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View Rights PortalThe Endocrine Society is a global organization of 18,000 researchers, educators, and clinicians advancing breakthroughs in hormone science and improving public health.
View Rights PortalWe all die at the end offers a survey of contemporary end-of-the-world fiction, spanning literature, children's fiction, video games, theatre and film. It draws on eco-critical philosophy and narrative theory to show ways in which the climate crisis is reorienting storytelling in the face of foreseeable human extinction. In the process, it argues that such stories have a role to play in helping us come to terms with the severity and scale of the crisis that we face.
This novel by Can Xue presents a whole range of characters with strong personality, such as Joe, Maria, Vincent, Lisa, Reagan and Ida. They are full of vitality and are accordingly unsatisfied with their present status. They actively explore unknown field of life and firmly embark on the journey of spiritual exploration. The novel focuses the complicated and intertwining relationship between husbands, wives and lovers to uncover the hidden inner desire of each character. Boiling wild nature and advanced civilization collide with each other before they finally become one unity. For the readers, entering the world of these characters is like entering their own inner world.
Death in modern theatre offers a unique account of modern Western theatre, focusing on the ways in which dramatists and theatre-makers have explored historically informed ideas about death and dying in their work. It investigates the opportunities theatre affords to reflect on the end of life in a compelling and socially meaningful fashion. In a series of interrelated, mostly chronological, micronarratives beginning in the late nineteenth century and ending in the early twenty-first century, this book considers how and why death and dying are represented at certain historical moments using dramaturgy and aesthetics that challenge audiences' conceptions, sensibilities, and sense-making faculties. It includes a mix of well-known and lesser-known plays from an international range of dramatists and theatre-makers, and offers original interpretations through close reading and performance analysis.
Settlers at the end of empire traces the development of racialised migration regimes in South Africa, Rhodesia (present-day Zimbabwe) and the United Kingdom from the Second World War to the end of apartheid in 1994. While South Africa and Rhodesia, like other settler colonies, had a long history of restricting the entry of migrants of colour, in the 1960s under existential threat and after abandoning formal ties with the Commonwealth they began to actively recruit white migrants, the majority of whom were British. At the same time, with the 1962 Commonwealth Immigrants Act, the British government began to implement restrictions aimed at slowing the migration of British subjects of colour. In all three nations, these policies were aimed at the preservation of nations imagined as white, revealing the persistence of the racial ideologies of empire across the era of decolonisation.
The end of Ulster loyalism? explores the dynamics and divisions within paramilitary groups since the mid-1970s. It, despite contrary public opinion, details and explains the nature of Loyalist conflict transformation. A key model of transition that is relevant to arenas beyond Northern Ireland. The book also discusses the nature and extent of loyalist violence and provides a rarely heard voice regarding State-led collusion. It locates Loyalist ideas and opinions that have been largely invisible and highlights how an extensive element of positive Loyalist renewal has been purposefully suppressed and unmentioned. It is a key text for any student of politics, criminology, human geography and conflict and conflict transformation and is particularly relevant to the scholarship of pro-State groups who are infrequently considered in academic deliberations. A book of both hope and despair that emerges from a destabilising past and a yet-to-be-decided future. ;
After the End argues that the cultural imaginaries and practices of the Cold War continue to deeply shape the present in profound but largely unnoticed ways across the global North and in the global South. The argument draws examples from literature and literary criticism, film, music, the historical and social scientific record and past and present physical sites to consider the bunker as a material form, an image and as a fantasy that took shape in the global North in the 1960s and that spread globally into the twenty-first century. After the End reminds us not only that most of the world's peoples have lived with or died from apocalyptic conditions for centuries, but that the Cold War imaginaries that grew from and fed those conditions, continue to survive as well.
Drawing on the everyday experiences of 43 British-Bangladeshi Muslims living in East London, this book explores stories of migration and belonging vis-à-vis dress and language. In narrating those stories, the book is framed within the broader socio-political conversations happening regarding Muslims in Britain and their 'place' in this society. Recent work on Muslims focuses on their religious identity and its formation, not paying attention to the role of dress and language. With the former, much of it tends to, obsessively, focus on Muslim women only. This book, alternatively, explores religious identity formation in addition to examining the British-Bangladeshi Muslim community's relationship with their ethnic identity vis-à-vis dress and language. As such, the analysis provides a rich, bottom-up analysis of the community, and readers will be able to understand a community holistically, away from the over-sensationalised community within broader socio-political context.
A sweeping historical saga about a city that defies the eroding power of time In one of the first Arabic novels about the COVID-19 pandemic, relationships begin and end much like the pandemic itself. From his balcony in Beirut, Ezzat notices a solitary light on a lone balcony in the building opposite. From that moment, a connection begins to form across the empty space between the buildings, communicated through the air and signals. The events unfold after the owner of the shadow steps out onto her balcony, confronting the voyeur. They share time, confusion... and desire. Ezzat and Tamer successively both fall in love with the same woman, and a cautious friendship develops between the two men. It soon evolves into more dangerous forms. The story also portrays the experiences of other building residents during the pandemic, who imposed strict isolation on themselves. The protagonists, particularly the two elderly lovers, live on the edge of catastrophic expectations, as when they imagine that a woman pressing the intercom downstairs to ask for food could be a sign of an impending widespread famine. The story does not conclude in a stalemate but rather with losers.
When a malevolent multinational arrives on our shores, familiar creatures like pontianaks, manananggals, rākṣasīs and ba jiao guis are forced out of their jobs. Some give in and sign up for mundane corporate life – but others would rather fight than join the broken-spirited hordes of the (desk)bound. Benjamin Chee’s comics and Wayne Rée’s prose intertwine in this collection to bring you familiar Asian mythology in an even more familiar setting: the realm of dead-end work, glass ceilings and truly hellish bosses.
For a brief moment in 2019 Britain's politics looked like it might be transformed. Just when it seemed that the divisions within and across British political parties over Brexit could not get any more intense, 7 Labour and 3 Conservative MPs broke away to form The Independent Group (TIG) - later Change UK. This is the first book to explore the meteoric lifespan of that party, within the wider context of the experiences of other small political groupings in the House of Commons. Ultimately, it shows why the party failed and disbanded after just a few months. Timely and thoroughly researched, Louise Thompson's book takes us deep inside the struggles facing MPs who leave behind the comforts of the large political parties. Drawing on interviews with current and former politicians, it explores the practicalities of being a small party MP in the Commons. What challenges face you? Who can you turn to? And just how can you make an impact? Crisply written for the non-specialist reader, this fascinating book opens a window onto the perilous world of parliamentary politics.
The idea of the end is an essential motivic force in the poetry of Geoffrey Hill (1932-2016). This book shows that Hill's poems are characteristically 'end-directed'. They tend towards consummations of all kinds: from the marriages of meanings in puns, or of words in repeating figures and rhymes, to syntactical and formal finalities. The recognition of failure to reach such ends provides its own impetus to Hill's poetry. This is the first book on Hill to take account of his last works. It is a significant contribution to the study of Hill's poems, offering a new thematic reading of his entire body of work. By using Hill's work as an example, the book also touches on questions of poetry's ultimate value: what are its ends and where does it wish to end up?
"Huang Ni Street" is Can Xue's debut novel. The work describes people on a street and many things on Huangni Street. Huangni Street is always dirty, even the rain is gray. Can Xue made a detailed description of this street, but this description is different from the description of ordinary writers, with a big jump in thinking and no consistent storyline. There are simple characters and simple stories. Can Xue's first novel constructed Can Xue's very significant writing characteristics later, and these rich images give readers a very special reading experience. Can Xue breaks the usual thinking and framework of traditional novels, and has the typical characteristics of Can Xue from the beginning.
This book is the first major attempt to examine the cultural manifestations of the demise of imperialism as a social and political ideology in post-war Britain. Far from being a matter of indifference or resigned acceptance as is often suggested, the fall of the British Empire came as a profound shock to the British national imagination, and resonated widely in British popular culture. The sheer range of subjects discussed, from the satire boom of the 1960s to the worlds of sport and the arts, demonstrates how profoundly decolonisation was absorbed into the popular consciousness. Offers an extremely novel and provocative interpretation of post-war British cultural history, and opens up a whole new field of enquiry in the history of decolonisation. ;
This book is the first major attempt to examine the cultural manifestations of the demise of imperialism as a social and political ideology in post-war Britain. Far from being a matter of indifference or resigned acceptance as is often suggested, the fall of the British Empire came as a profound shock to the British national imagination, and resonated widely in British popular culture. The sheer range of subjects discussed, from the satire boom of the 1960s to the worlds of sport and the arts, demonstrates how profoundly decolonisation was absorbed into the popular consciousness. Offers an extremely novel and provocative interpretation of post-war British cultural history, and opens up a whole new field of enquiry in the history of decolonisation.