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Thomas Dixon’s Weeping Britannia is a tour through six centuries of British tears, from ‘extreme weeper’ Margery Kempe to the televised ‘sob-fests’ of Britain’s Got Talent and The X Factor, via tear-stained judges, the emotionally extravagant novel of sensibility, supposedly stiff-upper-lipped politicians, and the bemused disdain of dry-eyed journalists observing the
The age of lesbian and gay, in which those were the dominant terms for homoeroticism and other things that seemed (sometimes arbitrarily) to be related to it, appears to be over.
‘Artificial intelligence (AI)’ is a loaded term, rife with connotative contradiction that inspires debate, disagreement, and disillusion. But what is AI, really? How have our expectations of computational capability, and even a robot Armageddon, come to be? Why does it matter how we talk about increasingly sophisticated technology, not just in expository prose, but also in fiction?
Martin Johnes is an industrious historian of 20th–century Wales, and has published extensively on topics such as sport, national identity, the 1966 Aberfan disaster and the civic history of Cardiff.(1) Wales since 1939 is a fusion of several of these endeavours (and more), and one which has produced an integrated and fresh perspective on modern Wales.
Writing in Macmillan’s Magazine a few years after the denouement of the Crimean War, Thomas Hughes, author of Tom Brown’s School Days, declared that this conflict’s ‘drama ...