Richard Wilson

In Worldly Shakespeare Richard Wilson proposes that the universalism proclaimed in the name of Shakespeare's playhouse was tempered by his own worldliness, the performative idea that runs through his plays, that if 'All the world's a stage', then 'all the men and women in it' are 'merely players'. Situating this playacting in the context of current concerns about the difference between globalization and mondialisation, the book considers how this drama offers itself as a model for a planet governed not according to universal toleration, but the right to offend: 'But with good will'. For when he asks us to think we 'have but slumbered' throughout his offensive plays, Wilson suggests, Shakespeare is presenting a drama without catharsis, which anticipates post-structuralist thinkers like Jacques Ranciere and Slavoj iek, who insist the essence of democracy is dissent, and 'the presence of two worlds in one'.Living out his scenario of the guest who destroys the host, by welcoming the religious terrorist, paranoid queen, veiled woman, papist diehard, or puritan fundamentalist into his play-world, Worldly Shakespeare concludes, the dramatist instead provides a pretext for our globalized communities in a time of Facebook and fatwa, as we also come to depend on the right to offend 'with our good will'.

In Worldly Shakespeare Richard Wilson proposes that the universalism proclaimed in the name of Shakespeare's playhouse was tempered by his own worldliness, the performative idea that runs through his plays, that if 'All the world's a stage: then 'all the men and women in it' are 'merely players'. Situating this playacting in the context of current concerns about the difference between globalisation and mondialisation, the book considers how this drama offers itself as a model for a planet governed not according to universal toleration, but the right to offend: 'But with good will'. For when he asks us to think we 'have but slumbered' throughout his offensive plays, Wilson suggests, Shakespeare is presenting a drama without catharsis, which anticipates post-structuralist thinkers like Jacques Ranciere and Slavoj Ziiek, who insist the essence of democracy is dissent, and 'the presence of two worlds in one'. Living out his scenario of the guest who destroys the host, by welcoming the religious terrorist, paranoid queen, veiled woman, papist diehard or puritan fundamentalist into his play-world, Worldly Shakespeare concludes, the i dramatist instead provides a pretext-for our globalised communities in a time of Facebook and fatwa, as we also come to depend on the right to offend 'with our good will'.

Free Will: Art and power on Shakespeare’s stage is a study of theatre and sovereignty that situates Shakespeare’s plays in the contraflow between two absolutisms of early modern England: the aesthetic and the political. Starting from the dramatist’s cringing relations with his princely patrons, Richard Wilson considers the ways in which this ‘bending author’ identifies freedom in failure and power in weakness by staging the endgames of a sovereignty that begs to be set free from itself. The arc of Shakespeare’s career becomes in this comprehensive new interpretation a sustained resistance to both the institutions of sacred kingship and literary autonomy that were emerging in his time. In a sequence of close material readings, Free Will shows how the plays instead turn command performances into celebrations of an art without sovereignty, which might ‘give delight’ but ‘hurt not’, and ‘leave not a rack behind’.Free Will is a profound rereading of Shakespeare, art and power that will contribute to thinking not only about the plays, but also about aesthetics, modernity, sovereignty and violence.

Free Will: Art and power on Shakespeare’s stage is a study of theatre and sovereignty that situates Shakespeare’s plays in the contraflow between two absolutisms of early modern England: the aesthetic and the political. Starting from the dramatist’s cringing relations with his princely patrons, Richard Wilson considers the ways in which this ‘bending author’ identifies freedom in failure and power in weakness by staging the endgames of a sovereignty that begs to be set free from itself. The arc of Shakespeare’s career becomes in this comprehensive new interpretation a sustained resistance to both the institutions of sacred kingship and literary autonomy that were emerging in his time. In a sequence of close material readings, Free Will shows how the plays instead turn command performances into celebrations of an art without sovereignty, which might ‘give delight’ but ‘hurt not’, and ‘leave not a rack behind’.Free Will is a profound rereading of Shakespeare, art and power that will contribute to thinking not only about the plays, but also about aesthetics, modernity, sovereignty and violence.

Since 1888, Rangers and Celtic football clubs have been locked into an intense and frequently explosive rivalry: Rangers the product of West Scotland's Protestant establishment, Celtic the team founded to raise money for the Catholic underclass of Glasgow.On 2 January 2010 the two teams met in the Old Firm's New Year Derby, a fixture that had been banned for ten years because of the trouble it brought with it. Richard Wilson puts that game at the centre of a book which delves into the history and widens out to the cultural resonance of the fixture within Scotland. It is a potent mix of close-up observation and big-picture thinking, with insight, understanding and depth.

International Human Rights and Humanitarian Law: Treaties, Cases, and Analysis introduces the reader to the international legal instruments and case law governing the substantive and procedural dimensions of international human rights and humanitarian law, including economic, social, and cultural rights. The book, which was originally published in 2006, also discusses the history and organisational structure of human rights and humanitarian law enforcement mechanisms. A chapter is devoted a chapter to the issues surrounding the incorporation of international law into U.S. law, including principles of constitutional and statutory interpretation, conflict rules, and the self-execution doctrine. Questions and comments sections provide critical analyses of issues raised in the materials. The last chapter addresses theoretical issues facing contemporary international human rights and humanitarian law and its enforcement.

Using an evidence-based approach, Drug Abuse Prevention: A School and Community Partnership, Third Edition teaches students and practitioners the important concepts and skills needed to design effective drug prevention programs. Written to cover more than just the facts about drugs, this text provides a background of drug use and abuse, presents the principles and skills of prevention, with particular focus on adolescents and school settings, and reinforces the importance of schools forming community partnerships with key institutions and the application of policy tools to enhance the impact of education alone.