As striking, counter-intuitive and distasteful as the combination of children and anxiety may seem, some of the most popular children's classics abound in depictions of traumatic relationships, bloody wars and helpless heroes. This book draws on Freudian and Lacanian anxiety models to investigate the psychological and political significance of this curious juxtaposition, as it stands out in Golden Age novels from both sides of the Atlantic and their present-day adaptations. The stories discussed in detail, so the argument goes, identify specific anxieties and forms of anxiety management as integral elements of hegemonial middle-class identity. Apart from its audacious link between psychoanalysis and Marxist, feminist, as well as postcolonial ideology criticism, this study provides a nuanced analysis of the ways in which allegedly trivial texts negotiate questions of individual and (trans)national identities. In doing so, it offers a fresh look at beloved tales like Alice's Adventures in Wonderland, The Wizard of Oz and Peter Pan, contributes to the dynamic field of adaptation studies and highlights the necessity to approach children's entertainment more seriously and more sensitively than it is generally the case.

As striking, counter-intuitive and distasteful as the combination of children and anxiety may seem, some of the most popular children's classics abound in depictions of traumatic relationships, bloody wars and helpless heroes. This book draws on Freudian and Lacanian anxiety models to investigate the psychological and political significance of this curious juxtaposition, as it stands out in Golden Age novels from both sides of the Atlantic and their present-day adaptations. The stories discussed in detail, so the argument goes, identify specific anxieties and forms of anxiety management as integral elements of hegemonial middle-class identity. Apart from its audacious link between psychoanalysis and Marxist, feminist, as well as postcolonial ideology criticism, this study provides a nuanced analysis of the ways in which allegedly trivial texts negotiate questions of individual and (trans)national identities. In doing so, it offers a fresh look at beloved tales like Alice's Adventures in Wonderland, The Wizard of Oz and Peter Pan, contributes to the dynamic field of adaptation studies and highlights the necessity to approach children's entertainment more seriously and more sensitively than it is generally the case.

In Kids These Days, early Wall Street occupier Malcolm Harris gets real about why the Millennial generation has been wrongly stereotyped, and dares us to confront and take charge of the consequences now that we are grown up. Millennials have been stereotyped as lazy, entitled, narcissistic, and immature. We've gotten so used to sloppy generational analysis filled with dumb clichés about young people that we've lost sight of what really unites Millennials. Namely: We are the most educated and hardworking generation in American history. We poured historic and insane amounts of time and money into preparing ourselves for the 21st-century labor market. We have been taught to consider working for free (homework, internships) a privilege for our own benefit. We are poorer, more medicated, and more precariously employed than our parents, grandparents, even our great grandparents, with less of a social safety net to boot. Kids These Days is about why. In brilliant, crackling prose, early Wall Street occupier Malcolm Harris gets mercilessly real about our maligned birth cohort. Examining trends like runaway student debt, the rise of the intern, mass incarceration, social media, and more, Harris gives us a portrait of what it means to be young in America today that will wake you up and piss you off. Millennials were the first generation raised explicitly as investments, Harris argues, and in Kids These Days he dares us to confront and take charge of the consequences now that we are grown up.

Longlisted for the Wellcome Book Prize 2017 A moving story about transition between illness and recovery, childhood and maturity, life and death. Thirteen-year-old Frank Gold's family escaped from Hungary and the perils of WW2 to the safety of Australia, but not long after their arrival Frank is diagnosed with polio. Sent to a sprawling children's hospital called The Golden Age, he nds Elsa, the most beautiful girl he has ever seen, and a vocation for poetry. Frank and Elsa fall in love, fuelling one another's rehabilitation and facing the perils of polio and adolescence hand in hand. Meanwhile Frank and Elsa's parents must cope with their changing realities. Margaret, who has sacri ced everything to be a perfect mother, must reconcile her hopes and dreams with her daughter's illness. Frank's parents are isolated newcomers in a country they don't love. Ida, a renowned pianist in Hungary, refuses to allow the western deserts of Australia to become her home, while her husband Meyer slowly begins to free himself from the past and nd his place in the Perth of the early 1950s.

The plays, theme or focus of this volume includes: Henry V Much Ado About Nothing Timon of Athen Venus and Adonis

The impersonality of social relationships in the society of strangers is making majorities increasingly nostalgic for a time of closer personal ties and strong community moorings. The constitutive pluralism and hybridity of modern living in the West is being rejected in an age of heightened anxiety over the future and drummed up aversion towards the stranger. Minorities, migrants and dissidents are expected to stay away, or to conform and integrate, as they come to be framed in an optic of the social as interpersonal or communitarian. Judging these developments as dangerous, this book offers a counter-argument by looking to relations that are not reducible to local or social ties in order to offer new suggestions for living in diversity and for forging a different politics of the stranger. The book explains the balance between positive and negative public feelings as the synthesis of habits of interaction in varied spaces of collective being, from the workplace and urban space, to intimate publics and tropes of imagined community. The book proposes a series of interventions that make for public being as both unconscious habit and cultivated craft of negotiating difference, radiating civilities of situated attachment and indifference towards the strangeness of others. It is in the labour of cultivating the commons in a variety of ways that Amin finds the elements for a new politics of diversity appropriate for our times, one that takes the stranger as there, unavoidable, an equal claimant on ground that is not pre-allocated.