This chapter takes seriously the concerns of Eliot’s early reviewers with a tension in her fiction between the devoted depiction of life later associated with realism, and a didactic impulse to which they increasingly felt she succumbed. Asking why Eliot interrupted representation with theorisation, the chapter takes as a case study her alternating dramatisation and analysis of incongruous versions of history in Chapter 20 of Middlemarch. It traces the lineage of such alternation, via an allusion to her friend John Sibree’s translation of Hegel’s Lectures on the Philosophy of History, into one of the notebooks Eliot used as she developed Middlemarch, which is read less as a source for either the novel’s theories or its facts than as a laboratory for its experiments in moving between them. The chapter suggests that Eliot valued the dissonance her reviewers detected when dogma intruded upon depiction. It thereby elucidates her contribution to the dialectical novel of ideas this book explores.

Chapter 3 addresses the suggestion that for a special regime to exist, there must be a mutual engagement of community members. As the chapter argues, in the context of international law, a mutual engagement among a group of international law specialists can be inferred from their participation in a distinct legal discourse, and from their further specialization and distinct way of ascribing functions to legal agents. More specifically, it can be inferred from: the publication of specialized international law journals; the way of organization of conferences and workshops; the creation of inter-governmental organization; the work of NGOs; the specialized research profile of international scholars and description of chairs; their separation of tasks and division of labour; and the function that they ascribe to the judiciary and to the international legal scholar.

This chapter demonstrates the growth and broadening reach of Jewish–Christian dialogue, and especially Christian reflections on the significance of the Holocaust. Documents discuss the significance of the Jewishness of Jesus and Paul, alongside fraught discussions about the State of Israel.

This chapter examines the ontological questions raised by the encounter with poems in archives, whether in the form of drafts, post-publication revisions, or unique or multiple versions circulating in manuscript alone. Most poems in most archives prompt the same question – what is this? – and they thereby challenge expectations of what a poem will be. When are two related texts versions of the same poem, for instance, and when are they instead two different poems? What about poems that were never finished or were never originally conceived of as “poems”? And how are poems in archives framed by surrounding materials, be those materials other poems or other kinds of writing altogether? Through a close study of Thomas Gray's commonplace book, this chapter focuses on the interpretative challenges prompted by such ontological questions. Using Gray's methods as its example, the chapter experiments with what it means to read manuscript poems synchronically within the archival documents in which they are found, rather than diachronically in search of sources or variants.

From the start of his career, Jonathan Swift was caught up in debates about the relative value of ancient and modern cultures. Swift’s first masterpieces, ‘The Battel of the Books’ and A Tale of a Tub (both pub. 1704), were brilliant satirical interventions on the side of ancient cultures against the moderns. This chapter unpicks the density of allusion in these works, explaining how they relate to the broader ‘quarrel’ between the ancients and moderns. A final section traces the legacy of this dispute in Gulliver’s Travels (1726), in which Swift invokes ancient Sparta as a model for social integrity.

This chapter surveys the major scholarly and popular culture responses to the life and work of F. Scott Fitzgerald, and, to a lesser extent, to Zelda Fitzgerald, between 2000 and 2020. The first part of the chapter discusses the films, TV and radio adaptations, stage and ballet versions, and novels based on Fitzgerald’s works or on the Fitzgeralds’ lives. The second part deals with the book-length scholarship and criticism on Fitzgerald’s life and work in the first two decades of the twenty-first century, which has greatly increased and expanded in this period in both subject matter and approach, partially because of the international conferences sponsored by The F. Scott Fitzgerald Society, because of the annual issues of The F. Scott Fitzgerald Review, which began publication in 2002, and because of the completion, in 2019, of the eighteen-volume Cambridge Edition of the Works of F. Scott Fitzgerald. The material in this second part of the chapter is divided into sections on Bibliographies and Other Reference Works, Editions, Correspondence, Biography, and Criticism, with the latter sub-divided into General Studies – Collections, General Studies – Full-Length Works, and Studies of Individual Works.

Scholars in late-antique Western Christendom relied both on ‘scientific’ knowledge and on theological interpretation of scripture to understand and explain the natural world. Previous scholarship discussing the process of seeking knowledge in general, and the investigation of science and theology in particular, has often centred on the issues of innovation and derivativeness. For centuries, following ideas developed during the Renaissance and ‘Enlightenment’, it was held that the fall of the Western Roman empire heralded a ‘Dark Age’ in which there was little intellectual development and scholarship was almost entirely derivative. More recently, scholars have argued instead that there was innovation in this period, at least to some degree. This chapter offers a preliminary examination of the methods and processes of inquiry used by late-antique scholars in their attempts to uncover knowledge, focusing on the topic of creation.

Numerous bands and their fans see themselves as having revolutionised rock music in the late 1960s and the early 1970s and given birth to a harder style that was to become known as heavy metal. British bands Black Sabbath, Deep Purple, Led Zeppelin and The Kinks are considered pioneers within the two countries of metal’s origin; their counterparts in the US were Steppenwolf, Iron Butterfly and Blue Cheer. Although it is safe to say that these bands were among those that gave the initial spark for a musical genre that has taken hold around the globe in the more than fifty years of its existence, this introduction is not meant to debate the origins of metal.

Today, metal music is a genre popular with fans worldwide, facilitated by a vast industry with specialised professions, such as journalists, artist and repertoire managers, record producers, concert promoters and stage crews.

Informal borrowings constitute an important linguistic phenomenon, yet they remain underrepresented in scholarly literature. This book is to remedy the situation. Drawing from the methodological framework of documentary linguistics and sociolinguistics, it relies on lexical material from a large database of citations from diverse sources – including spoken utterances, films and TV shows, print, and social media – to ensure authenticity and representativeness. Much space is devoted to the presentation, explanation, interpretation, and illustration of language data; the format of description is designed to be extensive, covering a wide range of themes which allow an examination from various perspectives. The description is amply supported throughout the text with usage examples that illustrate linguistic patterns, show the sociocultural context in which they are used, and attest to the very existence of these expressions.

This essay considers Sebald as an academic. Arguably, the acdemy as an institution shaped his entire life. Originating from a non-academic background, studying in Freiburg was his escape ticket from the Allgäu province. His transfers to the universities of Fribourg and Manchester in turn determined his life as an expat and his profile as a Germanist abroad. By remaining at the university, his academic profession provided the basis for his intellectual career and secured his livelihood. His literary work emerged as a frustrated reaction to the neoliberal reforms of UK HE; Sebald conquered his own free space through the writing of literature. In the second part of the essay, Sebald’s teaching style and didactics are examined, not least on the basis of the author’s personal experiences. Sebald was an unorthodox university teacher who aimed to encourage his students in their own talents and abilities.

The Introduction outlines crucial intellectual contexts and frameworks for thinking about how Cicero's Brutus is a crucial intervention in the the civic crisis and the writing of literary history. It also surveys the scholarship to date and examines how Cicero's project reflects general trends in academic inquiry and civic government.

This chapter is for all academics, from students and faculty to professional staff at research centers and institutions. The content draws upon our experiences from when we were budding scholars, to experienced scientists, and now administrators, including time spent at federal funding agencies. Our aim is to provide information to scholars so that you can write more competitive grant proposals and secure greater resources for your research and scholarship. First, we provide a broad overview of what to consider before you embark upon writing a proposal. Then, we discuss areas for consideration in writing the proposal itself. Finally, we share steps to consider after you have received feedback about your proposal. We also provide some detail about particular funders, including support for international scholarship. As with all scholarship, persistence, collaboration, and support from colleagues are helpful for successfully securing external funding.

In the Conclusion, I record the rival fates of Giovanni and Giorgio Amendola since 1980, whether in scholarship, public memory or Italian streetscapes. In each regard, the liberal democrat Giovanni Amendola has moved up and the communist Giorgio Amendola down. The (humane) communist world Giorgio believed in has all but totally disappeared. But liberal democracy, however much transmuted by an all but totalitarian neoliberalism, has prospered and, perhaps, triumphed. Certainly, when the centenary of Giovanni’s death occurs in 1926, it is likely that he will be celebrated as a father of his patria. What might be viewed as the historical limitations of his understanding of where the world was going, his all but non-existent commentary on capitalism and finance, his patriarchalism, his positive view of Italian imperialism – these no longer matter. He can take the leading place as his country’s most admirable saint and martyr of Anti-Fascism.

This chapter focuses on the oeuvre and actions of Virgilio Malvezzi, the Bolognese historian who had a prominent career in the service of Philip IV and the Count-Duke of Olivares. Following Malvezzi to the Low Countries and his small-scale diplomacy with French nobles conspiring against the King of France, it traces how in his letters he reflected on necessity and the moral legitimacy of political action. Through the ordering of information, he reported circumstances in such a way that they legitimized the application of unorthodox strategies such as dissimulation and pretence. As we can observe in the emergence of one of his published historical works from a newly discovered manuscript draft, the practice of ordering historical particulars and aphorism-like observations was also present in Malvezzi’s writing techniques. It shows how the method of ordering could also be at the base of a chronological narrative and how extenuating necessity could then be used in the context of an apologetic political history. The oeuvre and well-documented career of Virgilio Malvezzi thus provide a rare opportunity to address the limitations and opportunities of the continuity between theory and political practice in reason-of-state discourse.