'Knowledge Structure' in the Work of Susan Strange Piers Revell Th
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Susan Strange and the Future of Global Political Economy
The State of Copyright Asymmetric Crisis in Europe and Susan Strange and the Future The Complex Relationships of Possible Futures Cultural Creation in a Globalized Critical Political Economy and of Global Political Economy World Post-Keynesian Perspectives Debora J Halbert Edited by Johanne5 Jfiger and Power, control and transformation Elisabeth Springier Transnational Financial Regulation after the Crisis Hybrid Rule and State Formation Edited by Tony Porter Public-Pri\ ate Power in the 21st Century Edited by Shelley L. Hurt and The Political Economy of Global Ronnie D. Lipschut::: Capitalism and Crisis Edited by Randall Germain Bill Dunn Global Economic Gowrnance and the Dewlopment Practices of the Global Capitalism l\Iultilateral Dewlopment Banks Selected Essays Edited b1· Susan Park and Jonathan R. Hugo Radice Strand Debtfare States and the Poverty Ethics and Economic Gowrnance Industry Using Adam Smith to Understand the Jvlone.y. Discipline and the Surplus Global Financial Crisis Chris Clarke Susan Strange and the Future of Currency Challenge Global Political Economy The Euro. the Dollar and the Global PO\Yer. Control and Transformation Financial Crisis Randall Germain Miguel Otero-Iglesias Culture, Political Economy and Fringe Finance Civilization in a Multipolar \Vorld Crossing and Contesting the Borders Order of Global Capital The Case of Russia Rob Aitken Rcn Sih·ius ~~ ~~o~~!:n~R~up LONDON AND NEW YORK 7 Money, power, authority Benjanzin J Cohen Introduction The financial crisis that engulfed the world economy in 2008 would not have surprised Susan Strange. Indeed, some would say that she predicted it in her last publications prior to her untimely death in 1998. -
Susan Strange—A Critical Appreciation
Review of International Studies (1999), 25, 531–535 Copyright © British International Studies Association Susan Strange—a critical appreciation CHRIS BROWN For a quarter of a century, Susan Strange—who died in October 1998—was the most influential figure in British international studies. While she held a number of key academic posts in Britain, Italy and Japan (including a ten-year stint as Montague Burton Professor of International Relations at LSE from 1978–88) and although she was a major figure in the professional associations of both Britain and the US (founder member and first Treasurer of BISA, President of ISA in 1995), it was predominantly as a creative scholar and a forceful personality that she exercised this influence. She was almost single-handedly responsible for creating ‘international political economy’ and turning it into one of the two or three central fields within international studies in Britain, and she defended her creation with such robustness, and made such strong claims on its behalf, that her influence was felt—albeit not always welcomed—in most other areas of the discipline. After taking a first in Economics at LSE in 1943, she spent most of the next twenty years raising six children and pursuing a career as a journalist, initially with the Economist and then with the Observer at first in Washington and at the UN, then in London as economics correspondent, meanwhile teaching off and on at University College London. Her years as a journalist were undoubtedly important, and the fact that she came to an academic life at a comparatively late age almost certainly contributed to her notorious unwillingness to be seduced by the joys of learning for learning’s sake and her ambivalent attitude to academic institutions, but it was during the years from 1965–76 when she was a full-time researcher at Chatham House that her project took shape. -
US and the Global Financial Crisis of 2008 Eric Helleiner University of Wate
Still an Extraordinary Power After All These Years: US and the Global Financial Crisis of 2008 Eric Helleiner University of Waterloo June 2014 Acknowledgements: I am grateful for comments from Randy Germain and Herman Schwartz. Parts of this paper are drawn from Helleiner 2014. I am grateful to the Social Sciences and Humanities Research Council of Canada for helping to fund this research. Susan Strange is well known for her interventions into discussions about the trajectory of US hegemony. At a time when scholars fiercely debated the consequences of declining US hegemony, she questioned the underlying assumption being made. Scholars across the theoretical spectrum, she argued, failed to recognize the enduring nature of the US power, particularly in its structural form. She argued that scholars of international political economy often neglected the significance of structural power which she defined as “the power to shape and determine the structures of the global political economy within which other states, their political institutions, their economic enterprises, and (not least) their scientists and other professional people have to operate.”1 Strange was particularly keen to highlight the importance of enduring US structural power in the global financial arena where she argued that outcomes continued to be influenced by the unmatched ability of the US to control and shape the environment within which others operated.2 Strange’s concept of structural power has been sometimes criticized for its lack of precision.3 How is structural power exercised and over whom? What are its sources? What can it accomplish? These kinds of analytical questions were not always addressed in great detail in Strange’s writings. -
271 Sorensen
Copyright © British International Studies Association 1998 IR theory after the Cold War GEORG SØRENSEN The end of the Cold War has prompted a good deal of soul-searching in the academic discipline of International Relations (IR).* Some results of this process are already apparent; the dominant version of realism, neorealism, is developing in new directions in an attempt to address major areas where the theory has been shown to contain weaknesses (e.g. domestic politics, international cooperation, the analysis of change).1 Liberal IR-theory is becoming less focused on international institutions and has devoted more attention to the larger issues of democracy and democratization, sovereignty, and change in the context of modernization and globalization.2 Some bodies of established theory are receiving fresh attention, including the International Society (or English) School,3 and there is a renewed interest in the field of international political economy.4 Yet all these theoretical traditions (realism, liberalism, International Society, international political economy) can be seen as enduring perspectives in IR; they build on a long intellectual tradition concerning problems of relations between * Many thanks to Kenneth Glarbo, Knud Erik Jørgensen, Michael Nicholson, Steve Smith, and Alexander Wendt for very helpful comments on earlier drafts. 1 See, for example, Joseph M. Grieco, ‘Realist International Theory and the Study of World Politics’, in M.W. Doyle and G.J. Ikenberry (eds.), New Thinking in International Relations Theory (Boulder, 1997), pp. 163–202; Michael E. Brown et al. (eds.), The Perils of Anarchy. Contemporary Realism and International Security (Cambridge, MA, 1995); John A. Vasquez, ‘The Realist Paradigm and Degenerative versus Progressive Research Programs: An Appraisal of Neotraditional Research on Waltz’s Balancing Proposition’, and the responses by Kenneth Waltz, Thomas Christensen, and Jack Snyder, Colin and Miriam Fendius Elman, Randall Schweller and Stephen Walt, American Political Science Review, 4 (1997), pp. -
A Critical Study of the Novels of John Fowles
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 1986 A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES KATHERINE M. TARBOX University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation TARBOX, KATHERINE M., "A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES" (1986). Doctoral Dissertations. 1486. https://scholars.unh.edu/dissertation/1486 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. A CRITICAL STUDY OF THE NOVELS OF JOHN FOWLES BY KATHERINE M. TARBOX B.A., Bloomfield College, 1972 M.A., State University of New York at Binghamton, 1976 DISSERTATION Submitted to the University of New Hampshire in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English May, 1986 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This dissertation has been examined and approved. .a JL. Dissertation director, Carl Dawson Professor of English Michael DePorte, Professor of English Patroclnio Schwelckart, Professor of English Paul Brockelman, Professor of Philosophy Mara Wltzllng, of Art History Dd Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I ALL RIGHTS RESERVED c. 1986 Katherine M. Tarbox Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. to the memory of my brother, Byron Milliken and to JT, my magus IV Reproduced with permission of the copyright owner. -
Open Skoutelas Thesis.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF CLASSICS & ANCIENT MEDITERRANEAN STUDIES THE CARTOGRAPHY OF POWER IN GREEK EPIC: HOMER’S ODYSSEY & THE RECEPTION OF HOMERIC GEOGRAPHIES IN THE HELLENISTIC AND IMPERIAL PERIODS CHARISSA SKOUTELAS SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Classics & Ancient Mediterranean Studies and Global & International Studies with honors in Classics & Ancient Mediterranean Studies Reviewed and approved* by the following: Anna Peterson Tombros Early Career Professor of Classical Studies and Assistant Professor of Classics and Ancient Mediterranean Studies Thesis Supervisor Erin Hanses Lecturer in Classics and Ancient Mediterranean Studies Honors Adviser * Electronic approvals are on file. i ABSTRACT As modern scholarship has transitioned from analyzing literature in terms of its temporal components towards a focus on narrative spaces, scholars like Alex Purves and Donald Lateiner have applied this framework also to ancient Greek literature. Homer’s Odyssey provides a critical recipient for such inquiry, and Purves has explored the construction of space in the poem with relation to its implications on Greek epic as a genre. This paper seeks to expand upon the spatial discourse on Homer’s Odyssey by pinpointing the modern geographic concept of power, tracing a term inspired by Michael Foucault, or a “cartography of power,” in the poem. In Chapter 2 I employ a narratological approach to examine power dynamics played out over specific spaces of Odysseus’ wanderings, and then on Ithaca, analyzing the intersection of space, power, knowledge, and deception. The second half of this chapter discusses the threshold of Odysseus’ palace and flows of power across spheres of gender and class. -
Furious: Myth, Gender, and the Origins of Lady Macbeth
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Furious: Myth, Gender, and the Origins of Lady Macbeth Emma King The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3431 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FURIOUS: MYTH, GENDER, AND THE ORIGINS OF LADY MACBETH by EMMA KING A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 ii © 2019 EMMA KING All Rights Reserved iii Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Tanya Pollard Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This thesis attempts to understand the fabulously complex and poisonously unsettling Lady Macbeth as a product of classical reception and intertextuality in early modern England. Whence comes her “undaunted mettle” (1.7.73)? Why is she, like the regicide she helps commit, such a “bloody piece of work” (2.3.108)? How does her ability to be “bloody, bold, and resolute” (4.1.81), as Macbeth is commanded to be, reflect canonical literary ideas, early modern or otherwise, regarding women, gender, and violence? Approaching texts in the literary canon as the result of transformation and reception, this research analyzes the ways in which Lady Macbeth’s gender, motivations, and words can be understood as inherently intertextual. -
The Role of Emotions in Modern Receptions of Homeric Epic
Tales for All Time: The Role of Emotions in Modern Receptions of Homeric Epic Karen Anne Possingham January 2021 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University © Copyright by Karen Anne Possingham 2021 All Rights Reserved 1 This thesis is the original work of the author. Word count: 98,683. 2 Acknowledgements First of all, I would like to acknowledge that this research was supported by an Australian Government Research Training Program Scholarship. My primary supervisor, Elizabeth Minchin, the Best of the Homerists, whose inspiration, support, and dedication helped bring out the best in my work. My secondary supervisors Greta Hawes and Lucy Neave for their sound advice, scholarship and kind encouragement. To my children Nick and Alex, their partners Steph and Tiah, colleagues at ANU and friends for seeing the world through Homer with me for the last four and a half years. Finally, my husband Hugh for his continued patronage of the Arts and for his pithy and witty remarks on the content and progress of this thesis. 3 Abstract The poet we call Homer stands at the intersection of a long oral tradition and the emergence of literacy. The poems associated with his name have exercised a continuing appeal, across time; and yet they can also be unsettling, challenging our ideas of Ancient Greek values and expectations. This has had an impact on the reception of the poems from antiquity to the present day. I have argued in this thesis that, in the cases I have studied, Lorna Hardwick’s idea of ‘faultlines’ in Homeric epic can be adapted to examine the powerful, often contradictory, emotions portrayed in the Iliad and the Odyssey: namely personal and place attachment, grief, and the anger that can lead to acts of retribution or to acts of mercy that rely on the emotion of pity. -
A Musicological and Theological Analysis of Sufjan Stevens's Song, "Christmas Unicorn"
ABSTRACT I'm a Christmas Unicorn: A musicological and theological analysis of Sufjan Stevens's song, "Christmas Unicorn" Janna Martindale Director: Jean Boyd, Ph.D. The purpose of this thesis is to introduce the reader to Sufjan Stevens’s 2012 fifty- eight track album Silver & Gold, and specifically the final song, “Christmas Unicorn,” a twelve and half minute anti-epic pop song that starts off in a folk style and builds to an electronic, symphonic climax. The album presents many styles of Christmas songs, including Bach chorales, hymns, original songs, “Jingle Bells,” and a Prince cover. I argue that this album is a post-modern presentation demonstrating all the different expressions of Christmas are valid, no matter how commercial or humble. “Christmas Unicorn” synthesizes all these styles through the metaphor of the unicorn, which is a medieval symbol of Christ in the Nativity and the Crucifixion. Stevens uses the symbol of the unicorn to represent Christ as well as all humans and all the different attributes of Christmas. APPROVED BY DIRECTOR OF HONORS THESIS: __________________________________________ Dr. Jean Boyd, Department of School of Music APPROVED BY THE HONORS PROGRAM: ___________________________________________ Dr. Andrew Wisely, Director DATE: __________________________________ I’M A CHRISTMAS UNICORN: A MUSICOLOGICAL AND THEOLOGICAL ANALYSIS OF SUFJAN STEVEN’S SONG, “CHRISTMAS UNICORN” A Thesis Submitted to the Faculty of Baylor University In Partial Fulfillment of the Requirements for the Honors Program By Janna Martindale Waco, Texas ! TABLE OF CONTENTS Chapter One: Introduction . 1 Chapter Two: Biography of Sufjan Stevens . 7 Chapter Three: Silver and Gold . 19 Chapter Four: Symbolism of the Unicorn . -
Durham E-Theses
Durham E-Theses `Dangerous Creatures': Selected children's versions of Homer's Odyssey in English 16992014 RICHARDS, FRANCESCA,MARIA How to cite: RICHARDS, FRANCESCA,MARIA (2016) `Dangerous Creatures': Selected children's versions of Homer's Odyssey in English 16992014 , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11522/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘Dangerous Creatures’: Selected children’s versions of Homer’s Odyssey in English 1699–2014 Abstract This thesis considers how the Odyssey was adapted for children, as a specific readership, in English literature 1699-2014. It thus traces both the emergence of children’s literature as a publishing category and the transformation of the Odyssey into a tale of adventure – a perception of the Odyssey which is still widely accepted today (and not only among children) but which is not, for example, how Aristotle understood the poem. -
Tying up Loose Ends: the Metapoetics of Closure in Odyssey 22’
Beck, B. (2013) ‘Tying Up Loose Ends: The Metapoetics of Closure in Odyssey 22’ Rosetta 13: 1-15. http://www.rosetta.bham.ac.uk/issue_13/beck_metapoetics.pdf Rosetta 13. http://www.rosetta.bham.ac.uk/issue_13/beck_metapoetics.pdf Tying Up Loose Ends: The Metapoetics of Closure in Odyssey 22 Bill Beck University of Pennsylvania When we read Book 22 of the Odyssey we feel that we have reached an end-point.1 Just as the narrative of the Iliad seems to move inexorably toward the highly-anticipated meeting between Hector and Achilles in Iliad 22, so too our anticipation of Odysseus’ triumph over the suitors – the moment he reclaims his oikos – provides the momentum that propels the first twenty-two books. But insofar as it is a climax it is also a deflation. As W.B. Stanford notes, in Books 23 and 24 ‘we are made to feel that the supreme crisis is past: the turbulence is only such as follows a storm.’2 Book 22 (the Mnesterophonia) occupies an awkward place in the narrative; it is an end-point but it is not the end of the poem. I argue that the poet, mindful of Book 22’s narrative weight, calls attention to an end that is not The End and in so doing calls attention to the poem’s persistent resistance to closure, even in a book that is preoccupied with the very idea of closure. In this paper I demonstrate how, in anticipating the end of the Odyssey, the poet (1) represents binding and other acts of tying, closing, and delimiting as parallel with the process of concluding a poem; (2) connects narrative space with physical space; and (3) poses epic poetry as an art without end. -
Making Music Radio
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Stirling Online Research Repository MAKING MUSIC RADIO THE RECORD INDUSTRY AND POPULAR MUSIC PRODUCTION IN THE UK James Mark Percival A thesis submitted for the degree of Doctor of Philosophy Department of Film and Media Studies University of Stirling July 2007 J Mark Percival - Making music radio: the record industry and popular music production in the UK For my mother, Elizabeth Ann Percival (née Murphy) (1937-2004) and my father, Stanley Thomas Percival. J Mark Percival - Making music radio: the record industry and popular music production in the UK i ABSTRACT Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio programmers and record industry pluggers, and an ethnographic investigation into the use of specialist music radio programming by alternative pop and rock artists in Glasgow, Scotland. The research has four main conclusions: music radio continues to be central to the record industry's promotional strategy for new commercial recordings; music radio is increasing able to mediate the production practices of the popular music industry; that mediation is focused through the social relationship between music radio programmers and record industry pluggers; cultural practices of musicians are developed and mediated by consumption of specialist music radio, as they become part of specialist music radio.