by Tim Thornton The Princes in the Tower The discovery of King Richard III’s body under a Leicester carpark in 2012 revitalised the public’s attention to one of the most controversial figures in British history, and to the mysteries surrounding…
by Walter Feldman Love is the Way and the Path of our Prophet. We are Love’s children, and Love is our Mother. Rumi These words echo down through the ages from when Mevlana (”Our Master”) Jalaluddin Rumi (d. 1273), first…
by Richard Ralph In March this year, Dance Research lost two of its core members from its editorial team – Margaret McGowan and Clement Crisp, who had each been with the journal since its inception forty years ago. I have…
Q&A with EUP author Beth Rigel Daugherty about her research project and two new books about the life and works of Viginia Woolf
by Michael Lee Tell us a bit about your book… Music in the Horror Films of Val Lewton offers interpretive analyses of Val Lewton’s horror films as seen through the lens of the music within them. Lewton, who both produced…
EUP author Katherine Voyles discusses the process around writing a double review for the Victoriographies Journal.
By Beth Cowen What brought you to EUP, and why?I am a PhD student at the University of Glasgow, as part of the Scottish Graduate School for Humanities (SGSAH), funded by the Arts and Humanities Research Council (AHRC). During the…
We were delighted to host a fascinating online conversation with Vanessa Lemm about her book, Homo Natura: Nietzsche, Philosophical Anthropology and Biopolitics. The book expertly highlights the relevance of Nietzsche’s thinking about human nature for contemporary debates in biopolitics and posthumanism.…
by John Michael Roberts It is generally agreed that the crisis surrounding the COVID-19 pandemic has significantly changed society in the present and for the foreseeable future. In particular, there is great concern among politicians, policy-makers and the general public…
What Scottish play, published in 1725, reached over 100 printings by 1800, was called ‘the noblest pastoral’ by Robert Burns, inspired more than forty paintings, more than ‘from the entire works of Chaucer, Defoe, Swift, Richardson, or Fielding’ (R. Altick, Paintings from Books), and was performed by amateur companies throughout Scotland as late as the end of the 19th century?