generally to, for instance, book history, art, astrology and social practices.

Collectively, the essays reveal a distinctive book culture by exploring the material forms, literary and scribal practices of recipe books. This book is a significant contribution to these areas of study, increasingly central to scholarship in recent years.

Open Access versions of the following chapters will be available on publication on the Liverpool University Press website: Hannah Bower, The Brickmaker, the Tavern Keeper, and the Knight: The Role of Obscurity and Imagination in Medieval Medical Recipes and Katherine Storm Hindley, Bodies in the Recipe Collection: Interacting with Manuscript Charms in Late Medieval England

Theodore Syncellus was a prominent member of the clergy in Constantinople in the 620s, being a close advisor to Patriarch Sergius. As such he was chosen to participate in a delicate mission to the Avar khagan during the siege of the city in 626 and to deliver celebratory sermons. The first, 'On the Robe', commemorated the restoration of the miraculous relic of the Virgin's Robe to the shrine at Blachernae, just outside the city walls, after it had been removed to protect it from Avar looting in 623. The second, 'On the Siege', analysed and gave thanks for the city's escape from a joint attack by Avars and Persians in 626. The two speeches provide important evidence for popular devotion in the capital, especially to the Virgin Mary who now acquires the status of the city's special protector, for the role of Patriarch Sergius and others in leading the city during the long absence on campaign of the emperor Heraclius, and for how contemporary events could be fitted into Biblical contexts to elevate Constantinople and its inhabitants to the status of the new Israel. This new English translation of these two sermons (the first complete translation of 'On the Robe' and the first of 'On the Siege') sheds light on both the religious history of the eastern Roman Empire at the end of antiquity and on events in seventh-century Constantinople.

Ebook available to libraries exclusively as part of the JSTOR Path to Open intiative.

In recent decades, queer individuals and groups in Indonesia have reached unprecedented levels of visibility. Since the colonial era, conceptualizations of gender and sexual diversity have shifted drastically, mediated through regional dynamics, the globalization of particular forms of queer discourse through transnational activism, and the proliferation of social media in everyday life. These developments have gone hand in hand with increased opposition towards queer Indonesians on a societal, legal, and religious level. Queer Mobilities builds on extensive ethnographic fieldwork in urban centres in Bali and Java among different queer communities, activists, and religious scholars to explore the lifeworlds of queer Indonesians in globalizing urban contexts. The book captures a moment in time when a range of queer Indonesian experiences have become possible: from the emerging queer-of-faith activism in Muslim, Hindu, and Christian circles to the glamour of Bali's gay scene and from the circulation of death threats on social media to the mushrooming of online fundraisers and queer education. Queer Mobilities analyzes how power and solidarity are reconfigured when differently positioned queer individuals become visible in (trans)national contexts.

An Open Access edition of this book will be available on publication on the Liverpool University Press website and the OAPEN library.

Engaging with previously overlooked diaries by women in Ireland, written between 1760 and 1810, this book opens new avenues concerning authorship and female agency, transforming our understanding of women's contributions to both literature and culture. The result of extensive archival research across multiple international archives, this book presents an entirely new corpus that demonstrates the creativity and literary capabilities of women in this period.

The surviving diaries showcase these women's engagement with a form that allowed them to explore their subjectivity and to experiment with the presentation of self. This book demonstrates how these 'bagatelles' should be treated as literary works that were shaped by, and in turn influenced, wider cultures of reading and writing, underlining the generic fluidity at play. The diary form forces a dismantling of the neat binaries of public and private, of imaginative and non-imaginative prose writing, complicating our understandings of each. The content of these diaries prompts a re-evaluation of the very contours of Irish writing and what we consider as literature, while allowing us to rediscover the importance of manuscripts to our explorations of literary culture.

Maxims I and Maxims II, which comprise a seemingly haphazard assortment of Old English poetic gnomes (sayings put into verse to aid memory), are intriguing yet mysterious compositions. While they are interesting in that they might represent various facets of the values and worldview that were prevalent in early medieval England, they are puzzling, lacking both thematic or aesthetic coherence and identifiable goals. Nevertheless, these works must have had significance, as reflected in the fact that they are recorded among other significant works in two highly esteemed manuscripts: the Exeter Book and the C-manuscript of the Anglo-Saxon Chronicle. This volume investigates how these works function both independently and within the context of these manuscripts by analysing the works themselves and their places within these codices. This volume also addresses the following long-standing issues: linguistic features and dates and places of origin of these works; the use of ljóðaháttr- and galdralag-like constructions in Maxims I; the gnome on soð in Maxims II; and the use of gnomic bið and sceal. A new critical edition of Maxims I and II, complete with English translations, full commentary and glossary, is also included in the volume.

Ebook available to libraries exclusively as part of the JSTOR Path to Open initiative.

This book compares fiction and non-fiction written by two generations of the Vietnamese diaspora, the so-called 1.5 and second generation in France and Canada, namely, Kim Thúy, Doan Bui, Clément Baloup, Hoai Huong Nguyen and Viet Thanh Nguyen (USA) as they grapple with their positionality as refugee(s') children and the attendant problematics of loss. How they recuperate this loss by deploying notions such as home, hauntings and hunger is central to this analysis. Refugee Afterlives identifies the tools deployed by the 1.5 and second generation, tests their limits while understanding that these writers' creations are constantly changing and shifting paradigms and will continue to be so over the next decades. Each writer is finding their own voice and pathway(s) and while these may sometimes overlap and contain commonalities, afterlives by default imply plurality and differences. This book offers ways of examining these texts, juxtaposing them, contrasting them, putting them in dialogue with each other, underlining their differences, but ultimately demonstrating that there is much to be gained in seeing how 1.5ers and the so-called second generation Vietnamese refugee writers contribute to a wider discussion of Vietnamese refugee(s') children and what happens to them after resettlement.

Ebook available to libraries exclusively as part of the JSTOR Path to Open initiative.

In this book Michele Speitz assembles the first full-length scholarly study of the British Romantic technological sublime, addressing a significant gap in scholarship on Romantic literature, technological aesthetics, and the history of science and technology. Speitz shows that it is through a study of technology, and by putting British Romanticism's representations of sublime nature and technology in dialogue, that the broader history and present-day implications of the British Romantic sublime can best be understood.

This innovative study foregrounds representations of Romantic machines and tools both aged and new: from the lever and the teacup to modern marvels including the steam engine and the seismograph. Surveyed as well are built environments and vast mechanical and infrastructural systems: mines, canal works, roadways, modern suspension bridges. By grouping together this set of ancient and novel inventions -- sourced from accounts penned by Erasmus Darwin, John Keats, Anna Seward, Robert Southey, Mary Godwin Shelley, Percy Bysshe Shelley and more -- Speitz demonstrates how a comparative study of these technologies relative to their aesthetic presentation and reception uncovers an overlooked iteration of the Romantic sublime, one that reveals fresh accounts of Romantic nature that have a bearing on twenty-first-century debates about the environment. The Romantic Sublime and Representations of Technology is essential reading for literary and aesthetic theorists, historians of science and technology, literary and art historians, and scholars of ecocriticism and literature and the environment.

Ebook available to libraries exclusively as part of the JSTOR Path to Open initiative.

Theater and performance have played vital political and pedagogical roles in the history of HIV/AIDS advocacy and activism in the Global North. From the shoestring dissident work of the 1980s and 1990s to contemporary educational plays challenging extant stigma surrounding HIV, the stage has long provided a space for identificatory community and activism. However, the nature and purpose of HIV/AIDS theatre has changed significantly over the past four decades or so. While the introduction of anti-retroviral therapies in the 1990s altered the trajectory of the pandemic and positively impacted many lives, the simultaneous consolidation of neoliberal hegemony generated a range of new and heightened challenges for theater makers, activists, and advocates hoping to improve the lives of people with HIV. Drawing on cultural materialist and Western Marxist traditions - most notably Gramscian political theory - this book examines the extent to which the stage has been able to offer a space for counterhegemony in the context of the pandemic. In establishing a genealogy of HIV/AIDS theater that incorporates both close dramaturgical analysis and wider materialist considerations, it elucidates how neoliberalism has established an ever-stronger grip on the genre and its messaging. In so doing, it poses wider questions about theater's role as a political strategy in the contemporary context of neoliberal hegemonic crisis.

Ebook available to libraries exclusively as part of the JSTOR Path to Open intiative.

Khitan and Mongol Imperial Women in the Chinese Imagination is a study and translation of two classic Chinese texts about the lives of Khitan and Mongol empresses and imperial consorts, never before translated into English. In 1075, Empress Xuanyi of the Liao dynasty was accused of adultery and forced to commit suicide. An Account of Burned Pepper (Fenjiao lu) purports to be an eyewitness account penned by a Liao government official of the conspiracy against the lovely and talented empress, who became tragically embroiled in a vicious court intrigue. Meanwhile, Yuan Dynasty Records of the Lateral Courts (Yuanshi yeting ji) claims to tell the true story of life in the imperial harem in the final years of Emperor Shun (r. 1333-1368), as he ceased participating in the government of the country, preferring instead to spend his time enjoying louche pleasures in the luxurious surroundings of his Beijing palace. Both these highly influential accounts have shaped understandings of the role of women in conquest dynasty courts for centuries, yet both can be shown to be forgeries, dating to the late Ming dynasty. This book offers a groundbreaking new assessment of the history of the Liao and Yuan dynasties, and the way in which our understanding of these regimes has been defined by early seventeenth century literary forgeries.

Books I-II of Julius Caesar's The Gallic War narrate the campaigns of Caesar's first two years in Gaul (58-57 BCE). These first years saw great success for Caesar. He repelled the Helvetii, who were attempting to migrate through Roman territory; he defeated the German tribes who had crossed the Rhine under the leadership of the arrogant Ariovistus, who had designs on conquering all of Gaul in his own name; and he suppressed an uprising among the Belgic tribes. Caesar portrays these victories as hard-fought against fierce enemies; through reported speeches and dispatches he demonstrates Ariovistus' bold ambition, and he narrates his near-defeat at the Sabis River in vivid detail. Nevertheless, by the end his second year in the province, Caesar claimed that all of Gaul had been pacified, and he was awarded a fifteen-day thanksgiving by the senate.

This English translation faithfully represents the clarity and precision of Caesar's Latin while also conveying the drama of Caesar's narrative in a voice that modern readers will find lively and accessible. A substantial introduction orients the reader to the historical and literary context of The Gallic War as well as to the complicated political and authorial career of Julius Caesar. The commentary covers topics of historical, literary, and linguistic interest, providing support to readers of both the English and Latin texts.

Theodore of Sykeon is one of the archetypal holy men of the late Roman world, a person whose intense ascetic regime earned him fame in the villages and cities of his Galatian homeland, where he was called upon to work a variety of miracles - cures for various ailments, prevention of natural disasters, and the exorcism of unclean spirits both from individuals and groups. His reputation for holiness led to appointment as bishop of Anastasiopolis, a responsibility he did not enjoy since its administrative commitments compromised his ascetic regime and conflicted with his sense of social justice. The location of his village on the main highway across Anatolia ensured that his fame was soon translated into contacts with travelling dignitaries, and this brought him to the attention of successive emperors and patriarchs of Constantinople. He made three trips to the Holy Land and visited the capital three times, where he met the emperors Maurice, Phocas, and Heraclius as well as the patriarchs Cyriacus, Thomas, and Sergius. Theodore's disciple George, a future leader of the Sykeon monasteries, began composing this Life shortly after Theodore's death in 613. Soon thereafter, his body was removed to Constantinople as a talisman, an event celebrated by Nicholas the Treasurer.

If you woke to realize that you could rewrite your yesterday without knowing the kind of tomorrow it would grant you, would you do it? Are the authors of our destiny working with an outline or spit-balling confusing plotlines? Since the past changes possible futures, to what alighting butterfly should we pay the most heed? This book explores the liminal space between speculative fiction and the historical novel. Staged as a transnational, multicultural conversation, it takes up a call originally made by Fredric Jameson in Archaeologies of the Future wherein he describes that flashpoint between speculative and historical genres as the symptom of a mutation in our relationship to historical time itself. Drawing together postcolonial, feminist, cultural, Indigenous, and cognitive approaches, Science Fiction and the Historical Novel asks what the past can offer a future-oriented world, and how the future can be imagined in relation to a past that seeks narratives of inevitability rather than possibility. Engaged with the idea of the past as a model for the future, authors in this volume probe the extent to which historical scripts delimit possibilities, and how authors engaged with the practice of alternative pasts rewrite potentialities in the present.

During the nineteenth century, local officials sought to deal with their Irish pauper 'problem' by removing these poor migrants back to Ireland under the laws of settlement and removal. Over the course of the century, hundreds of thousands of Irish paupers were forcibly repatriated in this way. Even though the settlement rights of Irish immigrants gradually improved over time, removals were still taking place into the twentieth century.

The system was widely recognised as being cruel and unfair, especially in Ireland where the removal of Irish paupers from Britain garnered considerable political and press attention. Much was made of the illegality of some removals, and of harsh removals involving widowed women, children and the elderly.

This book, which is the first sustained study of repatriation from Britain, demonstrates a persistent theme: the marginal nature of Irish life on the larger island. Drawing on extensive research from newspaper sources and parliamentary papers, it presents an original and richly detailed perspective on Irish immigration, poverty and pauperism in nineteenth-century Britain.

What do we gain from watching a familiar play for the nth time? This was a crucial question for Romantic-period theatre managers, who, to deliver varied programmes, relied on a repertoire of 'stock' entertainments performed in alternation with the latest plays. Repertory theatre was not new to the Romantic period, but it took on additional purchase at a time when the playhouse was not simply a site for entertainment but a government-controlled cultural institution and business, subject to sometimes extreme financial, political, and ideological pressures.

Through an innovative selection of case studies drawn from deep archival research, Stock Pieces juxtaposes canonical with otherwise forgotten entertainments; unites the period's professional and amateur dramatic cultures; and spans British metropolitan, provincial, and imperial geographies. The picture that emerges is fresh and compelling. Stock Pieces sheds light on the mechanics of stock piece status, the Romantic afterlives of Shakespeare's near contemporaries (whose popular appeal declined as his increased), and the work of various agents (from pantomime arrangers to enslaved performers in Jamaica) who contested the repertoire's received aesthetic and cultural values.

It also explores the extent to which investments in the abolitionist cause were remediated by stock pieces that revived and reenacted the spectral violence of slavery and the slave trade - for various purposes.

Stock Pieces showcases how the Romantic-period dramatic repertoire could be mobilised to signify social and political practices that operated outside the theatrical institution, crossed national borders, and dared to effect real change.

The first revenge drama, the first great female role, the first tragedy set on the cusp between public space and private household, the first part of the only surviving tragic trilogy--the foundational status of Aeschylus' monumental Agamemnon cannot be over-estimated. Agamemnon's entry on a chariot, arrogant passage over purple carpets, death in the bath and display as a corpse, along with the inspired prophetess, his war booty Cassandra, make this tragedy visually electrifying; the poetry, especially in Clytemnestra's orations and the choral odes, in magniloquence and vivid imagery surpasses anything in classical literature. This new edition, with Greek text, critical introduction, accessible translation and detailed commentary gives consistent support in construing the ancient Greek and appreciating the aural power of Aeschylus' language and rhythms. It draws on cutting-edge scholarship to provide unprecedented illumination of sociological and performative aspects of his play: the chorus' struggle to maintain representation for ordinary Argives, the different responses of Clytemnestra and Cassandra to the inequities imposed on them by patriarchy, the sensory experience of poetry imbued with prompts to taste, smell, touch and hearing as well as vision, the challenges and opportunities presented by the text to directors and actors both ancient and modern, and the thrilling control of the tragic medium by its undisputed founding father.

Ebook available to libraries exclusively as part of the JSTOR Path to Open initiative.

The Stanley Kubrick Archive is a collection held at the University of the Arts London that contains material related to the life and work of Stanley Kubrick. But even though the archive has been branded as being about one man - Kubrick - its contents are much more diverse. There are records and objects about the wider industrial, cultural, and social history of film production in the latter half of the twentieth century; records and objects about the histories of fashion, stationery, photography, communication and media technologies, and urban development; historical resources pertaining to events such as the Holocaust, the life of Napoleon, and the American Civil War; and ephemera that has no immediately obvious research use.

Media historian James Fenwick argues that the Stanley Kubrick Archive has been misunderstood as being solely about Kubrick and that it has much greater interdisciplinary potential. Fenwick opens up the discussion of the meaning and purpose of the Stanley Kubrick Archive by considering its material realities via a critical survey and archaeological analysis of its contents. By undertaking such an analysis, Fenwick moves beyond the mythic status of the archive being Kubrick's archive and instead foregrounds the wider cultural value and significance of the collection and uses the archive to reveal histories, stories, and ideas beyond a focus on Stanley Kubrick, proving that the Stanley Kubrick Archive doesn't just have to be about Stanley.

Ebook available to libraries exclusively as part of the JSTOR Path to Open initiative.

Given the USA's long-held taste for the monstrous in all its forms (Scott W.Poole), coupled with its love for the colossal, the exaggerated and the brash (William Tsutsui), it is not surprising that the giant monster movie has long been a key part of the nation's cinematic landscape; yet up until recently the genre has been largely neglected by scholars. The US Giant Monster Movie: Size Does Matter addresses this gap, providing a richly detailed and compelling critical account of this vital but often overlooked instance of popular cinema. Using Mikhail Bakhtin's theories of the carnivalesque to help inform a discussion of examples ranging from The Lost World (1925) and King Kong (1933), up to recent CGI blockbusters including Cloverfield (2008), Pacific Rim (2013), and Godzilla vs Kong (2021), the book charts chronological developments in the form; examines its wide-ranging thematic concerns; and explores the reasons for the continuing commercial success of the US giant monster movie.

This comprehensive study will appeal to those with an interest in Film Studies, American Studies, popular cinema and culture, as well as anyone who wants to know more about this most spectacular and often subversive of genres

An exciting new contribution to the expanding but still largely uncharted territory of collaboration studies, Late Victorian Literary Collaboration is the first book-length study of the trend for collaborative writing that emerged in the last decades of the nineteenth century.

As a result of the rapidly growing literary market, the years between 1870 and the turn of the century witnessed an unprecedented flow of collaboratively written novels. In the 1890s, co-authorship became a craze, with literary partnerships multiplying and fiction co-written by twenty and more authors appearing in the pages of popular magazines. By 1900, however, the trend had already reversed, and it quickly slipped into oblivion. Late Victorian Literary Collaboration investigates the factors that made the period so conducive to collaboration, tracing the reasons for its success and subsequent decline. Drawing on a vast range of original sources, the book discusses and compares different models of collaboration, from life-long, exclusive partnerships to one-time, widely-advertised collaborative ventures between best-selling novelists. It deals with authors such as Walter Besant, Somerville and Ross, Andrew Lang, H.R. Haggard and Rhoda Broughton, all favourites of the Victorian public but subsequently neglected and only recently reevaluated. By unpacking the debate that developed around co-authorship in the periodical press of the time, the book also sheds light on how collaborative authorship was imagined by the general public, and illustrates how the trend effectively - if temporarily - challenged Victorian assumptions about the author as a solitary genius.

An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library as part of the Opening the Future project with COPIM.

The 2008 financial crisis prompted the most significant social protests since 1968 in the Middle East, Europe, and the United States. These protests generated not only social reform but also collaborative and affective affiliations, often seen through artistic and cultural materials. Taking Spain as a focal point, this book examines film production at both points in time, showing how it emerges from simultaneously divergent and comparable economic and political milieux. The book aims to recognize and celebrate the political responsibility exercised and expressed by a new generation of Spaniards deeply immersed in those protests. Through the convergences of two markedly significant periods in two separate centuries, filmmakers expose the deficiencies of Spain's democracy in 2008--the D MOCRAZY in the title, a slogan seen on a banner carried by the protesters--while creating a new sensibility and forms of social life that bring back the notions of community and the common good that had been forgotten in the midst of such a brittle environment.

Francophone Oceania Today: Literature, Visual Arts, Music and Cinema is a compilation of essays that breaks new ground in the exploration of recent and contemporary cultural expressions emerging from Francophone Oceania. This books explores Francophone Oceania today: a region rich in literary, artistic, and cultural productions, which nonetheless remains a marginalised space within Francophone Studies and disconnected from the mostly Anglophone cultural networks currently deployed in the South Pacific.

Francophone Oceania Today: Literature, Visual Arts, Music and Cinema establishes an état présent of recent and contemporary Francophone Oceanian literature, visual arts, music and cinema. It measures the local and global diffusion of Francophone Oceanian culture today and examines its key thematic and critical approaches, including ecocritical perspectives on art, literature, and cinema, while proposing new directions for research in the region.

Francophone Oceania Today opens a much-needed critical conversation between scholarly disciplines, between French-speaking and English-speaking academics, and between university researchers, museum professionals, and artistic voices. Our book contains hitherto unpublished contributions by Mā'ohi Nui/French Polynesian writer Chantal T. Spitz and by New Caledonian writer Nicolas Kurtovitch (in English translations by Jean Anderson).

Our book aims to draw interdisciplinary bridges among literature, cinema, music and the visual arts, and to account for the various cross-fertilisations currently happening in the region. Ultimately, what emerges from our volume is a multifaceted reflexion on the contemporary existence of Francophone Oceania, showcasing the diversity of views, artforms, critical perspectives and artistic voices that are gathered across its islands and the sea that surrounds them.