Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. As China and the West demonstrates, the emergence of “Westernized” music from China—concurrent with the technological advances that have made global culture widely accessible—has not established a prominent presence in the West. China and the West brings together essays on centuries of Sino-Western musical exchange by musicologists, ethnomusicologists, and music theorists from around the world. It opens with a look at theoretical approaches of prior studies of musical encounters and a comprehensive survey of the intercultural and cross-cultural theoretical frameworks—exoticism, orientalism, globalization, transculturation, and hybridization—that inform these essays. Part I focuses on the actual encounters between Chinese and European musicians, their instruments and institutions, and the compositions inspired by these encounters, while Part II examines theatricalized and mediated East-West cultural exchanges, which often drew on stereotypical tropes, resulting in performances more inventive than accurate. Part III looks at the musical language, sonority, and subject matters of “intercultural” compositions by Eastern and Western composers. Essays in Part IV address reception studies and consider the ways in which differences are articulated in musical discourse by actors serving different purposes, whether self-promotion, commercial marketing, or modes of nationalistic—even propagandistic—expression. The volume’s extensive bibliography of secondary sources will be invaluable to scholars of music, contemporary Chinese culture, and the globalization of culture.

Essays on a variety of medieval women, which will grant readers a more complete view of medieval women’s lives broadly speaking. These essays largely take a new perspective on their subjects, pushing readers to reconsider preconceived notions about medieval women, authority, and geography. This book will expand the knowledge base of our readers by introducing them to non-canonical and non-European subjects.

Representation and Reception: Brechtian 'Pedagogics of Theatre' and Critical Thinking deploys German playwright Bertolt Brecht's theory of drama and performance, what he calls "the pedagogics of theatre", to create modes of critical thinking in the classroom. Extrapolating on Brecht's estranged forms of representation--narrative, story, montage, Verfremdüngseffeckt or alienation, tableaux, ostension (showing), gestus, masks and music--Burney constructs an original "3-R Pedagogy" or "spiral of semiosis"--"Rethinking/Replaying/Re-cognition"--that is designed to create critical thinking and "complex seeing". Her dramatic production of Brecht's Lehrstück, or learning-play, The Exception and the Rule, for a non-literate, working-class audience in Hyderabad, India, critically analyses how audiences make meaning through image, word and ideology, gesture, memory, collective experience and personal (hi)stories.

Focuses upon contemporary expressions and representations of televisual sex, discussing British, US and Asian television, to engage with ideas of gender, genre and dramatic politics.

Perpetration and Complicity under Nazism and Beyond analyses perpetration and complicity under National Socialism and beyond. Contributors based in the UK, the USA, Canada, Germany, Israel and Chile reflect on self-understandings, representations and narratives of involvement in collective violence both at the time and later – a topic that remains highly relevant today. Using the notion of 'compromised identities' to think about contentious questions relating to empathy and complicity, this inter-disciplinary collection addresses the complex relationships between people's behaviours and self-understandings through and beyond periods of collective violence. Contributors explore the compromises that individuals, states and societies enter into both during and after such violence. Case studies highlight patterns of complicity and involvement in perpetration, and analyse how people's stories evolve under changing circumstances and through social interaction, using varying strategies of justification, denial and rationalisation. Each chapter also considers the ways in which contemporary responses and scholarly practices may be affected by engagement with perpetrator representations.

A timely and engrossing critique of the New Americanists

Fandom has been celebrated both as a harmonious, tolerant space and as apolitical and detached from reality. Yet fandom is neither harmonious nor apolitical. Throughout the past century, fandom has been shaped by recurring controversies and sparked by the emergence of new circles, platforms and discourses. Since the earliest days of science-fiction fandom, fans have conceived of their communities as quasi-political bodies, and of themselves as public actors in discursive spaces. They are concerned with the organizational structures, norms, and borders of fandom as well as their own position within it all. This latter concern has moved to the forefront as fan practices and platforms have been coopted by the entertainment industry and by political actors, forcing fans to situate their fannish and political identities in relation to both sprawling transmedia franchises and right-wing groups exploiting fannish formations for political ends. Through case studies of Glee and The Hunger Games fandoms as well as events such as Gamergate, RaceFail '09 and the Hugo Awards controversies, this book explores the complexities of political fandom.