This book distinguishes itself from previous scholarship by offering an inclusive and comprehensive treatment of urban walking from 1800 to the present. Divided into three sections—geography, genius, and gender—the introduction establishes the origins of the flâneur and flâneuse in early foundational texts and explores later works that reimagine flânerie in terms of these same three themes. The volume’s contributors provide new and global perspectives on urban walking practices through their treatment of a variety of genres (literature, film, journalism, autobiography, epistolary correspondence, photography, fashion, music, digital media) and regions (Europe, Asia, the Americas, Africa, the Middle East). This volume theorizes well-known urban characters like the idler, lounger, dandy, badaud, promeneuse, shopper, collector, and detective and also proposes new iterations of the flâneur/flâneuse as fashion model, gaucho, cruiser, musician, vampire, postcolonial activist, video game avatar and gamer.

This book exemplifies the nurturing spirit of inter-discursive debate with a view to opening up new theoretical and empirical insights, understanding, and engagement, with debates on issues relating to pedagogy, policy, equity and embodiment. From a variety of social science perspectives, an international force of contributors apply a multitude of concepts to research agendas which illustrate the multiple ways in which ‘the body’ both impacts culture and is simultaneously and seamlessly positioned and shaped by it, maintaining social reproduction of class and cultural hierarchies and social regulation and control. They attest that once we begin to trace the flow of knowledge and discourses across continents, countries, regions and communities by registering their re-contextualisation, both within various popular pedagogies (e.g., newspapers, film, TV, web pages, IT) and the formal and informal practices of schools, families and peers, we are compelled to appreciate the bewildering complexity of subjectivity and the ways in which it is embodied. Indeed, the chapters suggest that no matter how hegemonic or ubiquitous discursive practices may be, they inevitably tend to generate both intended and unexpected ‘affects’ and ‘effects’: people and populations cannot easily be ‘determined’, suppressed or controlled. This book was originally published as a special issue of Sport, Education and Society.

The Anglia Book Series (ANGB) offers a selection of high quality work on all areas and aspects of English philology. It publishes book-length studies and essay collections on English language and linguistics, on English and American literature and culture from the Middle Ages to the present, on the new English literatures, as well as on general and comparative literary studies, including aspects of cultural and literary theory.

The controversial British writer Ford Madox Ford (1873–1939) is increasingly recognized as a major presence in early twentieth-century literature. This series of International Ford Madox Ford Studies was founded to reflect the recent resurgence of interest in him. Each volume is based upon a particular theme, issue, or work; and relates aspects of Ford’s writing, life, and contacts, to broader concerns of his time. Ford is best-known for his fiction, especially The Good Soldier, long considered a modernist masterpiece; and Parade’s End, which Anthony Burgess described as ‘the finest novel about the First World War’, Samuel Hynes has called ‘the greatest war novel ever written by an Englishman’, and which was adapted by Tom Stoppard for the acclaimed 2012 BBC/HBO television series, starring Benedict Cumberbatch and Rebecca Hall. The twelve essays in this volume, Ford Madox Ford’s Cosmopolis, focus directly on the internationalism so important to Ford, and bring out three main ideas. First, his lifelong commitment to an international vision of literature and culture. Second, ‘Cosmopolis’ also refers to Ford’s experiences of the particular cosmopolitan cities he lived in: London, Paris, New York. Third, the idea that his lifelong experience of Paris in particular informed and shaped his writing. Ford’s Cosmopolis is thus not only an ideal city or state open to such cosmopolitan exchange. It is also a mode of writing which invents forms and styles to render the experience of such hybridity, diversity, fluidity, and tolerance. Contributors are: Alexandra Becquet, Helen Chambers, Martina Ciceri, Laurence Davies, Claire Davison, Annalisa Federici, Georges Létissier, Caroline Patey, Andrea Rummel, Max Saunders, Rob Spence, Martin Stannard, George Wickes, Joseph Wiesenfarth.

Since the turn of this century (and even earlier), a plethora of projects have arisen to promise us bold new interactive adventures and immersive travel into the past with digital environments (using mixed, virtual or augmented reality, as well as computer games). In Playing with the Past: Into the Future Erik Champion surveys past attempts to communicate history and heritage through virtual environments and suggests new technology and creative ideas for more engaging and educational games and virtual learning environments. This second edition builds on and updates the first edition with new game discussions, surveys, design frameworks, and theories on how cultural heritage could be experienced in digital worlds, via museums, mobile phones, or the Metaverse. Recent games and learning environments are reviewed, with provocative discussion of new and emerging promises and challenges.

This collection brings together new critical approaches to diaspora studies, branching out to areas such as literary studies, visual culture, and museum studies, and explores them in relation to a variety of fictional works, cultural traditions, theoretical paradigms, and geo-political contexts. The innovation of this volume lies in the interplay of both texts and theoretical insights from these different areas of cultural analysis, drawn together to probe diverse manifestations of diaspora while pointing out new directions of critique. Moving between representations of real and imaginary, violent and utopian, past, present and future diasporas, contributors demonstrate the ways in which authors, performers and artists are establishing new modes of representing and imagining diaspora in an increasingly globalised age. Contributions are organised into sections on performance, speculative fiction, city spaces, affective or violent diasporas, and silence and voice. Bringing together these wide-ranging histories, contexts and media allows for dialogue across vastly divergent experiences and representations of diaspora, and opens up a theoretical debate on the changing nature of this field of study.

This edited textbook explores the 17 UN SDGs through 12 works from the humanities, including films, novels, and photographic collections. It provides students with the knowledge and understanding of how the humanities engage in broader social, political, economic, and environmental dialogue, offering a global perspective that crosses national and continental borders. The book takes students through the UN SDGs from a theoretical perspective through to practical applications, first through specific global humanities examples and then through students’ own final projects and reflections. Centered around three major themes of planet, people, and prosperity, the textbook encourages students to explore and apply the Goals using a place-based, culturally rooted approach while simultaneously acknowledging and understanding their global importance. The text’s examples range from documentary and feature film to photography and literature, including Wang Jiuliang’s Plastic China, Kip Andersen and Keegan Kuhn’s Cowspiracy: The Sustainability Secret, Barbara Dombrowski’s Tropic Ice: Dialog Between Places Affected by Climate Change, and Aravind Adiga’s The White Tiger, among others. Providing diverse geographic and cultural perspectives, the works take readers to Argentina, Australia, China, Costa Rica, Ecuador, France, Greenland, Haiti, India, Japan, Peru, Rwanda, Senegal, and the United States. This broad textbook can be used by students and instructors at undergraduate and postgraduate levels from any subject background, particularly, but not exclusively, those in the humanities. With added discussion questions, research assignments, writing prompts, and creative project ideas, students will gain a nuanced understanding of the interconnectivity between social, cultural, ethical, political, economic, and environmental factors.

This book explores ways in which screen-based storyworlds transfix, transform, and transport us imaginatively, physically, and virtually to the places they depict or film. Topics include fantasy quests in computer games, celebrity walking tours, dark tourism sites, Hobbiton as theme park, surf movies, and social gangs of Disneyland. How physical, virtual, and imagined locations create a sense of place through their immediate experience or visitation is undergoing a revolution in technology, travel modes, and tourism behaviour. This edited collection explores the rapidly evolving field of screen tourism and the affective impact of landscape, with provocative questions and investigations of social groups, fan culture, new technology, and the wider changing trends in screen tourism. We provide critical examples of affective landscapes across a wide range of mediums (from the big screen to the small screen) and locations. This book will appeal to students and scholars in film and tourism, as well as geography, design, media and communication studies, game studies, and digital humanities.

Anke Gleber examines one of the most intriguing and characteristic figures of European urban modernity: the observing city stroller, or flaneur. In an age transformed by industrialism, the flaneur drifted through city streets, inspired and repelled by the surrounding scenes of splendor and squalor. Gleber examines this often elusive figure in the particular contexts of Weimar Germany and the intellectual sphere of Walter Benjamin, with whom the concept of flanerie is often associated. She sketches the European influences that produced the German flaneur and establishes the figure as a pervasive presence in Weimar culture, as well as a profound influence on modern perceptions of public space. The book begins by exploring the theory of literary flanerie and the technological changes--street lighting, public transportation, and the emergence of film--that gave a new status to the activities of seeing and walking in the modern city. Gleber then assesses the place of flanerie in works by Benjamin, Siegfried Kracauer, and other representatives of Weimar literature, arts, and theory. She draws particular attention to the works of Franz Hessel, a Berlin flaneur who argued that flanerie is a "reading" of the city that perceives passersby, streets, and fleeting impressions as the transitory signs of modernity. Gleber also examines connections between flanerie and Weimar film, and discusses female flanerie as a means of asserting female subjectivity in the public realm. The book is a deeply original and searching reassessment of the complex intersections among modernity, vision, and public space.