Death of the Hired Man

Fiction by Rosalind Intrater

Not all creatives are created equal

Revelations of sexual harassment, sexism and unequal pay in film and broadcasting have called ‘time’s up’ on the myths of egalitarianism that circulate about the creative sector, argues Rosalind Gill

Masking Femininity: Women and Power in Shakespeare\u27s Macbeth, As You Like It, and Titus Andronicus

This paper analyzes the power that Lady Macbeth from Macbeth, Rosalind from As You Like It, and Tamora from Titus Andronicus assert and answers the questions of how women assert power in Shakespeare and the role gender plays in power

Rosalind Gill: “We don’t just want more cake, we want the whole bakery!”

Entrevista com a pesquisadora britânica Rosalind Gill.Interview with Rosalind Gill

Who gives a tweet? After 24 hours and 860 downloads, we think quite a few actually do

Earlier this year, the National Centre for Research Methods released a research paper to waves of interest from academics and researchers alike on Twitter. Kaisa Puustinen and Rosalind Edwards watched the number of downloads rise rapidly as the paper was passed around through the social media channel

Sutkutik batel [Retorno] and Yi’bel Kuxlejal [Raíces]

Two poems by Enriqueta Lunez in the Tzotzil language, translated into Spanish by the author, into English by Rosalind Gill, into Portuguese by Lillian DePaula, and into French by Christine Klein-Lataud.Dos poemas de Enriqueta Lunez en lengua tsotsil, traducidos al español por la autora, al inglés por Rosalind Gill, al portugués por Lillian dePaula y al francés por Christine Klein-Lataud.Deux poèmes d'Enriqueta Lunez en tzotzil, traduits en espagnol par l'auteure, en anglais par Rosalind Gill, en portugais par Lillian DePaula et en français par Christine Klein-Lataud.Dois poemas de Enriqueta Lunez na língua tsotsil, traduzidos pela autora para o espanhol, por Rosalind Gill para o inglês, por Lillian DePaula para o português e por Christine Klein-Lataud para o francês

Issues in Review: New Developments in Commedia Research: The Commedia dell'Arte: New Perspectives and New Documents

Introduction to "Issues in Review: New developments in commedia research", 141-240, guest editor M A Katritzky. The first of six articles in this section, it introduces the five further articles, by Maria Ines Aliverti (158-180), Rosalind Kerr (181-197), Erith Jaffe-Berg (198-211), Stefano Mengarelli (156-7 & 212-226) and Robert Henke (227-240) and reviews recent significant developments and publications in the field of commedia dell'arte studies

Taking it Personally: Third-Party Forgiveness, Close Relationships, and the Standing to Forgive

This paper challenges a common dogma of the literature on forgiveness: that only victims have the standing to forgive. Attacks on third-party forgiveness generally come in two forms. One form of attack suggests that it follows from the nature of forgiveness that third-party forgiveness is impossible. Another form of attack suggests that although third-party forgiveness is possible, it is always improper or morally inappropriate for third parties to forgive. I argue against both of these claims; third-party forgiveness is possible, and in some cases it is morally appropriate for third parties to forgive (or refuse to forgive) wrongdoers for wrongs done to victims. I also propose an explanation of third parties’ standing to forgive: third parties have the standing to forgive when it is appropriate for them to take wrongs done to victims ‘personally’. While appropriately ‘taking a wrong personally’ does not require seeing oneself as a victim, it typically does require being in some form of personal relationship with victims. Thus, while the standing to forgive is not grounded exclusively in having been wronged, the prerogative to forgive is normally limited to victims and their loved ones. And once we recognize the importance of third-party forgiveness in our moral lives and the norms that govern it, we can more easily adjudicate between competing accounts of the nature of forgiveness.

From Sawney Beane to Sweeney Todd: Murder machines in the mid-nineteenth century metropolis

This article traces the changes and continuities in fictional stories of serial murder in London from the late-seventeenth century to the mid-nineteenth century. In particular, it shows how changes in the primary audience for metropolitan popular culture necessitated dramatic shifts in the tale of serial killing and narratives of violence. Thus, by the nineteenth century, as the lower classes had become the main supporters of both traditional and new genres of entertainment in popular culture, their experience of and fears and anxieties about urban change became intertwined with myths about serial killing and reflected in a new character of the public nightmare, Sweeney Todd, the barber of Fleet Street, who set out to effectively depopulate the capital with his ghastly murder machine