If the Punisher became a valuable piece of intellectual property during the closing decades of the twentieth century he has become a global icon in the twenty-first. In this pathbreaking study Kent Worcester explores the sometimes ridiculous and often socially resonate storyverse of the most famous rageaholic in popular culture: Frank Castle aka the Punisher.



Worcester pays particular attention to nearly five decades' worth of punishment-themed comics and graphic novels published between the 1970s and the present day. These texts provide the material resources for a close reading of the Punisher's distinctive and extreme form of justice discourse. Punishment after all is a political and social construct. Violence does not imply or claim legitimacy. Punishment does. To talk about punishment is to ask who deserves to be punished who decides who deserves to be punished and what form the punishment should take. All costumed heroes have their political moments; the Punisher is political.



Frank Castle inhabits the most politically engaged corner of the entire Marvel Universe. His adventures should attract our interest for precisely this reason.

This book offers a range of approaches to teaching higher education design students to learn to design collaboratively and creatively through transdisciplinary multidisciplinary cross-disciplinary and interdisciplinary learning experiences.



It highlights that the premise of traditional disciplinary silos does little to advance the competencies needed for contemporary design and non-linear career paths. It makes the point that higher education should respond to the impacts of a changing society including fluctuating market demands economic variations uncertainties and globalization.



Chapters highlight approaches that address this changing landscape to meet student industry and societal needs and reflect a range of design education contexts in which the authors have taught with a focus on experiences at the Queensland University of Technology Australia but also including collaborations and comparative discussions elsewhere in Australia and globally spanning Europe Asia the Middle East and the United States.



The book is positioned not as a definitive theoretical model for transdisciplinary design education but instead as a collective of chapters in which many forms of learning are explored through overarching themes of curriculum design and experiential and authentic learning and collaboration transforming professional identities and design cultures.

This book focuses on the culture and politics involved in building hip-hop archives. It addresses practical aspects including methods of accumulation curation preservation and digitization and critically analyzes institutional power community engagement urban economics public access and the ideological implications associated with hip-hop culture’s enduring tensions with dominant social values.

The collection of essays are divided into four sections; Doing the Knowledge Challenging Archival Forms Beyond the Nation and Institutional Alignments: Interviews and Reflections. The book covers a range of official unofficial DIY and community archives and collections and features chapters by scholar practitioners educators and curators.



A wide swath of hip-hop culture is featured in the book including a focus on dance graffiti clothing and battle rap. The range of authors and their topics span countries in Asia Europe the Caribbean and North America.

Two scripts were created in 2017 from the same source materials: preserved song lyrics from a performance created in 1943 in the Terezin Ghetto called Prince Bettliegend (the Bedridden Prince) the popular 1930s jazz melodies to which those lyrics were set and fragments of testimony by survivors who performed in or witnessed that production.



The development processes took place under the auspices of the £1.8 million AHRC-funded project Performing the Jewish Archive. PtJA co-investigator Lisa Peschel has spent the past two decades researching theatrical performance in Terezin and the project’s planned performance festivals in Australia and South African in the summer of 2017 afforded a unique opportunity to allow Prince Bettliegend to speak to our present. Peschel synthesized the existing materials into a rough plot outline then collaborated with local production teams at the University of Sydney (produced by Joseph Toltz directed by Ian Maxwell) and Stellenbosch University (directed by Amelda Brand) to reconstruct/recreate/re-imagine the play.

Both teams were extraordinarily sensitive to questions of trauma and pleasure in the original performance and those questions manifested themselves in different underlying themes that emerged with each production. During the first month-long development process at the University of Sydney (July 2017) Peschel Maxwell and Toltz worked together to refine the plot outline Toltz and musical director Kevin Hunt explored the 1930s music with the entire production team then the actors recruited from Sydney’s alternative theatre scene developed the performance through improvisation. Due to fortuitous accidents of casting a theme soon emerged that dovetailed with the historical reality of the ghetto: the desire of the older prisoners to protect the youth.

While the Australian production was still in development the South African team at Stellenbosch University led by Amelda Brand began creating their own version. Their performance was based on the same plot outline and to some extent the same text developed by the Sydney performers but their production diverged radically due to their interest in addressing issues of more immediate interest to the multi-racial student case: race and power. Their musical approach also diverged: music director Leonore Bredekamp created a hybrid of 1930s jazz and klezmer music.

Part I of the book is composed of a series of essays about the original material and about each production. The essays written by Peschel and key collaborators on each development team explore the Terezin production and both reconstructions. Part II comprises the scripts. Although the texts themselves are similar detailed stage directions and illustrations make clear how each manifested its own themes.

Part of Intellect's Playtext series.

This edited collection offers global perspectives on the transverse boundary-blurring possibilities of community arts education.

Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure 55 contributors – community professionals scholars artists educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels.

Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations.

Chapters are grouped into four thematic clusters – Connections Practices Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.

Drawing Processes of Life is the product of biologists philosophers and artists working together to formulate new ways of representing our new approach to life. It is a mutualistic symbiosis where identities are transformed information and nutritive substances shared and where new organisms emerge. 

Originating from an AHRC-funded interdisciplinary project it derives from Gemma Andersons’ work on the methodological and epistemological value of drawing as a technique in biological research and from her collaborative work on visualising living – biological – processes through artistic processes. It also draws on John Dupré’s recent work on biology as process and the need to develop representations of biological systems that more adequately capture their processual nature. Hence the book has intertwined aims: to show how better to represent biological process through drawing and to demonstrate the scientific value of drawing as a method.

The book presents this work and locates it in a broader historical and contemporary perspective on the relations between art and science. The project outcomes are interwoven with the work of leading scholars in the field. Many of these contributions also stress the problems presented by the processual nature of biological phenomena a central focus of Anderson and Dupré’s own work.

Contributors include Chiara Ambrosio Heather Barnett Alessio Corti Katharina Lee Chichester Johannes Jaeger Wahida Khandker Jonathan Phillips Berta Verd James Wakefield and Janina Wellmann. Foreword from Scott F. Gilbert and Afterword from Sarah Gilbert and Scott F. Gilbert.

The perspectives presented here constitute a powerfully integrated and vital set of themes of interest to artists scientists philosophers students and post-doctoral researchers.

The book arises from an international research project that explores the future of media pluralism policies for online news. It investigates the latest European policies and techniques for regulatory intervention and examines the consequences of innovative news practices asking ‘How will automation of news affect public opinion in the age of social media platforms and what are the consequences?’

In Media Pluralism and Online News the authors make the argument that there is an urgent need for revitalised thinking for a media policy agenda to deal with the trends to platform power and concentrated media power which is an ongoing global risk to public interest journalism.

In the transition to a media landscape increasingly dominated by broadband internet distribution and the dominance of US-centric new media behemoths Google Facebook Apple Amazon and Netflix the book investigates measures that can be taken to reduce this ongoing march of concentration and the attenuation of media voices.

Securing the public interest in a vibrant and sustainable news media sector will require that merger decisions assess whether there is a ‘reduction in diversity’ -- calling for a new public interest test and a more expansive policy focus than in the past. This would include consideration of the sustainability of local businesses; the encouragement of original and local news content; quality of content in terms of the promotion of news standards; and new modes of delivery and consumption including the ‘automated curation’ of news content by digital platforms. 

James Meese argues that there is a growing risk of a platform-dependent press a development that threatens liberal democracies across the world. The book provides the first comprehensive account of how platform dependence manifests in the news media sector.



Platform dependence is a concept used to describe what happens when businesses or an entire sector become reliant on one or more digital platforms for its survival. The situation is occurring across the news industry to the extent that it is difficult to imagine the production distribution and long-term survival of news in liberal democracies without the involvement of platforms.



With governments regulators and citizens increasingly concerned about platform power Digital Platforms and the Press is the first book to highlight the long-term economic and social consequences of platform dependence for the news sector. 



Featuring a rich selection of case-studies and written in an accessible style Digital Platforms and the Press provides a strong grounding in relevant debates for the interested student reader and important takeaways for subject matter experts in journalism studies and media policy. 

Digital Platforms and the Press will be of interest to journalism and media policy scholars other scholars in communication as well as industry practitioners and policymakers.

Inclusive Dance is an ethnography of disability arts and historiographic overview of the 1980s when many new disability arts groups came to fruition. Touchdown Dance was the research 'ambition' of dancer Steve Paxton and theatre maker and psychotherapist Anne Kilcoyne involving visually impaired and sighted adults in Contact Improvisation - a dyadic movement form requiring physical contact. Katy Dymoke took over Touchdown Dance in 1994 and refers here to archives accounts and personal experience to share the learning that has been shared over the years to today.



Touch and movement are vital for accessibility and inclusion and modality specific approaches were devised to ensure a democratic process towards the inclusion of visually impaired people in a pro-touch activity. The continuum of movement based methods fills the gaps in polarities of visual and nonvisual and a two-way membrane interlinks all the participants in a body focused learning experience. The mutable membrane becomes a heuristic device for the relational realm a locus for debate for change. Touch deprivation exclusion and inequality are the consequence of an inaccessible visually dominant society.

Three point of view chapters - from two visually impaired and one sighted company dancer - further describe the performance work revealing how lives are changed and why sociocultural inclusion is imperative.

Copenhagen has long been celebrated for its unique fashion design innovation and sustainability practices and yet there has never been a comprehensive  history of Copenhagen fashion and its current innovation and sustainability drive.



This book fills that gap assembling a multidisciplinary roster of contributors to examine all aspects of Copenhagen fashion and culture. Grounded in a broad context of Danish culture industry media technology sustainability and innovation practices within the wider cultural and economic fields of fashion the book helps us understand what makes Copenhagen unique.