This is a book about the long cultural shadow cast by a single bestselling novel, Anthony Hope's The Prisoner of Zenda (1894), which introduced Ruritania, a colourful pocket kingdom. In this swashbuckling tale, Englishman Rudolf Rassendyll impersonates the king of Ruritania to foil a coup, but faces a dilemma when he falls for the lovely Princess Flavia. Hope's novel inspired stage and screen adaptations, place names, and even a board game, but it also launched a whole new subgenre, the "Ruritanian romance". The new form offered swordplay, royal romance, and splendid uniforms and gowns in such settings as Alasia, Balaria, and Cadonia. This study explores both the original appeal of The Prisoner of Zenda, and the extraordinary longevity and adaptability of the Ruritanian formula, which, it is argued, has been rooted in a lingering fascination with royalty, and the pocket kingdom's capacity to hold a looking glass up to Britain and later the United States. Individual chapters look at Hope's novel and its stage and film adaptations; at the forgotten American versions of Ruritania; at the chocolate-box principalities of the musical stage; at Cold War reworkings of the formula; and at Ruritania's recent reappearance in young adult fiction and made-for-television Christmas movies. The adventures of Ruritania have involved a diverse list of contributors, including John Buchan, P.G Wodehouse, Agatha Christie, Vladimir Nabokov, and Ian Fleming among the writers; Sigmund Romberg and Ivor Novello among the composers; Erich Von Stroheim and David O. Selznick among the film-makers; and Robert Donat, Madeleine Carroll, Peter Ustinov, Peter Sellers, and Anne Hathaway among the performers.

This is a book about the long cultural shadow cast by a single bestselling novel, Anthony Hope's The Prisoner of Zenda (1894), which introduced Ruritania, a colourful pocket kingdom. In this swashbuckling tale, Englishman Rudolf Rassendyll impersonates the king of Ruritania to foil a coup, but faces a dilemma when he falls for the lovely Princess Flavia. Hope's novel inspired stage and screen adaptations, place names, and even a board game, but it also launched a whole new subgenre, the "Ruritanian romance". The new form offered swordplay, royal romance, and splendid uniforms and gowns in such settings as Alasia, Balaria, and Cadonia. This study explores both the original appeal of The Prisoner of Zenda, and the extraordinary longevity and adaptability of the Ruritanian formula, which, it is argued, has been rooted in a lingering fascination with royalty, and the pocket kingdom's capacity to hold a looking glass up to Britain and later the United States. Individual chapters look at Hope's novel and its stage and film adaptations; at the forgotten American versions of Ruritania; at the chocolate-box principalities of the musical stage; at Cold War reworkings of the formula; and at Ruritania's recent reappearance in young adult fiction and made-for-television Christmas movies. The adventures of Ruritania have involved a diverse list of contributors, including John Buchan, P.G Wodehouse, Agatha Christie, Vladimir Nabokov, and Ian Fleming among the writers; Sigmund Romberg and Ivor Novello among the composers; Erich Von Stroheim and David O. Selznick among the film-makers; and Robert Donat, Madeleine Carroll, Peter Ustinov, Peter Sellers, and Anne Hathaway among the performers.

Do the job, collect the fee, and don’t look in the envelope. Rory Redman’s exploits might drive his contemporaries to rage and himself to insolvency, but he has never put anyone in real danger – before now. His desperation for money drives him to accept a commission that he knows has crossed a line. All he has to do is keep a lid on his curiosity and his troubles are behind him. But Rory Redman was never one to deny an impulse. There is a heart-stopping inevitability about the way his choices funnel him ever further from safety and ever further from home. The mutual attraction between him and Ariadne Sowerby might be the route to salvation except that both strive to hide their feelings and Rory’s suicidal curiosity focuses on Klarissa Alterleta, the strange woman whose antics escalated his minor troubles into the stratosphere. In Ruritania, a country that roams Europe like a restless wanderer, a national crisis is brewing. Cut-throat revolutionaries, national security forces and Britain’s secret service are all involved, and are all overtly or covertly at each other’s throats. But they share a lone goal – each is determined to find Rory Redman and wipe him from the face of the earth. Ariadne might have helped him if he hadn’t alienated her. Klarissa could save him from the worst of his pursuers, but she won’t. Forced back on to his own inner strength, Rory girds his loins and faces the fact that his only real expertise lies in logic, marathon running and Morris dancing. The contest is surely lost before it has begun.

Queen Flavia, dutifully but unhappily married to her cousin Rudolf V, writes to her true love Rudolf Rassendyll. The letter is carried by von Tarlenheim and his servant Bauer to be delivered by hand, but Fritz is betrayed by Bauer and it is stolen by the exiled Rupert of Hentzau and his loyal cousin the Count of Luzau-Rischenheim. Hentzau sees in it a chance to return to favor by informing the pathologically jealous and paranoid King.

Published more than a decade ago, Inventing Ruritania has become a standard study of the West's attitude toward the Balkans -- the "Wild East" of Europe. With its Western and Oriental influences, the Balkans have both attracted and repelled outsiders, offering a tantalizing alternative to familiar society. Completely different from "us" yet exactly what "we" used to be, the Balkans have particularly provided Western European and American writers and filmmakers with a wealth of images, characters, and ideas. In her prodigiously researched volume, Vesna Goldsworthy explores the entertainment industry's lucrative exploitation of Balkan history and geography and its affect on Western conceptions of the region. She traces the national, religious, and sexual fears foreign observers project onto Balkan lands and the use of Balkan archetypes. The work of an Anglo-Serbian writer and former BBC journalist turned academic, Inventing Ruritania maps an imaginary geography that has had palpable consequences in the practical world.

War, Aggression and Self-Defence is an indispensable guide to international legal issues of war and peace, the crime of aggression, self-defence and its trigger, armed attack, and the different modalities of self-defence, as well as enforcement measures taken under the aegis of a binding decision of the Security Council. This new and fully updated 6th edition focuses on the key issues at the forefront of the contemporary international legal debate, as well as analysing the new armed conflicts in Syria, Ukraine and Georgia, re-examining the Kampala amendments on the crime of aggression and considering the phenomenon of 'robust' mandates of a peacekeeping force. Suitable for graduate and advanced undergraduate students, this market-leading book offers a wide-ranging and highly readable introduction to the legal issues surrounding war and self-defence.

Proposes an alternative methodology for determining causation in WTO law by drawing on causal philosophy and econometric analysis.

This textbook--an abridged version of Radford's Minimalist Syntax and the Syntax of English--provides a concise and accessible introduction to current syntactic theory, drawing on the key concepts of Chomsky's Minimalist Programme. Assuming little or no prior grammatical knowledge, it takes students through a range of topics in English syntax, beginning at an elementary level and progressing in stages towards more advanced material. There is an extensive glossary, and each chapter contains a workbook section with 'helpful hints', exercises and model answers, suitable for both class discussion and self-study.