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Edna St. Vincent Millay occupies an uncomfortable position in relation to modernism. In the majority of criticism, her work is considered the antithesis to modernist experimentation: as representative of the &lsquo ; rearguard&rsquo ; that rejected vers libre in favour of fixed poetic forms. Indeed, most critics concur that whilst Millay&rsquo ; s subject matter may have been modern and daring&mdash ; voicing women&rsquo ; s sexual independence, for instance&mdash ; her form was decidedly traditional. Millay also troubles notions of modernist impersonality by writing seemingly autobiographical lyrics that showcase feminine emotions. In this paper, I aim to challenge this view of Millay by focussing on the two avant-garde works that mark the outset and the zenith of her career: Aria da Capo (1921) and Conversation at Midnight (1937). These works are both formally innovative, blurring the boundaries between poetry and drama, causing Edmund Wilson to complain that Millay had &ldquo ; gone to pieces&rdquo ; . Moreover, both works engage in performances of masculinity, with women all but absent. Aria da Capo, first performed by the Provincetown Players in 1919, dramatizes the conflict between two shepherds as an allegory for the First World War. Conversation ventriloquises an all-male dinner party, ranging through the political issues of the Depression era and foreshadowing the war to come. I use both works to argue that Millay has a more interesting relationship to masculinity and modernism than has been hitherto captured by critics. Millay voices men in innovative ways, radically challenging constructions of both gender and poetic form in the process.

The Australian government is still basing policy on the concept that sea level will rise by 1.1 meters along the Australian coastline by 2100. The Department of the Environment has proposed a 10 billion dollar dike to save Melbourne from the hypothetical rising sea. In reality the tide gauges of Victoria are recording average relative rates of rise of less than 1 mm/year, in perfect agreement with the National average. At this rate sea level will rise by only 8.5 cm by 2100 but even this estimate may be too high. The worldwide average sea level rise, based on only tide gauges of sufficient quality and length, is only about 0.25 mm/year, with zero acceleration over the last few decades. Such a rise can be dealt with by local adaption, as in the last 100 years, and there is no need for any engineering structures, let alone the proposed 10'billion dollar scheme with its accompanying environmental and social problems.

Introduction -- "Fittest imp of fraud" -- Word sounds and histories -- Cautionary tales -- The science of sycophancy -- Literature and sycophancy -- Sycophancy as an art form -- Sycophancy on the silver screen -- Transformative sycophancy -- How low can one go?

A theoretical introduction : space, centers, and margins / Noel Parker -- Delimitation : the denigration of boundaries in the political thought of late modernity / Sergei Prosorov -- Power and marginality in the international system : an historical perspective / Pertti Joenniemmi, Noel Parker -- Exploiting marginality : the case of Russia / Maxine David -- An encounter of two marginalities : EU-Russia trans-border relations in Russian discourse / Andrey S. Makarychev -- Denmark's and Britain's marginality strategies compared / Noel Parker -- Europe and a globalizing USA : political ideals projected and counter-projected / Noel Parker -- Gibraltar, Jerusalem, Kaliningrad : peripherality, marginality, hybridity / Chris Browning, Pertti Joenniemi -- Notions of 'Europe'. Where does Europe's southern margin lie? / Michelle Pace -- The ritual of listening to foreigner : appropriating geopolitics in Central Europe / Merje Kuus -- Boundary-making in Europe's southeastern margin : Balkan/Europe discourse in Croatia and Slovenia / Nicole Lindstrom -- Variable geometries : institutions, power, and ideas in Turkey's European integration process / Fabrizio Tassinari -- Conclusion / Noel Parker

Critical Management Studies has long been engaged in discussions about the purpose of critique and the possibilities of engagement. A recent expression calls for Critical Management Studies to moderate its 'negative' critique of management and instead use words like care, engagement and affirmation in order to enable 'progressive' engagement with managers. This 'performative turn' has been poorly received by some who see it as a dilution of radical intent. We argue for a middle ground between the antagonistic versions of Critical Management Studies that appear to want to oppose management, and 'performative' scholars who appear to accommodate with managerialism. We do this by planting the debate firmly within an empirical setting and a crisis that the first author experienced as a 'critical scholar' when conducting an ethnography at a sustainable financial services firm. In order to do this, we explore Chantal Mouffe's concept of agonism to establish a particular mode of political engagement that acknowledges a space between being 'for' and being 'against'. We conclude by suggesting that the exploration of alternative forms of organization and management, themselves already involved in struggle against a hegemonic present, should be the proper task of a discipline that wishes to engage with the present and remain 'critical'.

Critical Management Studies has long been engaged in discussions about the purpose of critique and the possibilities of engagement. A recent expression calls for Critical Management Studies to moderate its 'negative' critique of management and instead use words like care, engagement and affirmation in order to enable 'progressive' engagement with managers. This 'performative turn' has been poorly received by some who see it as a dilution of radical intent. We argue for a middle ground between the antagonistic versions of Critical Management Studies that appear to want to oppose management, and 'performative' scholars who appear to accommodate with managerialism. We do this by planting the debate firmly within an empirical setting and a crisis that the first author experienced as a 'critical scholar' when conducting an ethnography at a sustainable financial services firm. In order to do this, we explore Chantal Mouffe's concept of agonism to establish a particular mode of political engagement that acknowledges a space between being 'for' and being 'against'. We conclude by suggesting that the exploration of alternative forms of organization and management, themselves already involved in struggle against a hegemonic present, should be the proper task of a discipline that wishes to engage with the present and remain 'critical'

Critical Management Studies has long been engaged in discussions about the purpose of critique and the possibilities of engagement. A recent expression calls for Critical Management Studies to moderate its 'negative' critique of management and instead use words like care, engagement and affirmation in order to enable 'progressive' engagement with managers. This 'performative turn' has been poorly received by some who see it as a dilution of radical intent. We argue for a middle ground between the antagonistic versions of Critical Management Studies that appear to want to oppose management, and 'performative' scholars who appear to accommodate with managerialism. We do this by planting the debate firmly within an empirical setting and a crisis that the first author experienced as a 'critical scholar' when conducting an ethnography at a sustainable financial services firm. In order to do this, we explore Chantal Mouffe's concept of agonism to establish a particular mode of political engagement that acknowledges a space between being 'for' and being 'against'. We conclude by suggesting that the exploration of alternative forms of organization and management, themselves already involved in struggle against a hegemonic present, should be the proper task of a discipline that wishes to engage with the present and remain 'critical'.