Böcker utgivna av Anthem Press

Max Nettlaüs Utopian Vision provides a historically grounded presentation of the entire literature of utopianism. Nettlau shows an encyclopaedic knowledge of the subject.

An Interdisciplinary Approach to the Theory and Practice of Wildlife Corridors charts some best practices and makes new theoretical contributions about the design and creation of wildlife corridors. The book provides the necessary background for understanding habitat connectivity projects, and makes a theoretical contribution to current knowledge about wildlife corridors.

This book looks at how Renaissance poets ended their poetic lines. It considers a range of strategies and argues that line endings are crucial to our understanding of the poems. It begins with an introduction summarizing the work that has already been done in this area and demonstrating the author's own method. While many of the devices the book highlights have been discussed before and while there has been some scholarship on the poetic line as a unit, how lines end has not received much critical attention, and particularly not in the critical work on Renaissance poetry.The main part of the book is divided into three chapters: one on rhyme; one on enjambment; and one on the sestina. Rhyme is perhaps the most obvious kind of line ending; it was a contentious subject in the English Renaissance. Scholars then debated whether rhyme was necessary or even advisable. Enjambment, in which the end of a line occurs part of the way through a phrase, was especially common in dramatic poetry. In lyric poetry as well, however, it was an important tool for poets. The sestina is a complex form in which matters are the (usually unrhymed) end words, which vary according to a set scheme. There are other technically demanding forms in the Renaissance that focus on end words, but the sestina is the most extreme.These are the most significant kinds of line endings used by English Renaissance poets. Each chapter provides one or two main poetic examples, but the book considers a range of poems from the period. The book ends with a brief afterword, wherein the author's findings are summarized.

Artists often talk of a sense of community, of being in a place that engages their creativity in a cultural history that is deeply tied to and inseparable from their local environment. The phrase 'community art' emphasizes a collaboration between the artist and community; it is practised where the artist and the neighbourhood intersect. Projects most often take place as a means of revitalizing a community or providing an opportunity for community members to engage in a creative process. Increasingly, this has become a national and international movement in which sustainability of the identity of the community, the individuals within it and the environment are at the core of the project. This project engages the conception of art evolved in the ethos of community as its basic framework but considers it from a situationally historic perspective against the backdrop of the diverse landscape of Oregon. As such it considers the role of nature, individual and community identity in the development of arts projects that ultimately become associated with a community's cultural and social milieu. Oregon is known for its unique landscape that moves from the high deserts of eastern Oregon through the former volcanoes of the Cascade Range, the breadth of the Willamette River Valley, Coast Range and finally the Pacific coast from Astoria to Brookings. Oregon has a long history of environmental planning. In 1899, the Oregon legislature declared 30 miles of Oregon beach as a public highway from the Columbia River to the south line of Clatsop County. In 1913, they declared the entire coast a public highway. Throughout the 20th century, the Oregon legislature and communities throughout Oregon have placed an emphasis on land use from the role of the timber, fishing and mining industries to the planning necessary for cities and towns. This manuscript considers the combination of people and social cultural ethos that were influential in the development of specific literary, visual and performing arts groups across Oregon's diverse landscape. Artists Activating Sustainability: The Oregon Story examines the way in which the arts within specific communities, against the background of landscape and history, reveal concepts of sustainability that help us broaden our knowledge of what is needed to create a sustainable world. As such, each chapter considers the themes of participation, agency and empowerment through the lens of land, history and individual initiative.

The book has an introduction outlining the conceptual framework that gives meaning to the six collected texts that follow. This framework derives from the work of Pierre Bourdieu. He stated that 'everything is social,' which means that all discourses have to be understood in their own terms (as 'structured structures') and in relation to the social conditions in which they developed ('structuring structures'). As social individuals we are constrained by the structures defining our situation but we also have the capacity to alter those structures. With particular reference to the 'field' of politics, the Introduction considers theoretically the nature of the 'presentation of self' (Goffman) of citizens and the nature of parliamentary democracy as 'presentation' or 'representation' (as discussed in Habermas: The structural transformation of the public sphere).The six main chapters reproduce texts written or spoken about politics at intervals in the period from 1960 until 2020. Brief introductions to each chapter will contextualise these texts both in terms of their significance in my developing awareness of political discourse and also in terms of the historically changing nature of the field of politics itself in the United Kingdom. Having an a-political upbringing, the author suggests that he gradually acquired a political competence but, equally, developed the view that the domination of political discourse has become exclusive and that there is now a need to reassert social relations in society and to recognize the extent to which political activity sustains the social control of a privileged minority.The book has an Epilogue which considers some recent arguments about 'populism' and also reflects on the extent to which the 'new normal' heralded by some for a post-Covid future has the capacity to circumscribe the influence of politics. The author reflects on whether deployment of Bourdieu's concept of 'symbolic violence' - the process by which the attitudes of the few are imposed on the many - might lead to the possible resurgence of social movements which are sceptical about political power. The author suggests that there may be a need for a new 'quietism' as advanced by Fnelon in the court of Louis XIV at the end of the 17th century and as considered by Richard Rorty in "e;Naturalism and quietism"e; in Philosophy as Cultural Politics, 2007.

The Gothic Literature and History of New England surveys the history, nature and future of the Gothic mode in the region, from the witch trials through the Black Lives Matter Movement. Three main areas of its focus are women's representation as writers and consumers of Gothic literature, the Puritans' fear of the wilderness and treatment of the native peoples, and the legacy of slavery and enduring racism. Texts include Cotton Mather and other Puritan divines who collected folklore of the supernatural; the Frontier Gothic of Indian captivity narratives; the canonical authors of the American Renaissance such as Melville and Hawthorne; the women's ghost story tradition and the Domestic Gothic from Harriet Beecher Stowe to Charlotte Perkins Gilman to Shirley Jackson; Stephen King and the horror boom of the twentieth century; and writers of the current generation who respond to the racial and gender issues in the work of H. P. Lovecraft, the Providence writer whose stories once defined New England's Gothic heritage. The Gothic Literature and History of New England brings to the surface the religious intolerance, racism and misogyny inherent in the New England Gothic, and how these nightmares continue to haunt literature and popular culture-tourism, films, television, games, the visual arts and more.This is a high-interest work designed for scholars of the Gothic mode who may not be familiar with more recent developments in fiction and film as well as for advanced undergraduate and graduate students searching for a compact introduction to this area of the American Gothic. It will provide an overview of criticism, a timeline of historical events and literary texts, and suggestions for further reading. The approach relies on open-ended questions that may help instructors "e;teach the conflicts"e; around race, gender, class and the aesthetics of the Gothic.

Cornwall as Strange Fiction is focused on written and visual culture that is made in, or made about, Cornwall and where there is affinity with Gothic. Cornwall and the Scilly Isles (known as 'Kernow' in the Cornish language) have a special relationship with Gothic, one that has been overlooked in the literature on regional Gothic. In 1998, Avril Horner and Sue Zlosnik coined the term 'Cornish Gothic' in relation to the work of Daphne du Maurier. Since then, however, there have been few discussions of the distinctive types of Gothic engendered by cultural and imaginative re-creations of Cornwall or where it has played a generative role within creative practice. Cornwall as Strange Fiction argues that a persistent imaginative romance with the peninsular has produced a specific and distinctive set of Gothic fictions and creative outputs that mark an exciting new departure in the discussion of regional and media-aware Gothic studies.In his chapter on 'Regional Gothic', Jarlath Killeen cites the Celtic fringes as 'Ireland, Scotland and Wales' (2009, pp. 92-3). Cornwall is forgotten in this account, but it is this often continued absence of Cornwall that at least in part defines it as a Gothic space. Cornwall as Strange Fiction argues that Cornwall has a culturally acquired liminality, becoming a space of ambivalence, absence, excess and loss. Cornwall is too far away and yet at the same time too near (at least for British scholars of Gothic). It has an excess of history, mythic non-history and identity, uncanny light and sublime sculptural stones, all representing both creative plenitude and its lack. This book looks to the visual, the digital and to adaptation, to contemporary as well as traditional platforms, in pursuit of our argument that Kernow thrives as a dark economy for the creative imagination. We address the ways in which different platforms, the novel, film or painting, shape articulations of Gothic Kernow, alongside our attention to the threads of intertextual dialogue that weave among such diversity.Central to our argument and method is the fact that Gothic Kernow is always situationally produced as a framework within which different aesthetic, psychological and social agendas sit. As we will show, the texts and artefacts that we discuss are shaped by a confluence of medial formats and aesthetic concerns, political and social contexts, all filtering through the perceived magics, mysteries and myths of Cornwall. We are therefore intent on demonstrating how, as both an imagined and real space, Cornwall becomes the subject of Gothic concerns, particularly in terms of otherness, animism and the sublime. Offering new insights into the relationships between place and Gothic, this book aims to engender and encourage greater debate through our argument that Cornwall plays a potent role in the landscape of regional Gothic and that it needs to be considered more fully as a major catalyst in the Gothic imagination. Most importantly, this book argues and demonstrates that Gothic Kernow needs to be considered as a powerful force in the development of Gothic grammar generally.

The aim of this translation is to provide the first English translation of Buddenbrooks by a native speaker of English superseding the previous Canadian and American translations.

Roland Barthes Writing the Political: History, Dialectics, Self is a re-reading and a re-purposing for the twenty-first century of the work and the critical theories of France's most important writer of the twentieth century. Drawing on articles and chapters published since 2007, and including new material written for the volume, it argues that Barthes's wide-ranging analyses and critical essays - from Voltaire to Nietzsche, Marx to myth, gay love to Japan - can be applied to debates and controversies in the contemporary world. By applying his 1958 essay on Voltaire to the aftermath in France of the 2015 terrorist attacks, by using Edouard Glissant's work as an unspoken dialogue to look at post-colonial writing strategies, the volume sets out what a dialectical critical practice might look like in our complex world of political, ethical and aesthetic choices.In order to address the complexity of his critical practice, the study takes up a seldom-discussed notion which Barthes had originally developed in relation to the nineteenth-century historian Jules Michelet: that of the 'double grasp'. This 'double grasp' is used to think through photography and innovative forms of historiography (including a comparison with the work of Walter Benjamin), but also to account for the 'stereographic' approach with which Barthes read Balzac, visited Japan and then China, and even considered both the writing self and the imagined self.The book considers the persistence - and the functions - of myth in the era of image-saturated social media, using both early Marx and early Nietzsche, whilst relating Barthes's radical homosexuality and his questioning of binary structures to today's debates on post-gender. The volume ends with discussion of Barthes's essay-writing and its similarities with the theories on the essay of Hungarian Marxist George LukaA s in his 1910 'Letter to Leo Popper', and asks whether the essay, in its many Barthesian guises, is the future for radical forms of writing in the twenty-first century.

Tasos Leivaditis (1922-88), one of the undiscovered greats of Modern Greek literature, entered the poetic scene in the middle of the last century with three short poetry books, presented here in English translation for the first time. These works, received with both popular and critical acclaim upon publication in 1952-53, give compelling testimony to the violence of the twentieth century, witnessed by Leivaditis and his generation in the Nazi occupation of Greece in World War II and the subsequent civil war (1946-49) between the left and right-wing factions. The latter, internecine battle found Leivaditis, a committed communist, on the defeated side, and he was exiled to concentration camps on various islands for more than three years. Soon after his release, he published a remarkable triptych of poetic works that evoke the horrors of war and, in the midst of this, the yearning for justice and peace. The first work in the trilogy, Battle at the End of the Night, is set on the Aegean island of Makronisos, which functioned in the civil war years as an internment camp for leftist dissidents. The entire action takes place over a single, seemingly endless, wintry night reeking of terror and death. But the narrator defiantly retains his faith in our common humanity and his conviction that justice will prevail. The second work, This Star Is For All of Us, is also set during the civil war, but this time the focus is the author''s beloved, Maria. Although imprisoned, he is confident that they will meet again, and his love for her becomes by the end universal in scope. The sense of solidarity also deeply marks the final work, The Wind at the Crossroads of the World, the shortest of the three but the most controversial. The book was banned and Leivaditis thrown into prison once again, the authorities unable to tolerate the book''s "subversive proclamation" of freedom and peace.

Sexual Violence and Literary Art addresses the complicity of representation in what is represented, and its creative transformations, by re-examining classic poetic, dramatic and fictional texts by men in light of women's philosophical, theoretical and critical responses to them.

Black Refigurations is the third volume of a three-volume study of African-American literary history, with special attention to the internal dialogues regarding concepts of "tradition," haunting, trauma, and re-vision. Texts studied extend from slave narratives to contemporary works, including both canonical and lesser-known instances of African-American expression.

The early modern period witnessed the rise of impressive empires in the Eurasian context, in Europe and not less so in the east - The Ottoman, Safavid, and Mughal Empires. The construction of large and stable empires necessitated the constructions of unprecedented power mechanisms. History of law and legality in the early modern period was playing a crucial role in these changes.Born in Spain and joining his family as refugees from the great expulsion from the Iberian peninsula, heading east to the Ottoman Empire, Karo, as the rest of Sephardi intellectuals, was deeply acquainted with both European [Canon law, ius comune] and Ottoman [Shari'a, Kanuname] legal traditions, and their transformative processes during the early modern period.The codes of law, in the short and long version, composed by R. Karo mark a watershed turn, and they were never superseded until the present. In composing them, Karo intended to respond to the global changes in law, and to update Jewish Halakhah to current political and cultural circumstances. The books suggest both a global reading of Jewish law, and a sociological perspective of Halakhah. It adds a further dimension on modernization of Jewish culture.

Black Configurations is the first volume of a three-volume study of African-American literary history, with special attention to the internal dialogues regarding concepts of "tradition," haunting, trauma, and re-vision. Texts studied extend from slave narratives to contemporary works, including both canonical and lesser-known instances of African-American expression.

Black Hauntologies is the second volume of a three-volume study of African-American literary history, with special attention to the internal dialogues regarding concepts of "tradition," haunting, trauma, and re-vision. Texts studied extend from slave narratives to contemporary works, including both canonical and lesser-known instances of African-American expression.

For those captive to the broken world of late modernity, wherein ageing and dying persons become vulnerable to despair, this book offers a diagnostic of such despair. It also resources the practices of a realistic, humanising hope that might enable a strength for person to journey with and for others, together, through such despair. Thus, by addressing the aetiology of despair experienced by people confronting ageing, frailty and dying, and drawing upon the writings of Gabriel Marcel, among others, Ashley Moyse reveals the problematic life of a broken world with its functionalising metaphors, instrumentalising reasoning and objectifying desires that offer no hope at all. It is a broken world where despair generates behaviours that anticipate suicide or other, often tragic, outcomes that impede or greatly curtail or even completely inhibit human flourishing. Resisting despair, but living through it, Moyse presents the activity of the moral life, demonstrating a way persons might be resourced through an intersubjective and reflective pedagogy, with its habits or practices that enable a humanising hope, liberating human beings to become those readied to confront the actualities of human living and dying, and encouraged to grow and develop as 'wayfarers', hopefully.

May Alcott Nierike, Author and Advocate examines in-depth the writings on art and travel by the youngest sister of famed novelist Louisa May Alcott. Like other American women in the later nineteenth century, May was unable to receive the advanced training and exhibition opportunities in the USA that she needed to become a notable professional painter due to her gender. An additional obstacle for Alcott Nieriker was her family's insecure financial status, making it difficult to travel or study abroad for training. Fortunately, following Louisa's early publishing success, May was able to make three trips to London and Paris to immerse herself more fully in the art world, and eventually attained the prestigious honor of having two paintings accepted into the Paris Salon. However, the book argues that Alcott Nieriker's main contributions to cultural history were not necessarily her artistic creations, but rather her publications on travel and art-specifically, four articles for the Boston Evening Transcript and an 1879 guidebook, Studying Art Abroad and How To Do It Cheaply. The book examines the art and travel writings of May Alcott Nieriker from three distinct but interrelated perspectives: (1) how Alcott Nieriker's writings both relate to and yet stand apart from standard travel writing of the later nineteenth century; (2) how Alcott Nieriker's travel writings smartly interweave art criticism and social as well as cultural advocacy, including her concerns about the lack of access to free museums in the USA; and (3) how Alcott Nieriker's writings critique the social and cultural norms of the day in respect to equal opportunity for women artists, and in turn seek to empower women of modest means to navigate these obstacles and pursue careers as professional artists. In addition, the book provides more insight in general to the fields of nineteenth-century American art and art criticism, travel writing, gender studies, and American cultural studies. In sum, May Alcott Nieriker's writings, a number of which are republished here for the first time since the 1870s, deserve further attention and interpretation because her texts give voice to critical social and cultural concerns of the nineteenth century, such as gender and class discrimination, that still resonate today.

Crime Fiction in the Age of #MeToo presents a compelling and timely fourth-wave feminist reading of crime fiction in the age of #metoo.

Explorations in Twentieth-Century Theology and Philosophy is a collection of studies of the thought of Evelyn Underhill, Dorothy L. Sayers, C. S. Lewis, Austin Farrer, Simone Weil, and others by a leading contemporary theologian.

Travel Writing in an Age of Global Quarantine is an anthology of travel accounts, by a diverse range of writers and academics. Challenging conventional academic ''authority'', each contributor writes, from memory during the Covid-19 lockdown, about a place they have previously visited, ''accompanied'' by an historical traveller who published an account of the same place. As immobility is forced upon us, at least for the immediate future, we have the chance to reflect. Travel Writing in an Age of Global Quarantine presents opportunities to approach a text as a scholar differently. We break with the traditional academic ''rules'' by inserting ourselves into the narrative and foregrounding the personal, subjective elements of literary scholarship. Each contributor critiques an historical description of a place about which, simultaneously, they write a personal account. The travel writer, Philip Marsden, posits a fundamental difference between traditional ''academic'' writing and travel writing in that travel narratives do not, or ought not anyway, begin by assuming a scholarly authoritative understanding of the places they describe. Instead, they attempt to say what they found and how they felt about it. The very good point we think Marsden makes, and the one this book tries to demonstrate, is that, as a matter of form, the first-person narrative has the ability to expose the research process: to allow the reader to see when and how a scholarly transformation takes place; to give the scholar the opportunity to openly foreground their own subjectivity and say ''this is the personal journey that led me to my conclusions''; to problematize the unchallenged authority of the scholar. Travel Writing in an Age of Global Quarantine challenges the idea of scholarly authority by embracing the subjective nature of research and the first-person element. We address a problematic distance between travel writing practice and travel writing scholarship, in which the latter talks about the former without ever really talking to it. Defining travel writing as a genre has often proved more difficult than it might seem, but Peter Hulme has suggested that it is ethically necessary for the writer to have visited the place described. Hulme asserts that ''travel writing is certainly literature, but it is never fiction''. If this seems obvious, Travel Writing in an Age of Global Quarantine asks the reader to consider the idea that if visiting the place described is necessary for the writer to claim they have produced a travel account, might it also be necessary, or at least advantageous and valuable, for the writer of a scholarly critique of that account to have done the same.

The Identity Politics of Postcolonial Feminism provides an original analysis of the conceptual categories of essentialisms (situated and strategic) and the politics of location evoked and practised by five hyphenated South Asian postcolonial feminists in the contemporary Anglo-North-American academy: Himani Bannerji, Inderpal Grewal, Chandra Talpade Mohanty, Sherene H. Razack and Gayatri Chakravorty Spivak.

Trade unions are central to Australian social, economic and political life. They are the largest voluntary organisations in the country, are a significant presence in political life, and, as workplace organisations, are often the only effective vehicle to give voice to working people. Their role is nevertheless under serious challenge, with low and declining union density and shrinking coverage of collective bargaining. Controversies surrounding several union officials have called into the question the legitimacy of trade unions. And for some governments, trade unions are not social partners but rather targets of restrictive legislation. Despite these tensions, there has yet to be a broad and systematic scholarly engagement with the challenge to the centrality of trade unions in Australian social, economic and political life. Existing literature tends either to examine trade unionism from an historical perspective or to focus upon the regulation of the role of unions in the workplace. This book aims to fill this gap by bringing together leading scholars in industrial relations, law, political science and political philosophy to critically assess the role of Australian trade unions. In doing so, it is organised according to two themes. First, the book examines the democratic role of trade unions as representatives of working people and addresses issues such as economic democracy and the rule of law in the workplace, political funding and trade agreements. Second, the book examines the social justice role of trade unions in providing a countervailing force to employer power including in relation to precarious work, the ''gig'' economy, labour migration and the pressing global challenge of climate change. The concluding contribution weaves these two themes of democracy and social justice together in proposing a democratic socialist vision of trade unions and labour law.

Raymond Federman (1928-2009) is known as a scholar of Samuel Beckett, postmodern theorist and avant-garde novelist. Like Beckett, he was also a self-translator, though unlike Beckett his first language was French and he composed his most significant works in English. In this sense, he took Beckett's journey in reverse. Federman's life was, in many ways, a Beckettian journey. He escaped deportation to Auschwitz, where all of his immediate family perished, thanks to his mother pushing him into a closet. Years of lonely wandering followed. Federman explicitly describes his own life in Beckettian terms, and his postmodern novels are thick with intertextual references, with Beckett as the main source. This book offers the first examination of these references, in light of Federman's contribution to critical theory. This study is focused on Federman's most significant novels, published between 1971 and 1982: Double or Nothing, Amer Eldorado, Take It or Leave It, The Voice in the Closet/La voix dans le cabinet de dbarras and The Twofold Vibration. Federman's two tongues make for a doubled discourse, one in which the boundaries between English and French become porous. He uses fragments of Beckett, Joyce and others (including French poststructuralists) to undermine the gendered identity of his own autobiographical creations. Federman's use of Beckett, his intertextual strategies and choices, highlight the queer potential of his master's work.The Raymond Federman who passed away in 2009 was a beloved teacher, husband and father. This book is not about him. The characters, or rather creatures, in the first cycle of Federman's novels are incapable of successfully inhabiting what Federman calls social reality. They are condemned to return ceaselessly to the closet, the site of their traumatic rebirth. The importance of the closet has been addressed in previous studies of Raymond Federman and is many times acknowledged and discussed by the author himself. This study demonstrates, through close reading and intertextual analysis, the importance of a second closet, one explicitly linked to queer identity. The homoeroticism present in Federman's seventies novels is largely determined by the author's relationship to Beckett. By guiding the reader through Federman's intertextual peregrinations, this book explores his remarkable relationship with Sam.

The diverse essays in this book reflect Jonathan Steinberg''s methodological pluralism and insatiable curiosity for historical questions which cross disciplinary and geographical boundaries. Animating students, colleagues, friends and wider audiences with his enthusiasm for ''thinking about the past'' was his vocation, one that he pursued with unmatched enthusiasm. Through this collection of essays, the book hopes to convey something of the intellectual range, analytical purchase and moral purpose of his historical writing and teaching. One feature of Steinberg''s inspiring and charismatic lectures was his unique ability to combine an analysis - always fresh, never pre-cooked - of big historical structures and trends with an acute awareness of the importance of individual personalities. Jonathan Steinberg also believed in contingency, the importance of chance, and was keen to reject any form of historical determinism. The third salient feature of his work was his sense of moral purpose. He understood history as a hermeneutic science and was appropriately cautious about the epistemological status of historical claims, but he nevertheless saw the correctness of historical arguments and the probity of historical claims to be moral as well as empirical questions. His ethical sensibilities, his openness to interdisciplinary work and the humane and nuanced understanding of human motivation equipped him to tackle some of the most difficult subjects of nineteenth- and twentieth-century European history.

There is a fundamental mismatch between the global trade rules as they govern international economic behaviour and the political economic factors influencing domestic policy making. It comes as no surprise, therefore, that the multilateral trading system is in crisis. Countries are increasingly turning to bilateral and regional (and mega-regional) trade deals to push forward their trade agenda. There is far less consensus around these next-generation trade agreements which reach into every aspect of domestic policy-making. At this time, more than ever, policy-makers, treaty negotiators, and scholars and students of international law need to understand the ways in which this growing regime of international trade and investment impacts regulatory decisions. This book demonstrates how seemingly disparate spheres of legal theory and practice (investment incentives, patent protection, land reform, etc.) are all linked together through the lens of international trade and investment, while also offering solutions in the form of new negotiating texts and country examples as a way forward toward a new multilateral trade and investment regime. Furthermore, each chapter identifies the regulatory challenges facing countries.

Contemporary understandings of inter-generational relations assume that the balance of power has shifted from adults towards children in recent years. The rise of children's rights, the trend towards more child centred pedagogies and practices within schools and the incorporation of children within a global free market as consumers have all been interpreted as the loss of adult power and the consequent growth of kid power. This book critically examines these ideas and reframes the zero-sum conceptions of power implicit within these assumptions. It draws on Lukes' three dimensions of power and Foucault's theory of power and knowledge in advancing the view that kid power is inter-generational, multi-dimensional and distributed variably across the child population. The book illustrates this theory through selected themes, including children's political activism with respect to climate change, the varied roles that children play within their families as mediators, the involvement of children in research and the rise of digital kid power.In a post-script, the theory of kid power within the current context of the global Covid-19 pandemic is examined. This final part of the book questions what the impact of the virus will be on the different manifestations of kid power and considers the implications of lockdowns and potential long-term social distancing measures for inequalities, inter-generational relations and our interpretation of kid power.