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Using a transnational approach to the intellectual history of 19th-century Italy, this book examines the highly idiosyncratic juxtaposition and amalgamation of local and foreign philosophical traditions, chiefly represented by the thought of Giambattista Vico and Georg Wilhelm Friedrich Hegel. Alessandro De Arcangelis convincingly argues the decisive role this played in shaping a historical mindset able to direct, and give legitimacy to, Italians' experiences of political change.By adopting a distinctly revisionist perspective, Arcangelis contends that, contrary to most scholarly verdicts on these exchanges, Italian thinkers did not view foreign ideas as models to imitate, or passively apply to the Italian political context. Instead, they maintained a highly critical attitude, which encouraged them to question what they were learning from their reception of foreign sources, critique their conceptual foundations, and grow suspicious of their applicability to the historical and political circumstances of the peninsula. Vico, Hegel, and the Making of Modern Italy reveals that it is not through the local assimilation of foreign ideas, but via an undefeated allegiance to the indigenous tradition of thought, exemplified by Vico's philosophy of history and the wider political tradition of the Neapolitan Enlightenment, that Italian authors sought to regenerate their culture, and respond to the local, national, and transnational political questions of the day.The book details how ways of thinking philosophically empowered Italian intellectuals to work through the uncertainties, drama, and energy of profound and unprecedented shifts in their experience of historical time. It tells a story that functions, above all, as an instructive and timely a reminder of the genuine and tangible significance of philosophical knowledge in Italian history, and its exceptional ability to chart the country's political destiny.

Unparalleled in its wide-ranging coverage of European borders in fiction, this book traverses over 600 novels and short stories to examine how post-1945 novelists have debated European borders.Examining the structures that underpin borders and boundaries, Hammond provides important new insights into the ideologies, processes and effects of territorialisation and its related issues - conflict, migration, populism, nationalism, regionalism and globalisation. Thoroughly contextualising the literary texts in terms of geopolitical developments, new border regimes and human rights, he offers new ways of understanding the cultural dimensions of bordering processes in the modern age. Hammond complements other more theoretical approaches by using a 'distant reading' approach to open up new avenues for research and create robust grounds for comparison. Emphasising three main types of border - civilizational borders, physical borders and social borders - this book examines the ideological underpinnings of the construction of boundaries, the military and bureaucratic practices of physical exclusion and the social and psychological consequences for those who are excluded. Drawing on writings from both Europe and the Global South, this study represents a significant contribution to European literary studies and continental border writing. It opens up important new avenues for decolonised research and teaching for scholars across literary and border studies.

Adopting a comparative approach, this book argues that many iconic 21st-century metaphors and images used to communicate climate change and ecological crisis actually conceal the destructive foundations of Anthropocene life.

Artists have worked from home for many reasons, including care duties, financial or political constraints, or availability and proximity to others.From the 'home studios' of Charles and Ray Eames, to the different photographic representations of Robert Rauschenberg's studio, this book explores the home as a distinct site of artistic practice, and the traditions and developments of the home studio as concept and space throughout the 20th and into the 21st century.Using examples from across Europe and the Anglophone world between the mid-20th century and the present, each chapter considers the different circumstances for working at home, the impact on the creative lives of the artists, their identities as artists and on the work itself, and how, sometimes, these were projected and promoted through photographs and the media. Key themes include the gendered and performative aspects of women practising 'at home', collaborative studio communities of the 1970s - 90s including the appropriation of abandoned spaces in East London, and the effects of Covid on artistic practices and family life within the spaces of 'home'. The book comprises full-length chapters by artists, architects, art and design historians, each of whom bring different perspectives to the issues, interwoven with short interviews with artists to enrich and broaden the debates.At a time when individual relationships to home environments have been radically altered, The Artist at Home considers why some artists in previous decades either needed to or chose to work from home, producing work of vitality and integrity. Tracing this long tradition into the present, the book will provide a deeper understanding of how the home studio has affected the practices and identity of artists working in different countries, and in different circumstances, from the mid-20th century to the present.

In ancient Greek comedy, nothing is ever 'just a joke'. This book treats jokes with the seriousness they deserve, and shows that far from being mere surface-level phenomena, jokes in Greek comedy are in fact a site of poetic experimentation whose creative force expressly rivals that of serious literature.Focusing on the fragments of authors including Cratinus, Pherecrates, and Archippus alongside the extant plays of Aristophanes, Naomi Scott argues that jokes are critical to comedy's engagement with the language and convention of poetic representation. More than this, she suggests that jokes and poetry share a kind of kinship as two modes of utterance which specifically set out to flout the rules of ordinary speech. Starting with bad puns, and taking in crude slapstick, vulgar innuendo and frivolous absurdism, Jokes in Greek Comedy demonstrates that the apparently inconsequential jokes which pepper the surface of Greek comedy in fact amplify the impossible and defamiliarizing qualities of standard poetic practice, and reveal the fundamental ridiculousness of treating make-believe as a serious endeavour. In this way, jokes form a central part of Greek comedy's contestation of the role of language, and particularly poetic language, in the truthful representation of reality.

The Police, the State and the Congo Cop offers the first book-length, empirical deep-dive into everyday policework in the DRC. Its findings go well beyond the DRC and Africa, however: they ultimately provide a new, startlingly nuanced theoretical framework for understanding what police practice and reform efforts tell us about states anywhere in the world. Following officers from the classroom to the station and the street, Michel Thill offers five narrative-driven chapters rich with historical detail and thick description that show how the police force, as an institution, struggles to coordinate practice with training, coercion with persuasion and reconciliation, and the need to make ends meet with the duty to serve the public. By delving into the convoluted repercussions of police reform, Thill identifies the tensions that shape everyday policework, thereby offering new ways of thinking about police reform while offering practical guidance for practitioners and policymakers. This deeply theorized, yet grounded and highly readable study is an essential source for researchers and upper-level students of African studies, anthropology, and political science who are interested in police and the state. It is also of keen interest to practitioners and policymakers interested in what makes for effective police reform.

A new dramatic comedy from the internationally successful writer Richard Bean that looks at the shipping community in Hull during the 1970s