Using the perspectives of social and cultural history, and the history of psychology and physiology, Strange Dislocations traces a search for the self, for a past that is lost and gone, and the ways in which, over the last hundred years, the lost vision has come to assume the form of a child.

Established accounts of the child in nineteenth century literature tend to focus on those who occupy a central position within narratives. This book is concerned with children who are not so easily recognized or remembered, the peripheral or overlooked children to be read in works by Dickens, Brontë, Austen and Rossetti.

From the perennially young, precocious figure of 'little orphan Annie' to the physical and vocal ageing of the eighteenth-century castrato, interlinked cultural constructions of age and gender are central to the historical and contemporary depiction of creative activity and its audiences. Gender, Age and Musical Creativity takes an interdisciplinary approach to issues of identity and its representation, examining intersections of age and gender in relation to music and musicians across a wide range of periods, places, and genres, including female patronage in Renaissance Italy, the working-class brass band tradition of northern England, twentieth-century jazz and popular music cultures, and the contemporary 'New Music' scene. Drawing together the work of musicologists and practitioners, the collection offers new ways in which to conceptualise the complex links between age and gender in both individual and collective practice and their reception: essays explore juvenilia and 'late' style in composition and performance, the role of public and private institutions in fostering and sustaining creative activity throughout the course of musical careers, and the ways in which genres and scenes themselves age over time.

Moving nimbly between literary and historical texts, Monica Flegel provides a much-needed interpretive framework for understanding the specific formulation of child cruelty popularized by the National Society for the Prevention of Cruelty to Children (NSPCC) in the late nineteenth century. Flegel considers a wide range of well-known and more obscure texts from the mid-eighteenth century to the early twentieth, including philosophical writings by Locke and Rousseau, poetry by Coleridge, Blake, and Caroline Norton, works by journalists and reformers like Henry Mayhew and Mary Carpenter, and novels by Frances Trollope, Charles Dickens, Wilkie Collins, and Arthur Morrison. Taking up crucial topics such as the linking of children with animals, the figure of the child performer, the relationship between commerce and child endangerment, and the problem of juvenile delinquency, Flegel examines the emergence of child abuse as a subject of legal and social concern in England, and its connection to earlier, primarily literary representations of endangered children. With the emergence of the NSPCC and the new crime of cruelty to children, new professions and genres, such as child protection and social casework, supplanted literary works as the authoritative voices in the definition of social ills and their cure. Flegel argues that this development had material effects on the lives of children, as well as profound implications for the role of class in representations of suffering and abused children. Combining nuanced close readings of individual texts with persuasive interpretations of their influences and limitations, Flegel's book makes a significant contribution to the history of childhood, social welfare, the family, and Victorian philanthropy.

Like the occupants of the children's table at a family dinner, scholars working in childhood studies can seem sidelined from the "adult" labor of humanities scholarship. The Children's Table brings together scholars from architecture, philosophy, law, and literary and cultural criticism to provide an overview of the innovative work being done in childhood studies—a transcript of what is being said at the children's table. Together, these scholars argue for rethinking the academic seating arrangement in a way that acknowledges the centrality of childhood to the work of the humanities. The figure we now recognize as a child was created in tandem with forms of modernity that the Enlightenment generated and that the humanities are now working to rethink. Thus the growth of childhood studies allows for new approaches to some of the most important and provocative issues in humanities scholarship: the viability of the social contract, the definition of agency, the performance of identity, and the construction of gender, sexuality, and race. Because defining childhood is a means of defining and distributing power and obligation, studying childhood requires a radically altered approach to what constitutes knowledge about the human subject. The diverse essays in The Children's Table share a unifying premise: to include the child in any field of study realigns the shape of that field, changing the terms of inquiry and forcing a different set of questions. Taken as a whole, the essays argue that, at this key moment in the state of the humanities, rethinking the child is both necessary and revolutionary. Contributors: Annette Ruth Appell, Sophie Bell, Robin Bernstein, Sarah Chinn, Lesley Ginsberg, Lucia Hodgson, Susan Honeyman, Roy Kozlovsky, James Marten, Karen Sánchez-Eppler, Carol Singley, Lynne Vallone, John Wall.

Island Stories looks at the multiplicity of myths that issue from the 4 nations that make up Great Britain. His perspective brings new meaning to the idea of history revealing how nations use their past to give meaning to their present and future.

This study suggests that it was the representation of anxiety, rather than trauma and memory, that emerged most forcefully in mid-century wartime culture. Thinking about anxiety, Lyndsey Stonebridge argues, was a way of imagining how it might be possible to stay within a history that frequently undermined a sense of self and agency.