If medieval literary studies is, like so many fields, currently conditioned by an ecological turn that dislodges the human from its central place in materialist analysis, then why now focus on the law? Is not the law the most human, if not indeed the human, institution? In proposing that all life in medieval Britain, whether animal or vegetable, was subject to the same legal machine that enabled claims on land, are we not ignoring the ecocritical demand that we counteract human exceptionalism and reframe the past with inhuman eyes? This volume, edited by Randy P. Schiff and Joseph Taylor, presents a diverse and stimulating group of interconnected essays that respond to these questions by infusing biopolitical material and theory into ecocentric studies of medieval life. The Politics of Ecology: Land, Life, and Law in Medieval Britain pursues the political power of sovereign law as it disciplines and manages various forms of natural life, and discloses the literary biopolitics played out in texts that work out the fraught interactions of life and law, in all its forms. Contributors to this volume explore such issues as legal networks and death, Arthurian bare life, Chaucerian medical biopolitics, the biopolitics of fur, ecologies of sainthood, arboreal political theology, conservation and political ecology, and geographical melancholy. Bringing together both established and rising critical voices, The Politics of Ecology creates a place for cutting-edge medievalist ecocriticism focused on the intersections of land, life, and law in medieval English, French, and Latin literature.

From Kehinde Wiley to W.E.B. Du Bois, from Nubia to Cuba, Willie Doherty's terror in ancient landscapes to the violence of institutional Neo-Gothic, Reagan's AIDS policies to Beowulf fanfiction, this richly diverse volume brings together art historians and literature scholars to articulate a more inclusive, intersectional medieval studies. It will be of interest to students working on the diaspora and migration, white settler colonialism and pogroms, Indigenous studies and decolonial methodology, slavery, genocide, and culturecide. The authors confront the often disturbing legacies of medieval studies and its current failures to own up to those, and also analyze fascist, nationalist, colonialist, anti-Semitic, and other ideologies to which the medieval has been and is yoked, collectively formulating concrete ethical choices and aims for future research and teaching.In the face of rising global fascism and related ideological mobilizations, contemporary and past, and of cultural heritage and history as weapons of symbolic and physical oppression, this volume's chapters on Byzantium, Medieval Nubia, Old English, Hebrew, Old French, Occitan, and American and European medievalisms examine how educational institutions, museums, universities, and individuals are shaped by ethics and various ideologies in research, collecting, and teaching.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

This book is a compilation of articles, editorial, investigative reports, surveys, memoranda and other significant material on the Gujarat carnage. The final report of the Human Rights Commission (that took a direct interest for the first time, of its own accord, in communal violence) is included in it. Useful material and information will be found in it by future researchers, academics and lay readers. As the specific event of the grim year are blurred and glossed over by other issues and by time, it is important to have such a compilation that preserves the lessons learnt in one of the most horrifying and ominous periods in India s modern history.

TROUBLE IS BREWING… As the owner of Little Shop of Potions, a magic potion shop specializing in love potions, Carly Bell Hartwell finds her product more in demand than ever. A local soothsayer has predicted that a couple in town will soon divorce—and now it seems every married person in Hitching Post, Alabama, wants a little extra matrimonial magic to make sure they stay hitched. But when Carly finds a dead man in her shop, clutching one of her potion bottles, she goes from most popular potion person to public enemy number one. In no time the murder investigation becomes a witch hunt—literally! Now Carly is going to need to brew up some serious sleuthing skills to clear her name and find the real killer—before the whole town becomes convinced her potions really are to die for!