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This work is concerned with the history of the idea of human rights. It offers a fresh approach that puts aside familiar questions such as 'Where do human rights come from?' and 'When did human rights begin?' for the sake of looking into connections between debates about the rights of man and developments within the history of capitalism. The focus is on England, where, at the end of the 18th century, a heated controversy over the rights of man coincided with the final enclosure of common lands and the momentous changes associated with early industrialisation. Tracking back still further to 16th and 17th-century writing about dispossession, resistance and rights, the text reveals a forgotten tradition of thought about central issues in human rights, with profound implications for their prospects in the world today.

Human rights --- History. --- England. --- England --- Angleterre --- Kingdom of England --- Engeland --- Inghilterra --- Inglaterra --- Engländer --- Großbritannien --- -1707 --- Anglii͡ --- Anglija

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'This is an excellent, well-researched and up-to-date account of the development of concrete poetry in England and Scotland from the 1950s onwards. It will make an outstanding contribution to knowledge in the related fields of concrete poetry, late modernism, the history of the 1960s counter-culture and the British Poetry Revival.'
Dr Steve Willey, Birkbeck, University of London

This book offers the first in-depth account of the relationship between English and Scottish poets and the international concrete poetry movement of the 1950s to the 1970s. Concrete poetry was a literary and artistic style which reactivated early twentieth-century modernist impulses towards the merging of artistic media, while simultaneously speaking to a gamut of contemporary contexts, from post-1945 reconstruction to cybernetics, mass media and the sixties counter-culture. The terms of its development in England and Scotland suggest new ways of mapping ongoing complexities in the relationship between the two national cultures, and of tracing broader sociological and cultural trends in Britain during the 1960s and 1970s. Focusing especially on the work of Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard and Bob Cobbing, Border Blurs is based on new and extensive archival and primary research, and will fill a vital gap in contemporary understandings of an important but much misunderstood genre: concrete poetry. It will also serve as a vital document for scholars and students of twentieth-century British literature, modern intermedia art and modernism, especially those interested in understanding modernism's wide geographical spread and late twentieth-century legacies.

Concrete poetry, English --- English poetry --- Scottish poetry --- Scottish literature --- English concrete poetry --- History and criticism. --- History and criticism --- 1900-1999 --- England --- Schottland --- Ecosse --- Scotia --- Scotland --- Schotten --- Großbritannien --- Angleterre --- Kingdom of England --- Engeland --- Inghilterra --- Inglaterra --- Engländer --- -1707 --- Bob Cobbing --- Ian Hamilton Finlay --- 19602 --- Dom Sylvester Houédard --- counter-culture --- concrete poetry --- Edwin Morgan --- intermedia --- modernism

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Breaking new ground in interdisciplinary scholarship of late medieval England, this collection of essays celebrates and addresses the work of renowned medieval scholar A.G. Rigg. George Rigg's interests span medieval Latin, Anglo-Norman, and Middle English literature and philology; the contributors to this volume are an international group of colleagues, students, and friends of Rigg's, whose essays are as wide-ranging as Rigg's own interests. The contributions include: new editions of Middle English texts; an overview of the editions of Chaucer from the nineteenth century to the present which expounds editorial trends through the years; studies of major Middle English writings which cross boundaries into social history and the history of the book; a codicological study of the literary and material evidence for the use of scientific and utilitarian texts in late medieval English manuscripts; and related historical studies. Each essay is anchored in the textual realities that grounded Rigg's own scholarship, and bridge the boundaries between traditional academic disciplines ? a crossing of interstices in homage to a teacher, friend, and colleague.

English literature --- Middle English, 1100-1500 --- Criticism [Textual ] --- History and criticism --- Latin literature [Medieval and modern ] --- England --- Manuscripts [Latin ] (Medieval and modern) --- Manuscripts [Medieval ] --- Manuscripts [English ] (Middle) --- Latin literature, Medieval and modern --- Manuscript, Latin (Medieval and modern) --- Manuscripts, Medieval --- Manuscripts, English (Middle) --- Criticism, Textual. --- History and criticism. --- English manuscripts (Middle) --- Manuscripts, Middle English --- Middle English manuscripts --- Rigg, Arthur G. --- Mittellatein. --- Mittelenglisch. --- England. --- Angleterre --- Anglii͡ --- Anglija --- Engeland --- Inghilterra --- Inglaterra --- Kingdom of England --- Engländer --- Großbritannien --- -1707

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"This book examines one of the most fundamental issues in twelfth-century English politics: justice. It demonstrates that during the foundational period for the common law, the question of judgement and judicial ethics was a topic of heated debate-- a common problem with multiple different answers. How to be a judge, and how to judge well, was a concern shared by humble and high, keeping both kings and parish priests awake at night. Using theological texts, sermons, legal treatises and letter collections, the book explores how moralists attempted to provide guidance for uncertain judges. It argues that mercy was always the most difficult challenge for a judge, fitting uncomfortably within the law and of disputed value. Shining a new light on English legal history, Justice and Mercy reveals the moral dilemmas created by the establishment of the common law"--.

Justice, Administration of --- Law and ethics. --- Scholasticism --- History --- Law --- Christian ethics --- Ethical theology --- Moral theology --- Theology, Ethical --- Theology, Moral --- Christian life --- Christian philosophy --- Religious ethics --- Administration of justice --- Courts --- History. --- History of doctrines --- Law and legislation --- History and criticism --- Great Britain --- Church history --- Gnade. --- Rechtsordnung. --- Moraltheologie. --- England. --- England and Wales --- Angleterre --- Anglii︠a︡ --- Inghilterra --- Engeland --- Inglaterra --- Anglija --- Medieval history. --- HISTORY / Europe / Medieval. --- History & Archaeoogy --- European history --- European history: medieval period, middle ages. --- Theology, Scholastic --- Philosophy --- Philosophy, Medieval --- Ethics and law --- Law and morals --- Morals and law --- Kingdom of England --- Engländer --- Großbritannien --- -1707

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Queen Elizabeth I (1558-1603) had a strong reputation for musicality; her court musicians, Thomas Tallis and William Byrd, even suggested that music was indispensable to the state. But what roles did music play in Elizabethan court politics? How did a musical image assist the Queen in projecting her royal authority? What influence did her private performances have on her courtships, diplomatic affairs, and relationships with courtiers? To what extent did Elizabeth control court music, or could others appropriate performances to enhance their own status and achieve their ambitions? Could noblemen, civic leaders, or even musicians take advantage of Elizabeth's love of music to present their complaints and petitions in song? This book unravels the connotations surrounding Elizabeth's musical image and traces the political roles of music at the Elizabethan court. It scrutinizes the most intimate performances within the Privy Chamber, analyses the masques and plays performed in the palaces, and explores the grandest musical pageantry of tournaments, civic entries, and royal progresses. This reveals how music served as a valuable means for both the tactful influencing of policies and patronage, and the construction of political identities and relationships. In the late Tudor period music was simultaneously a tool of authority for the monarch and an instrumentof persuasion for the nobility. Katherine Butler is a researcher and tutor at the University of Oxford.

Music --- Musique --- History and criticism. --- Political aspects --- History --- History and criticism --- Histoire et critique --- Aspect politique --- Histoire --- Music - Great Britain - 16th century - History and criticism --- Music - Political aspects - Great Britain - History - 16th century --- History and criticism . --- Elisabeth --- England. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Elizabeth --- Elizabetha --- Elizaveta Tiudor --- Eliesabeth --- Elyzabeth --- Elysabeth --- Elisabet --- Elisabetha --- Tudor, Elizabeth --- Elisabette --- Elizabeth Tudor --- Königin --- Adel --- Greenwich --- Richmond --- Heinrich --- Anna --- Maria --- Bale, John --- Margarete --- Walsingham, Francis --- 07.09.1533-24.03.1603 --- 1533-1603 --- Angleterre --- Kingdom of England --- Engeland --- Inghilterra --- Inglaterra --- Engländer --- Großbritannien --- -1707 --- Elizabethan court. --- Elizabethan politics. --- Elizabethan society. --- English monarchy. --- Music in Elizabethan Court Politics. --- Queen Elizabeth I. --- Renaissance music. --- civic leaders. --- court musicians. --- court politics. --- courtly culture. --- courtly entertainment. --- courtly music. --- courtly society. --- courtships. --- cultural identity. --- cultural influence. --- diplomacy. --- historical music. --- music. --- musical entertainments. --- musical image. --- musical pageantry. --- musical performances. --- musicians. --- noblemen. --- political influence. --- political roles. --- relationships. --- royal authority.