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This volume maps the phenomenon of medievalism in Aotearoa, initially as an import by the early white settler society, and as a form of nation building that would reinforce Britishness and ancestral belonging. This colonial narrative underpins the volume's focus on the imperial relationship in chapters on the academic study of the Middle Ages, on medievalism in film and music, in manuscript and book collections, and colonial stained glass and architecture. Through the alternative 21st-century frameworks of a global Middle Ages and Aotearoa's bicultural nationalism, the volume also introduces Maori understandings of the ancestral past that parallel the European epoch and, at the opposite end of the spectrum, the phenomenon of global right-wing medievalism, as evidenced in the Alt-right extremism underpinning the Christchurch mosque attack of 2019.The 11 chapters trace the transcultural moves and networks that comprise the shift from the 20th-century study of the Middle Ages as an historical period to manifestations of medievalism as the reception and interpretation of the medieval past in postmedieval times. Collectively these are viewed as indications of the changing public perception about the meaning and practice of the European heritage from the colonial to contemporary era.The volume will appeal to educationists, scholars, and students interested in the academic history of the Middle Ages in New Zealand; enthusiasts of film, music, and performance of the medieval; members of the public interested in Aotearoa's history and popular culture; and all who enjoy the colourful reinventions of medievalism.

Erotic Medievalisms is about the liberatory potential of sexualities, particularly as they relate to medieval histories and modern pleasures. Each of the texts analyzed within subvert norms rooted in medieval cultures or assumptions about the'real'Middle Ages, constructing queer histories that blur the lines between fantasy and authenticity. These medievalisms extend eroticisms and erogenous zones beyond normative limits of pleasure. Moreover, situating these diverse iterations of desire within the medieval past emends narrowly-constructed histories that limit the erotic fantasies and experiences of marginalized people. Chapter 3 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Psychopathy: The Basics is an accessible text that provides a compact introduction to the major findings and debates concerning this complex personality disorder. This book provides an overview of the field and covers a wide range of research findings from genetics to psychosocial developmental explanations. It begins with an exploration of the historical conception of the phenomenon of psychopathy and goes on to discuss its social and cultural accounts. It also delves into biologically based explanations including genetic and evolutionary approaches, along with criminological and entrepreneurial types of psychopathy. Offering a balanced perspective, thisbook addresses the nature-nurture debate in the field and also discusses widely accepted personality traits of psychopaths. Lastly, it also provides a glossary of key terms and suggestions for further reading This book will be an essential read for students of forensic psychology, or criminology. It is also an ideal starting point for those interested in the science of psychopathy and personality disorders.

Marketing Strategy for Museums is a practical guide to developing and delivering marketing that supports museums'missions and goals. Explaining how museums can be strategic and proactive in their approach, it also shows how to make effective decisions with limited resources.Presenting examples from a range of museums around the world, the author positions marketing as a vital function that aims to build mutually beneficial relationships between museums and their audiences – both existing and new – and ensure museums are relevant and viable. Breaking down key marketing models, Lister shows how they can be applied to museums in a meaningful way. Setting out a step-by-step framework for developing a museum's marketing strategy and for creating marketing campaigns, which can be scaled up or down. Readers will also be encouraged to reflect on topics such as sustainable marketing; ethical marketing; and accessible and inclusive marketing.Marketing Strategy for Museums provides an accessible guide that seeks to demystify marketing and boost the confidence of those responsible for planning and delivering marketing in museums. It is aimed at people working in museums of all types and sizes and will also be relevant to students of museum and heritage studies.

Although historical research undertaken in different disciplines often requires speculation and imagination, it remains relatively rare for scholars to foreground these processes explicitly as a knowing method. Historical Research, Creative Writing, and the Past brings together researchers in a wide array of disciplines, including literary studies and history, ethnography, design, film, and sound studies, who employ imagination, creativity, or fiction in their own historical scholarship or who analyze the use of imagination, creativity, or fiction to make historical claims by others. This volume is organized into four topical sections related to representations of the past—textual and conceptual approaches; material and emotional approaches; speculative and experiential approaches; and embodied methodologies—and covers a variety of temporal periods and geographical contexts. Reflecting on the methodological, theoretical, and ethical underpinnings of writing history creatively or speculatively, the essays situate themselves within current debates over epistemology and interdisciplinarity. They yield new insights into historical research methods, including archival investigations and source criticisms, while offering readers tangible examples of how to do history differently.

Iconoclasm and the Museum addresses the museum's historic tendency to be silent about destruction through an exploration of institutional attitudes to iconoclasm, or image breaking, and the concept's place in public display.Presenting a selection of focused case studies, Boldrick examines long-standing desires to deface, dismantle, obscure or destroy works of art and historic artefacts, as well as motivations to protect and display broken objects. Considering the effects of iconoclastic practices on artworks and cultural artefacts and how those practices are addressed in institutions, the book examines changing attitudes to the intentional destruction of powerful artworks in the past and present. It ends with an analysis of creative destruction in contemporary art making and proposes that we are entering a new phase for museums, in which they acknowledge the critical roles destruction and loss play in the lives of objects and in contemporary political life. Iconoclasm and the Museum will be important reading for academics and students in fields such as museum and gallery studies, archaeology, art history, arts management, curatorial studies, cultural studies, history, heritage and religious studies. The book should also be of great interest to museum professionals, curators and collections management specialists, and artists.

The question of ‘why'and ‘how'certain individuals are drawn towards behaving in a way that contravenes the ‘Law of the Land'is not an easy one to address. Researchers from various different fields have nevertheless attempted to develop theoretical explanations for the existence of different types of crime and why some individuals commit such acts. Crime and Criminality draws on criminology, sociology, psychology and neuroscience to offer a balanced perspective of crime, the criminal and criminality. Coverage includes: a comprehensive discussion of theoretical approaches to criminal behaviour, including biological, social and ‘rational choice'approaches; an analysis of legal and social definitions of crime and how these definitions influence the way specific behaviours are labelled as criminal; an examination of different types of crime and criminals, from delinquents to ‘psychopaths'and sex offenders; an exploration of different ways in which crime is predicted, including risk assessment and offender profiling and an overview of investigative techniques. Addressing a broad range of topics and offering a synthesis of competing theoretical explanations of criminality, this book is essential reading for students taking courses in criminology, criminal psychology, criminal behaviour, forensic psychology and psychological criminology.

Media and Entertainment Law presents a contemporary analysis of the law relating to the media and entertainment industry both in terms of its practical application and its theoretical framework. It provides a clear, current and comprehensive account of this exciting subject. Fully updated and revised, this second edition is one of the first texts to contain a full analysis of the Leveson Inquiry and the implications for our press and media that are arising from it. The new edition contains; a new chapter analysing the Defamation Act 2013; the Digital Economy Act 2010 which aimed to toughen up against copyright infringement online and has been subject to parliamentary review since coming into power; and the liability of internet service providers, including recent cases such as Tamiz vs Google 2012, which goes some way to define the extent to which an ISP may or may not be found liable for their bloggers content. With integrated coverage of Scots and Northern Irish law, Media and Entertainment Law also highlights comparisons with similar overseas jurisdictions, such as with the liability of ISPs where there are differences in both US and European law, in order to help students demonstrate an awareness of media laws, which may then influence UK legislation. Looking at key aspects such as TV and radio broadcasting, the print press, the music industry, online news and entertainment and social networking sites, this text provides detailed coverage of the key principles, cases and legislation as well as a critical analysis of regulatory bodies such as OFCOM and the new regulator for the UK's newspapers and magazines (and online editions), the Independent Press Standards Organisation (Ipso). The text also provides the most comprehensive and up to date coverage of the law relating to Intellectual Property law for the entertainment industry with recent changes in EU law relating to performers'rights. See what goes behind the writing of Media & Entertainment Law: http://youtu.be/XiCGmnRDvb0