Search results for ""Author Ross"

Padua, Italy. An unremarkable man, a husband and father, disappears without a trace. After a few months of searching, the police send his file to the cold cases department to be thrown in with the files of other missing persons. One woman knows the truth about his disappearance, but, being the daughter of a prominent and wealthy Swiss industrialist she fears coming forward with what she knows: that she was his lover and that there is more to his disappearance than another bored suburban husband running out on his. Stricken by guilt, she finally confides in a lawyer who advises her to turn to Marco Buratti, aka The Alligator, for help. Buratti agrees to assist the woman. Initially, the case of the woman's missing lover seems like a lost cause, but a clue puts the Alligator and his trusted associates, Max the Memory and Beniamino Rossini, on the trail of the unscrupulous and brilliant criminal, Giorgio Pellegrini, protagonist of The Goodbye Kiss and At the End of a

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At the International Conference Centre in Geneva, Hannah Rossier, formerly Annie Price, comes face to face with Neville Weir, someone from her childhood whom she never expected, or wanted, to meet again. As Neville’s reasons for attending the conference become clear, the dark waters of Hannah’s past start to rise. Hannah is a psychotherapist, with a specialist interest in memory and how connections are made between past and present. She has reinvented herself successfully, moving from a small northern town in England to Lucerne, Switzerland, with her husband, Thibaut. Nobody, not even Hannah, knows the full truth about herself. Her ‘memories’ consist of glimpses of the place where she played in childhood, known simply as ‘The Wild’. Over the three days of the conference she has to decide whether she can avoid Neville, or whether she should submit to an encounter with him and with her past. And in her keynote lecture about the neuroscience of memory, how much to conceal or reveal. But can her specialism save her from drowning?

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The Body Work Trilogy comes to a sizzling, scorching-hot and thrilling conclusion - that will blow away fans of Maya Banks, Rhyannon Byrd, Liliana Hart and Lisa Marie Rice.Anna Rossi walked away from Alec Flynn to keep her family and friends safe. But no matter how hard she tries, she can't protect her heart from him...Time has done nothing to quell Anna's desperate desire for Alec. She knows she did the right thing leaving. She knows how dangerous he is. And she knows that her connection to him threatens everything. But she can't seem to stay away.In the vicious, public legal battle Alec's been fighting, things have come to breaking point. He could lose everything, and lose Anna once and for all. With her life in jeopardy again, and after so much damage has been done, will they ever have a chance of true happiness? Find out where the breathless, addictive story began in The Masseuse.

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Ford Madox Ford (1873-1939) published 13 volumes of poetry between 1893 and 1936 - crucial transitional years in the evolution of modern poetry. His early poems were written under the shadow of the Rossettis, Swinburne and William Morris, but Ford outgrew their heady late-Victorian lyricism, developing a voice that was natural, impressionistic and ironic. This selection of his verse traces his development from the haunting poignancy of his early poems to his later style, which was to be so influential in the development of Modernism. Ezra Pound considered him to be the best lyric poet in England, and it was Ford who taught Pound that "poetry should be as well written as prose". He transformed Pound's style and, through Pound, the styles of Yeats and Eliot.

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We live in a secular world and cinema is part of that secular edifice. There is no expectation, in modern times, that filmmakers should be believers – any more than we would expect that to be the case of novelists, poets and painters. Yet for all that this is true, many of the greatest directors of classic European cinema (the period from the end of World War II to roughly the middle of the 1980s) were passionately interested not only in the spiritual life but in the complexities of religion itself. In his new book Mark Le Fanu examines religion, and specifically Christianity, not as the repository of theological dogma but rather as an energizing cultural force – an ‘inflexion’ – that has shaped the narrative of many of the most striking films of the twentieth century. Discussing the work of such cineastes as Eisenstein and Tarkovsky from Russia; Wajda, Zanussi and Kieslowski from Poland; France’s Rohmer and Bresson; Pasolini, Fellini and Rossellini from Italy; the Spanish masterpieces of Buñuel, and Bergman and Dreyer from Scandinavia, this book makes a singular contribution to both film and religious studies.

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With Reading the Obscene, Jordan Carroll reveals new insights about the editors who fought the most famous anti-censorship battles of the twentieth century. While many critics have interpreted obscenity as a form of populist protest, Reading the Obscene shows that the editors who worked to dismantle censorship often catered to elite audiences composed primarily of white men in the professional-managerial class. As Carroll argues, transgressive editors, such as H. L. Mencken at the Smart Set and the American Mercury, William Gaines and Al Feldstein at EC Comics, Hugh Hefner at Playboy, Lawrence Ferlinghetti at City Lights Books, and Barney Rosset at Grove Press, taught their readers to approach even the most scandalizing texts with the same cold calculation and professional reserve they employed in their occupations. Along the way, these editors kicked off a middle-class sexual revolution in which white-collar professionals imagined they could control sexuality through management science. Obscenity is often presented as self-shattering and subversive, but with this provocative work Carroll calls into question some of the most sensational claims about obscenity, suggesting that when transgression becomes a sign of class distinction, we must abandon the idea that obscenity always overturns hierarchies and disrupts social order. Winner of the 2022 MLA Prize for Independent Scholars, sponsored by the Modern Language Association

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In 1960, when World War II might seem to have been receding into history, a number of artists and writers instead turned back to it. They chose to confront the unprecedented horror and mass killing of the war, searching for new creative and political possibilities after the conservatism of the 1950s in the long shadow of genocide.Al Filreis recasts 1960 as a turning point to offer a groundbreaking account of postwar culture. He examines an eclectic group of artistic, literary, and intellectual figures who strove to create a new language to reckon with the trauma of World War II and to imagine a new world. Filreis reflects on the belatedness of this response to the war and the Holocaust and shows how key works linked the legacies of fascism and antisemitism with American racism. In grappling with the memory of the war, he demonstrates, artists reclaimed the radical elements of modernism and brought forth original ideas about testimony to traumatic history.1960 interweaves the lives and works of figures across high and popular culture—including Chinua Achebe, Hannah Arendt, James Baldwin, Amiri Baraka, Paul Celan, John Coltrane, Frantz Fanon, Roberto Rossellini, Muriel Rukeyser, Rod Serling, and Louis Zukofsky—and considers art forms spanning poetry, fiction, memoir, film, painting, sculpture, teleplays, musical theater, and jazz. A deeply interdisciplinary cultural, literary, and intellectual history, this book also offers fresh perspective on the beginning of the 1960s.

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You can struggle for years to get a foot in the door with Hollywood producers--or you can take a page from the book that offers proven advice from twenty-one of the industry''s best and brightest!In this tenth anniversary edition, The 101 Habits of Highly Successful Screenwriters, 2nd Edition peers into the lives and workspaces of screenwriting greats--including Terry Rossio (the Pirates of the Caribbean franchise), Aline Brosh McKenna (Morning Glory), Bill Marsilii (Deja Vu), Derek Haas and Michael Brandt (Wanted), and Tony Gilroy (the Bourne franchise).You will learn best practices to fire up your writing process and your career, such as: Be Comfortable with Solitude Commit to a Career, Not Just One Screenplay Be Aware of Your Muse''s Favorite Activities Write Terrible First Drafts Don''t Work for Free Write No Matter What This indispensable handbook will help you hone y

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HarperCollins is proud to present its incredible range of best-loved, essential classics. The only advice, indeed, that one person can give another about reading is to take no advice, to follow your own instincts, to use your own reason, to come to your own conclusions. In her second volume of essays, Virginia Woolf delves deeper into the delights of reading. Here, she explores the novels of Thomas Hardy and Daniel Defoe, and recounts the fascinating lives of Christina Rossetti and Mary Wollstonecraft. In ‘ How Should One Read a Book?’ she offers sage advice for the common reader, and sheds light on the lessons and pleasures literature can provide. Published in 1932, The Common Reader: Second Series is a wise and illuminating companion collection to her 1925 First Series. Woolf’s enduring appeal and ideas continue to resonate with readers in the twenty-first century.

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With the rise of museums in the 19th century, including the formation in 1824 of the National Gallery in London, as well as the proliferation of widely available published reproductions, the art of the past became visible and accessible in Victorian England as never before. Inspired by the work of Sandro Botticelli, Jan van Eyck, Diego Velázquez, and others, British artists elevated contemporary art to new heights through a creative process that emphasized imitation and emulation. Elizabeth Prettejohn analyzes the ways in which the Old Masters were interpreted by critics, curators, and scholars, and argues that Victorian artists were, paradoxically, at their most original when they imitated the Old Masters most faithfully. Covering the arc of Victorian art from the Pre-Raphaelites through to the early modernists, this volume traces the ways in which artists such as Dante Gabriel Rossetti, Edward Burne-Jones, and William Orpen engaged with the art of the past and produced some of the greatest art of the later 19th century. Published in association with the Paul Mellon Centre for Studies in British Art

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From traditional verses by Christina Rossetti and Henry Wadsworth Longfellow to modern classics by Carol Ann Duffy, Steve Turner and Benjamin Zephaniah, this dazzling anthology of Christmas poems will delight children and adults of all ages. All the wonders of the season are captured in 100 Best Christmas Poems for Children. Perfect for reading aloud with all the family, there are verses that will encourage children to reflect on the Christmas themes of joy, hope and peace for all the world, while also savouring the festive fun of everything else that Christmas brings - from the opening of the first Advent window to the tidying away of all the decorations on Twelfth Night. Edited and introduced by beloved poet Roger McGough, this enchanting children's poetry book make a wonderful gift and keepsake and will be cherished by all who read it. Children will gain an appreciation for language and storytelling as the magic of Christmas is brought to life by this anthology that they'll return to over and over again each year.

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Within the pages of Allie Esiri's gorgeous poetry collection, A Poem for Every Autumn Day you will find verse that will transport you to vibrant autumnal scenes, from harvest festival to Remembrance Day.The poems are selected from Allie Esiri’s bestselling poetry anthologies A Poem for Every Day of the Year and A Poem for Every Night of the Year.Perfect for reading aloud and sharing with all the family, this book dazzles with an array of familiar favourites and remarkable new discoveries. These seasonal poems – together with introductory paragraphs – have a link to the date on which they appear.Includes poems by Robert Louis Stevenson, John Betjeman, Amy Lowell, Paul Laurence Dunbar, William Shakespeare and Christina Rossetti who sit alongside Seamus Heaney, John Agard, Simon Armitage, Patience Agbabi and Imtiaz Dharker.This soul-enhancing book will keep you company for every day of Autumn. Enjoy more seasonal poetry collections with A Poem for Every Summer Day and A Poem for Every Winter Day.

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The making of shadows is an act as old as architecture itself. From the gloom of the medieval hearth through to the masterworks of modernism, shadows have been an essential yet neglected presence in architectural history. Shadow-Makers tells for the first time the history of shadows in architecture. It weaves together a rich narrative – combining close readings of significant buildings both ancient and modern with architectural theory and art history – to reveal the key places and moments where shadows shaped architecture in distinctive and dynamic ways. It shows how shadows are used as an architectural instrument of form, composition, and visual effect, while also exploring the deeper cultural context – tracing differing conceptions of their meaning and symbolism, whether as places of refuge, devotion, terror, occult practice, sublime experience or as metaphors of the unconscious. Within a chronological framework encompassing medieval, baroque, enlightenment, sublime, picturesque, and modernist movements, a wide range of topics are explored, from Hawksmoor’s London churches, Japanese temple complexes and the shade-patterns of Islamic cities, to Ruskin in Venice and Aldo Rossi and Louis Kahn in the 20th century. This beautifully-illustrated study seeks to understand the work of these shadow-makers through their drawings, their writings, and through the masterpieces they built.

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It is unusual for styles in opera to carry over from one era into another. It would be even more unusual for one era's characteristics to linger two generations into the next. Yet this is precisely what happened during the first half of the nineteenth century, when the intricacies of the fleet bel canto style were combined with the Romantic era's heroic declamation and formidable orchestral emphasis resulting in the creation of the assoluta voice.This work traces the emergence of the impressive vocal writing that resulted from the marriage of the bel canto and Romantic eras. It also covers the uniquely versatile divas who were given the opportunities to make their mark on opera from the time of Cherubini to that of a young Verdi. Here, both the wide-ranging vocalism in the scores themselves and the artists capable of performing this style are referred to as assoluta. The chapters consider Luigi Cherubini's ""Medee"", Gioacchino Rossini's ""Armida"", Carl Maria von Weber's ""Oberon"", Gaetano Donizetti's ""Anna Bolena"", Vincenzo Bellini's ""Norma"", Donizetti's ""Gemma di Vergy"" and ""Roberto Devereux"", the time of transition in the late 1800s and early 1900s, and Giuseppe Verdi's ""Nabucco"" and ""Macbeth"".

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Fans of Suzanne Brockmann, Maya Banks, Christy Reece, Julie Ann Walker and Cindy Gerard will adore Pamela Clare's expertly plotted romantic suspense series, which sets the pages alight with sizzling chemistry. For tension, thrills, romance and passion take a spin with the I-Team.The day Navajo journalist Katherine James met Gabriel Rossiter, the earth literally moved beneath her feet when he saved her from a rockslide. So she is crushed when she recognizes her rescuer among the law enforcement officers throwing her and her friends off Mesa Butte, land they consider sacred. Gabe swore he would never again lose himself to a woman. But the attraction he feels to Kat is undeniable. And, appalled by his orders, he's determined to get to the bottom of events at Mesa Butte. But asking questions can be dangerous - almost as dangerous as risking one's heart. Soon Kat and Gabe's passion for the truth - and each other - makes them targets for those who would do anything, even kill, to keep Native Americans off their sacred land...Sexy. Thrilling. Unputdownable. Take a wildly romantic ride with Pamela Clare's I-Team: Extreme Exposure, Hard Evidence, Unlawful Contact, Naked Edge, Breaking Point, Striking Distance.

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Delving into Frederick Sandys's unconventional life, Betty Elzea's research reveals much about his complicated and often scandalous relationships. Born and educated in Norwich with an artisan background, Sandys was bohemian by nature, though from necessity, to the world at large, he appeared genteel and respectable. Unfortunately disorganised, un-businesslike and preferring to live alone as a bachelor in lodgings, he struggled to support two growing families of illegitimate children. From youth, developing skills as a draughtsman and painter, he moved to London, meeting Dante Gabriel Rossetti and the Pre-Raphaelites and their associates, while keeping a foothold in Norwich where he maintained friendships and enjoyed the support of the Norfolk gentry and several notable Norwich industrialists. Norfolk landscape painting and nature studies led to commissioned portraiture which became his main source of income. He is known for depictions of beautiful women in legendary disguises as well as meticulously-detailed portraits of elderly women. He also pioneered a new type of large-scale portrait drawing in chalks.

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Fourteen-year-old Azar Rossi’s first year of high school has mostly been silent, and intentionally so. After a bad case of colic as a baby, Azar’s vocal folds are shredded - full of nodules that give her a rasp the envy of a chain-smoking bullfrog. Her classmates might just think she’s quiet, but Azar is saving her voice for when it really counts and talking to her classmates is not medically advisable or even high on her list. When she hears about a local Battle of the Bands contest, it’s something she can’t resist. Azar loves music, loves songwriting, but with her vocal folds the way they are, there's no way she can sing her songs on stage. Then she hears lacrosse hottie, Ebenezer Lloyd Hollins the Fifth, aka Eben, singing from the locker room. She’s transfixed. He's just the person she needs. His voice plus her lyrics = Battle of the Bands magic. But getting a band together means Azar has a lot of talking to do and new friends to make. For the chance to stand on stage with Eben it might all just be worth it.

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This handsome volume is the first authoritative survey of one of the most intriguing periods of British art—the radically innovative decade of the 1860s. The book explores new developments in English painting of this period, focusing on the early work of Edward Burne-Jones, Frederic Leighton, Albert Moore, Edward Poynter, Simeon Solomon, and James McNeill Whistler, as well as on paintings by Frederick Sandys and the older G. F. Watts, and by Dante Gabriel Rossetti and his Pre-Raphaelite colleagues Holman Hunt and John Everett Millais. Allen Staley argues that engagement in the decorative arts, particularly by Burne-Jones, Moore, and Poynter at the outset of their careers, led to a transcending of traditional expectations of painting, making abstract formal qualities, or beauty for beauty's sake, the main goal. Rather than being about what it depicts, the painting itself becomes its own subject. The New Painting of the 1860s examines the interplay among the artists and the shared ambitions underlying their works, giving impetus to what would soon come to be known as the Aesthetic Movement.Published for the Paul Mellon Centre for Studies in British Art

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Twelve essays in literary theory, philosophy, and religion – about atheism, freedom, and "the Jesus thought experiment" – connect, but don't conclude. A recurring theme is the "nothing" at the heart of the deep atheism of George Eliot, Walter Pater, Oscar Wilde, Rudyard Kipling, and Thomas Hardy, who approach "nothing" with a directness lacking in their English-speaking philosophical contemporaries. How does being in the world – Thomas Nagel's "what-it's-likeness" – and how do values – Alasdair MacIntyre's justice and misericordia – fare in the face of the mindless "It" that hardy finds at the heart of things? A pivotal essay compares the theism of Paul Ricoeur and the atheism of Daniel Dennett – the subtitle is a response to the latter's latest book.Writing and Freedom defends (a strong version of) free will as necessarily interpersonal: my freedom is nothing but my acceptance of yours. This is how Milton, Rossetti, and Dickinson treat their readers, and how scientists and philosophers ideally treat each other. Moreover, both "nothing" and "freedom" are fundamental to biblical and religious narratives (Mark and Newman). God, being "out of all relation" with the finite, cannot be known from the text of the world. Yet as "nothing," God may be said to grant unconditional autonomy to his creatures, and therefore to be present in his absence. It is round "nothing," therefore, that atheists and theists endlessly circulate. But that is what the deep atheism of European thinkers – Nietzsche, Freud, Lacan, and Zizek – say we all do anyway, however excitedly we pretend to ourselves that we don't.

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Winner of the Wolfson History Prize, and described by A.S.Byatt as 'one of the finest biographies ever published', this is Fiona MacCarthy's magisterial biography of William Morris, legendary designer and father of the Victorian Arts and Crafts movement. 'Thrilling, absorbing and majestic.' Independent'Wonderfully ambitious ... The definitive Morris biography.' Sunday Times 'Delicious and intelligent, full of shining detail and mysteries respected.' Daily Telegraph'Oh, the careful detail of this marvellous book! . . . A model of scholarly biography'. New StatesmanSince his death in 1896, William Morris has been celebrated as a giant of the Victorian era. But his genius was so multifaceted and so profound that its full extent has rarely been grasped. Many people may find it hard to believe that the greatest English designer of his time - possibly of all time - could also be internationally renowned as a founder of the socialist movement, and ranked as a poet with Tennyson and Browning.In her definitive biography - insightful, comprehensive, addictively readable - the award-winning Fiona MacCarthy gives us a richly detailed portrait of Morris's complex character for the first time, shedding light on his immense creative powers as artist and designer of furniture, fabrics, wallpaper, stained glass, tapestry, and books; his role as a poet, novelist and translator; on his psychology and his emotional life; his frenetic activities as polemicist and reformer; and his remarkable circle of friends, literary, artistic and political, including Dante Gabriel Rossetti and Edward Burne-Jones. It is a masterpiece of biographical art.

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'Captivating, intimate, dazzling epic and revelatory' SIMON SEBAG-MONTEFIORE The story of the family who rose from the Frankfurt ghetto to become synonymous with wealth and power has been much mythologized. Yet half the Rothschilds, the women, remain virtually unknown. From the East End of London to the Eastern seaboard of the United States, from Spitalfields to Scottish castles, from Bletchley Park to Buchenwald, and from the Vatican to Palestine, Natalie Livingstone follows the extraordinary lives of the English branch of the Rothschild women from the dawn of the nineteenth century to the early years of the twenty first. As Jews in a Christian society and women in a deeply patriarchal family, they were outsiders. Determined to challenge and subvert expectations, they supported each other, building on the legacies of their mothers and aunts. They became influential hostesses and talented diplomats, choreographing electoral campaigns, advising prime ministers, advocating for social reform and trading on the stock exchange. Misfits and conformists, conservatives and idealists, performers and introverts, they mixed with Rossini and Mendelssohn, Disraeli, Gladstone and Chaim Weizmann, amphetamine-dealers, temperance campaigners, Queen Victoria, and Albert Einstein. They broke code, played a pioneering role in the environmental movement, scandalised the world of women's tennis by introducing the overarm serve and drag-raced with Miles Davies in Manhattan.Absorbing and compulsive THE WOMEN OF ROTHSCHILD gives voice to the complicated, privileged and gifted women whose vision and tenacity shaped history.

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'Captivating, intimate, dazzling epic and revelatory' SIMON SEBAG-MONTEFIORE The story of the family who rose from the Frankfurt ghetto to become synonymous with wealth and power has been much mythologized. Yet half the Rothschilds, the women, remain virtually unknown. From the East End of London to the Eastern seaboard of the United States, from Spitalfields to Scottish castles, from Bletchley Park to Buchenwald, and from the Vatican to Palestine, Natalie Livingstone follows the extraordinary lives of the English branch of the Rothschild women from the dawn of the nineteenth century to the early years of the twenty first. As Jews in a Christian society and women in a deeply patriarchal family, they were outsiders. Determined to challenge and subvert expectations, they supported each other, building on the legacies of their mothers and aunts. They became influential hostesses and talented diplomats, choreographing electoral campaigns, advising prime ministers, advocating for social reform and trading on the stock exchange. Misfits and conformists, conservatives and idealists, performers and introverts, they mixed with Rossini and Mendelssohn, Disraeli, Gladstone and Chaim Weizmann, amphetamine-dealers, temperance campaigners, Queen Victoria, and Albert Einstein. They broke code, played a pioneering role in the environmental movement, scandalised the world of women's tennis by introducing the overarm serve and drag-raced with Miles Davies in Manhattan.Absorbing and compulsive THE WOMEN OF ROTHSCHILD gives voice to the complicated, privileged and gifted women whose vision and tenacity shaped history.

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Italian architecture has long exerted a special influence on the evolution of architectural ideas elsewhere - from the Beaux-Arts academy’s veneration of Rome, to modernist and postmodern interest in Renaissance proportion, Baroque space, and Mannerist ambiguity. This book critically examines this enduring phenomenon, exploring the privileged position of Italian architects, architecture, and cities in the architectural culture of the past century. Questioning the deep-rooted myth of Italy within architectural history, the book presents case studies of Italy’s powerful yet problematic position in 20th-century architectural ideologies, at a time when established Eurocentric narratives are rightly being challenged. It reconciles the privileged position of Italian architecture and design with the imperative to write history across a more global, diverse, heterogenous cultural geography. Twenty chapters from distinguished international scholars cover subjects and architects ranging from Alberti to Gio Ponti, Aldo Rossi, Manfredo Tafuri, Vittorio Gregotti; cities from Rome and Venice to Milan; and an array of international architects, movements, and architectural ideas influenced by Italy. The chapters each question where, how, and why the disciplinary edifice of 20th-century architecture—its canon of built, visual, textual, and conceptual works—relied on Italian foundations, examining where and how those foundations have become insecure. Indispensable for students and scholars of both Italian and global architectural history, Italian Imprints on Twentieth-Century Architecture provides an opportunity to consider the architectural and urban landscape of Italy from substantially new points of view.

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Over recent years Complexity Science has revealed to us new limits to our possible knowledge and control in social, cultural and economic systems. Instead of supposing that past statistics and patterns will give us predictable outcomes for possible actions, we now know the world is, and will always be, creative and surprising. Continuous structural evolution within such systems may change the mechanisms, descriptors, problems and opportunities, often negating policy aims. We therefore need to redevelop our thinking about interventions, policies and policy making, moving perhaps to a humbler, more learning approach. In this Handbook, leading thinkers in multiple domains set out these new ideas and allow us to understand how these new ideas are changing policymaking and policies in this new era.'- Peter M Allen, Cranfield University, UK'Complexity Theory has come to the fore because the world we live in is complex and many of the issues which confront us cannot be handled by the conventional tools of science, including social science. In public policy and professional practice, we are well aware of wicked issues where simple interventions often make things worse instead of better. The chapters in this excellent Handbook put complexity to work where it matters in informing our thinking and action across governance and public policy.'- David Byrne, Durham University, UKThough its roots in the natural sciences go back to the early 20th century, complexity theory as a scientific framework has developed rapidly from the 1970s onwards. Since the 1990s, it has been increasingly integrated into the social sciences and public policy. The ground-breaking and wide-ranging Handbook on Complexity and Public Policy brings together the latest work from top academics, researchers and policy actors working with complexity and policy from Europe, North America, Brazil and China and organizes it into three clear and cohesive parts:- Theory and Tools- Methods and Modelling for Policy Research and Action- Applying Complexity to Local, National and International Policy.With its distinctive combination of theory, methods and policy applications, comprehensive coverage of the field and state of the art overview, this Handbook is an essential read for students, academics and policy practitioners.Contributors include: S. Astill, U.Bilge, T. Bovaird, P. Cairney, A. Caloffi, T. Carmichael, M. Darking, G. de Roo, B. Edmonds, C. Gershenson, R. Geyer, M. Givel, B. Gray, M. Hadzikadic, P. Haynes, C. Hobbs, M. Howlett, L. Johnson, R. Kenny, K.E. Lehmann, A. Little, Q. Liu, E. Mitleton-Kelly, G. Morçöl, D. Nohrstedt, S. Occelli, J. Price, J. Rayner, C. Ricaurte, G. Room, F. Rossi, M. Russo, F. Semboloni, K. Treadwell Shine, J. Stroud, T. Tenbensel, C. Warren-Adamson, T.E. Webb, A. Wellstead, J. Whitmeyer

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This Elgar Research Agenda showcases insights from leading researchers on the charged issues and questions that lie ahead in the multidisciplinary field of digital politics. Covering the political implications of the Internet, social media, datafication and computational analytics, it looks to the future of how research might address the political challenges of the digital age and maps the key emerging trends in this field. Contributors outline and engage with major questions related to the transformation of campaigns, elections and political partisanship through digital media, and identify the methodological pathways and problems that impact the field. Exploring the implications of digitisation for governance, democracy, privacy, surveillance, advocacy, activism, and political talk, this book highlights the emergent ethical issues that will shape the future of this burgeoning focus of research. Featuring crucial insights into an increasingly pertinent subject, this Research Agenda will be key reading for researchers and graduate students of Internet studies, new media studies and political science. Policy makers, political consultants and anyone with a serious interest in research into digital politics will also benefit from this book's forward-looking approach. Contributors include: N. Anstead, J.G. Blumler, A. Chadwick, S. Coleman, A. Drew, E. Dubois, W.H. Dutton, L. Fernandez, H. Ford, M.I. Franklin, P. Gerbaudo, D. Karpf, L. Lievrouw, W.-Y. Lin, F. Martin-Bariteau, D. McDowell-Naylor, G. Moss, B. O'Loughlin, P. Rossini, V. Schneider, L. Sorenson, S. Wright, X. Zhang

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In Poetry, Pictures, and Popular Publishing eminent Rossetti scholar Lorraine Janzen Kooistra demonstrates the cultural centrality of a neglected artifact: the Victorian illustrated gift book. Turning a critical lens on “drawing-room books” as both material objects and historical events, Kooistra reveals how the gift book’s visual/verbal form mediated “high” and popular art as well as book and periodical publication. A composite text produced by many makers, the poetic gift book was designed for domestic space and a female audience; its mode of publication marks a significant moment in the history of authorship, reading, and publishing. With rigorous attention to the gift book’s aesthetic and ideological features, Kooistra analyzes the contributions of poets, artists, engravers, publishers, and readers and shows how its material form moved poetry into popular culture. Drawing on archival and periodical research, she offers new readings of Eliza Cook, Adelaide Procter, and Jean Ingelow and shows the transatlantic reach of their verses. Boldly resituating Tennyson’s works within the gift-book economy he dominated, Kooistra demonstrates how the conditions of corporate authorship shaped the production and receptionof the laureate’s verses at the peak of his popularity. Poetry, Pictures, and Popular Publishing changes the map of poetry’s place—in all its senses—in Victorian everyday life and consumer culture.

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A fearsome young woman stormsinger and pirate hunter join forces against a deathless pirate lord in this swashbuckling Jacobean adventure on the high-seas. Launching the Winter Sea series, full of magic, betrayal and redemption, for readers of Adrienne Young, R. J. Barker and Naomi Novik Mary Firth is a Stormsinger: a woman whose voice can still hurricanes and shatter armadas. Faced with servitude to pirate lord Silvanus Lirr, Mary offers her skills to his arch-rival in exchange for protection - and, more importantly, his help sending Lirr to a watery grave. But her new ally has a vendetta of his own, and Mary's dreams are dark and full of ghistings, spectral creatures who inhabit the ancient forests of her homeland and the figureheads of ships. Samuel Rosser is a disgraced naval officer serving aboard The Hart, an infamous privateer commissioned to bring Lirr to justice. He will stop at nothing to capture Lirr, restore his good name and reclaim the only thing that stands between himself and madness: a talisman stolen by Mary. Finally, driven into the eternal ice at the limits of their world, Mary and Samuel must choose their loyalties and battle forces older and more powerful than the pirates who would make them slaves. Come sail the Winter Sea, for action-packed, high-stakes adventures, rich characterisation and epic plots full of intrigue and betrayal.

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It is the first time that the different strategic advertising mechanisms are explained in a single book. And this is also the first time that a book has brought together the most important and transcendent (for its applicability to the advertising market) strategic advertising mechanisms. The text explains from classic mechanisms such as Rosser Reeves's USP or Procter & Gamble's copy strategy to modern mechanisms such as Kevin Roberts's Lovemarks or Douglas Holt's iconic brands. It also considers European mechanisms such as Jacques Séguéla’s star strategy or Henri Joannis’s psychological axis. The book has the most complete academic review. Strategic Advertising Mechanisms: From Copy Strategy to Iconic Brands, integrates the most important strategic advertising mechanisms developed throughout the time: USP, brand image, positioning, Lovemarks... This is the first and only book to date that compiles the most consolidated methods by advertisers or advertising agencies (P&G, Bates, Ogilvy or Euro) in the history of modern advertising. Primary readership will be among practitioners, researchers, scholars and students in a range of disciplines, including communication, advertising, business and economic, information and communication, sociology, psychology and humanities. There may also be appeal to the more general reader with an interest in how advertising strategic planning works.

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In May of 1868, Elizabeth Bingham Young and her husband of only fivemonths, Egerton Ryerson Young, began a long journey from Hamilton,Ontario, to the Methodist mission of Rossville, at Norway House. Overthe next eight years, Elizabeth supported her husband’s work atRossville and then at the newly founded mission of Berens River, on theeast shore of Lake Winnipeg. In these remote outposts, she gave birthto four children, one of whom died in infancy, acted as a nurse anddoctor, and applied both perseverance and determination to learningCree, while also coping with poverty and a chronic shortage ofsupplies, both in the mission and in the community it served. WhenElizabeth died, in 1935, she left behind various reminiscences, notablyan extended account of her experiences at Norway House and BerensRiver, evidently written in 1927. Her memoirs offer an exceedingly rareportrait of mission life as seen through the eyes of a woman. Elizabeth’s first child and only surviving son, also namedEgerton Ryerson Young but known in his youth as “Eddie,”was born at Norway House in 1869. Cared for by a Cree woman almost frominfancy, Eddie spent his early childhood immersed in local Cree andOjibwe life, culture, and language, in many ways exemplifying theprocess of reverse acculturation often in evidence among the childrenof missionaries. He, too, left behind hitherto unpublishedreminiscences, one composed around 1935 and a second dictated shortlybefore his death. Like those of his mother, Eddie’s memoriescapture the sensory and emotional texture of mission life, a life inwhich the Christian faith is implicit rather than prominently ondisplay, while also providing an intriguing counterpoint to hismother’s recollections. Like all memoirs, these are refractedthrough the prism of time, and yet they remain startling in theirimmediacy. Together, the writings of mother and son—conjoinedhere with a selection of archival documents that supplement the mainnarratives, with the whole meticulously edited by Jennifer S. H.Brown—afford an all too uncommon opportunity to contemplatemission life from the ground up.

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An architect without being one, an anomalous designer, a gifted draftsman and collector of objects, Luca Meda (1936-1998) wrote one of the most important chapters in the history of 20th-century Italian design. The world of domestic interiors was his privileged field of action, and the very close, one-of-a-kind relationship with Molteni&C has provided, since the seventies, an example of perfect symbiosis between creativity and business, art and industry. Among the pieces of furniture that have become iconic are the Piroscafo bookcase designed together with Aldo Rossi, the Zim and Ho chairs, the Vivette armchair, the Primafila sofa and the modular systems 505 and Pass. This publication offers an exhaustive portrait of Luca Meda, at long last highlighting the importance and extent of his production - which includes furniture, installations, architectural projects and design objects of all sorts - in the context of a still pioneering season of Italian design, but to whom we nevertheless owe the subsequent success on the world stage. The historical-critical essays dedicated to his work are accompanied by a series of interviews with collaborators and friends who shared knowledge and practice in the realisation of his projects, as well as the re-edition of an interview with Meda himself, published on “Gap casa” in 1983. Bio-bibliographical appendix and a list of works complete the fascinating journey of the volume. Critical essays: Serena Maffioletti, Alberto Ferlenga, Sofia Meda, Nicola Braghieri, Beatrice Lampariello, Rosa Chiesa, Giampiero Bosoni e Chiara Lecce, Dario Scodeller, Mario Piazza. Interviews: Luca Meda, Romano Barchi, Mario Carrieri, Nicola Gallizia, Eliana Gerotto, Peter Hefti, Felix Humm, Laura Maifreni, Bruno Longoni, Carlo Molteni, Diego Peverelli, Richard Sapper, Filippo Zagni. Text in English and Italian.

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Despite its apparent throwaway status, the stock image comprises the primary commodity of a billion-dollar global industry with far-reaching effects in the marketplace and the public sphere. Taking this overlooked facet of contemporary life as a point of departure, Ordinary Pictures explores the photographic apparatuses and commercial interests that have given rise to our generic image culture through the conceptual image-based work of some 40 artists, including John Baldessari, Steven Baldi, Sarah Charlesworth, Anne Collier, Liz Deschenes, John Divola, Aleksandra Domanovi´c, Hans-Peter Feldmann, Morgan Fisher, Hollis Frampton, Jack Goldstein, Rachel Harrison, Robert Heinecken, Leslie Hewitt, Elad Lassry, Louise Lawler, Sherrie Levine, Steve McQueen, Jack Pierson, Peter Piller, Seth Price, Amanda Rossotto, Ed Ruscha, Steven Shore, Sturtevant, Mungo Thomson, Wolfgang Tillmans, Tseng Kwong Chi, Julia Wachtel and Christopher Williams. Spanning generations, movements and artistic strategies from the 1960s to the present day, this publication brings together works by artists who have probed, mimicked and critiqued this aspect of our visual environment as well as its industrial modes of production and distribution. Through the work of these artists and a series of scholarly essays, the catalogue aims to examine different operations of the generic image in culture, namely its anonymous circulation and editorial uses, its adaptability and reproducibility, its technical processes of production, its claim to copyright and artistic license and its tendency toward abstraction. Featuring a unique, coil-bound design reminiscent of stock photo catalogues and a flexidisc recording by the artist Jack Goldstein, this highly collectible book ultimately reflects on contemporary art’s own complicit function as an expanding industrial image economy.

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The ebook edition of this novel is published under the title LOSE YOURSELF (The Desires Unlocked Trilogy Part Two). 2012. Photographer Valentina Rosselli has been invited to participate in a show of erotic photography in London, an opportunity she finds impossible to turn down. Yet London is where her ex-lover Theo Steen now lives. Deep down Valentina knows that Theo is the only man she's ever loved. Is it possible that they could rekindle their passion, or has she lost him forever? 1948. Maria leaves Italy to study contemporary dance in London, where she falls passionately in love for the first time - but when she follows her lover to post-war France, with its hidden underworld of latent desire, she finds that love induces her to behave in ways she never thought possible. As Valentina uncovers Maria's story, and its ties to her own, she begins to question how much one should change for love. Is she brave enough to risk her heart and step over the edge?

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Secretly we all want to be beautiful. And while we may not aspire to look like a waif-like model, few of us would turn down the genes that make Isabella Rossellini the icon of beauty that she is. Most of us would be happy simply to make the best of ourselves, to look more beautiful without losing the essence of what makes us individually attractive. Fortunately there are a few tricks that can help us achieve this, and this little book has them all. Packed with practical tips, inspirational photography, and fascinating facts, this stylish new edition of Things a Woman Should Know About Beauty can help you discover ways to make yourself more beautiful. Through cosmetics, treatments and a little attention to inside as well as out, you might be the only one to notice more than a subtle difference, but in the words of a woman who knows all there is about looking good..."Nothing makes a woman more beautiful than the belief that she is beautiful". (Sophie Loren).

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Nach Erschließung der hebräischen Textbasis durch die Edition der Geniza-Fragmente (2003) und die Synopse der Handschriften beider Versionen von Avot de-Rabbi Natan (2006) legt Hans-Jürgen Becker mit diesem Band eine Übersetzung von Version B vor, die auf dem aktuellen Stand der Textforschung diese für Geschichtsdeutung und Weisheit des antik-rabbinischen Judentums zentrale Quelle auch den Interessierten angrenzender Disziplinen zugänglich macht.Das Werk enthält unter anderem die älteste Fassung der rabbinischen Legenden zu den Umständen der Zerstörung Jerusalems im Jahre 70 n. Chr., Sentenzen und Rätselworte der Weisen des ersten und zweiten Jahrhunderts, Geschehnisse aus ihrem Leben und Schilderungen ihres Alltags mit viel Zeitkolorit, zahlreiche Gleichnisse sowie auch längere schriftauslegende Passagen, etwa zur Erschaffung des Menschen nach dem Bericht der Genesis. Fiktive Gespräche mit Kaisern, Matronen und Philosophen zeugen zusammen mit einer Vielzahl griechischer und lateinischer Lehnwörter von der Verbundenheit der Rabbinen mit der sie umgebenden Kultur.Grundlage dieser ersten Übersetzung ins Deutsche ist die älteste und vollständigste erhaltene Handschrift MS Parma 2785 (= de Rossi 327, Spanien 1289), ergänzt durch MS Vatikan 303 (Italien, 15. Jh.). Übersetzungsrelevante Varianten sämtlicher Textzeugen werden anmerkungsweise oder durch synoptische Darstellung dokumentiert. Die Übersetzung ist um größtmögliche Wörtlichkeit bemüht - schwierige Stellen werden sprachlich nicht geglättet. Die Anmerkungen geben Hinweise zum möglichen Textverständnis, ohne der Interpretation vorzugreifen.

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Over the last five years, corporations and individuals have given more money, more often, to charitable organizations than ever before. What could possibly be the downside to inhabiting a golden age of gift-giving? That question lies at the heart of Timothy Campbell’s account of contemporary giving and its social forms. In a milieu where gift-giving dominates, nearly everything given and received becomes the subject of a calculus—gifts from God, from benefactors, from those who have. Is there another way to conceive of generosity? What would giving and receiving without gifts look like? A lucid and imaginative intervention in both European philosophy and film theory, The Techne of Giving investigates how we hold the objects of daily life—indeed, how we hold ourselves—in relation to neoliberal forms of gift-giving. Even as instrumentalism permeates giving, Campbell articulates a resistant techne locatable in forms of generosity that fail to coincide with biopower’s assertion that the only gifts that count are those given and received. Moving between visual studies, Winnicottian psychoanalysis, Foucauldian biopower, and apparatus theory, Campbell makes a case for how to give and receive without giving gifts. In the conversation between political philosophy and classic Italian films by Visconti, Rossellini, and Antonioni, the potential emerges of a generous form of life that can cross between the visible and invisible, the fated and the free.

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In Poetry, Pictures, and Popular Publishing eminent Rossetti scholar Lorraine Janzen Kooistra demonstrates the cultural centrality of a neglected artifact: the Victorian illustrated gift book. Turning a critical lens on “drawing-room books” as both material objects and historical events, Kooistra reveals how the gift book’s visual/verbal form mediated “high” and popular art as well as book and periodical publication. A composite text produced by many makers, the poetic gift book was designed for domestic space and a female audience; its mode of publication marks a significant moment in the history of authorship, reading, and publishing. With rigorous attention to the gift book’s aesthetic and ideological features, Kooistra analyzes the contributions of poets, artists, engravers, publishers, and readers and shows how its material form moved poetry into popular culture. Drawing on archival and periodical research, she offers new readings of Eliza Cook, Adelaide Procter, and Jean Ingelow and shows the transatlantic reach of their verses. Boldly resituating Tennyson’s works within the gift-book economy he dominated, Kooistra demonstrates how the conditions of corporate authorship shaped the production and receptionof the laureate’s verses at the peak of his popularity. Poetry, Pictures, and Popular Publishing changes the map of poetry’s place—in all its senses—in Victorian everyday life and consumer culture.

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This ravishing book opens a window onto the lives, designs, and passions of two charismatic artists. Born a generation apart, they were seeming opposites: Mariano Fortuny, a Spanish aristocrat thrilled by the sun-baked cultures of Crete and Knossos; William Morris, a British craftsman, in thrall to the myths of the North. Yet through their revolutionary inventions and textiles, both men inspired a new variety of art, as vibrant today as when it was first conceived. Acclaimed writer A.S. Byatt traces their genius right to the source.The Palazzo Pesaro Orfei in Venice is a warren of dark spaces leading to a workshop where Fortuny created his designs for pleated silks and shining velvets. Here he worked alongside the French model who became his wife and collaborator, including on the ‘Delphos’ dress – a flowing gown evoking classical Greece.Morris’s Red House, outside London, with its Gothic turrets and secret gardens, helped inspire his stunning floral and geometric patterns; it also represented a coming together of life and art. But it was Kelmscott Manor in the English countryside that he loved best – even when it became the setting for his wife’s love affair with Dante Gabriel Rossetti. Generously illustrated with the artists’ beautiful designs – pomegranates and acanthus, peacock and vine – A.S. Byatt brings the visions and ideas of Fortuny and Morris dazzlingly to life.

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The proliferation of virtual and augmented reality technologies into society raise significant questions for judges, legal institutions, and policy makers. For example, when should activities that occur in virtual worlds, or virtual images that are projected into real space (that is, augmented reality), count as protected First Amendment 'speech'? When should they instead count as a nuisance or trespass? Under what circumstances would the copying of virtual images infringe intellectual property laws, or the output of intelligent virtual avatars be patentable inventions or works of authorship eligible for copyright? And when should a person (or computer) face legal consequences for allegedly harmful virtual acts?The Research Handbook on the Law of Virtual and Augmented Reality addresses these questions and others, drawing upon free speech doctrine, criminal law, the law of data protection and privacy, and of jurisdiction, as well as upon potential legal rights for increasingly intelligent virtual avatars in VR worlds. The Handbook offers a comprehensive look at challenges to various legal doctrines raised by the emergence - and increasing use of - virtual and augmented reality worlds, and at how existing law in the USA, Europe, and other jurisdictions might apply to these emerging technologies, or evolve to address them. It also considers what legal questions about virtual and augmented reality are likely to be important, not just for judges and legal scholars, but also for the established businesses and start-ups that wish to make use of, and help shape, these important new technologies.This comprehensive Research Handbook will be an invaluable reference to those looking to keep pace with the dynamic field of virtual and augmented reality, including students and researchers studying intellectual property law as well as legal practitioners, computer scientists, engineers, game designers, and business owners.Contributors include: W. Barfield, P.S. Berman, M.J. Blitz, S.J. Blodgett-Ford, J. Danaher, W. Erlank, J.A.T. Fairfield, J. Garon, G. Hallevy, B. Lewis, H.Y.F. Lim, C. Nwaneri, S.R. Peppet, M. Risch, A.L. Rossow, J. Russo, M. Supponen, A.M. Underhill, B.D. Wassom, A. Williams, G. Yadin

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This textbook on rotating fluid dynamics combines a pedagogical development of theoretical ideas with a description and analysis of many of the fascinating examples of rotating flows found in nature. The book is self-contained, starting in Part I with introductory chapters on fluid dynamics and waves. The largest section of the book is Part II, where a broad theoretical framework is developed for rotating flows, including Ekman layers, inertial waves, Taylor columns, Rossby waves, precession, instabilities, rotating convection, vortex breakdown, and rotating turbulence. The book ends, in Part III, with an analysis of some naturally occurring rotating flows, including tornadoes and dust devils, tidal vortices, tropical cyclones, convection in planetary cores, zonal winds in planetary atmospheres, and astrophysical accretion discs. Davidson presents a unique combination of a deep but broad theoretical framework with a detailed discussion of many naturally occurring flows. Moreover, the b

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The Honey Gatherers takes its title from a phrase in Michael Ondaatje’s The Cinnamon Peeler, a poem which describes the need to be marked, and marked out, by love. The search, the sweetness, the sting and the death of love, are all to be found in this anthology. Wide-ranging in its inclusiveness, The Honey Gatherers celebrates the great passions of John Donne, Christina Rossetti, Shakespeare, Keats, Sir Thomas Wyatt and the beloved Anon, whilst con?rming the extraordinary gift to this headlong debate of 20th century poets. Pablo Neruda, Lorna Goodison, Brian Patten, Adrienne Rich, Tess Gallagher, W.H. Auden, Stevie Smith, Dorothy Parker, John Montague, Thom Gunn, Carol Ann Duffy and Sharon Olds are just some of those who meet in these pages. Here are poems about romantic love, the ideal of love, the hurt of love, lost or unrequited love and parting – all you might expect to ?nd in such a gathering – but here too are poems of friendship, surprise, celebration and consolation. This is a book which explores Raymond Carver’s big question ‘And what did you want?’ and offers some answers: ‘To call myself beloved, to feel myself beloved on the earth.’ – Raymond Carver: ‘Late Fragment’ Most love poetry anthologies only cover the classics. This one includes modern poets and erotic poetry as well.

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The story of how a group of precocious young artists shook up the British art establishment, told through their works, letters and diaries. An illustrated history of the linked lives and loves of a group of supremely talented artists of late Victorian Britain through their passionate writings. It features the painters, poets, critics and designers: Ford Madox Brown, Edward Burne-Jones, Fanny Cornforth, William Holman Hunt, John Everett Millais, William and Janey Morris, Christina, Dante Gabriel, and William Rossetti, John Ruskin, William Bell Scott and Lizzie Siddal. The artistic aspirations and achievements of the Pre-Raphaelite Brotherhood are revealed alongside the interwoven dramas of their personal lives, in letters, diaries and reminiscences, while their genius is displayed in vivid paintings, drawings, designs and poems. The Pre-Raphaelites was a charmed circles of love, friendship and art. Within an ever-changing flow of affections, and intimacies as richly patterned as a tapestry, they worked together as companions, lovers and partners. They shared tragedy as well as happiness, critical hostility as well as success, even the griefs of infidelity and discord. These creative partnerships, which also created the firm William Morris and Co, revitalised Victorian art and design. The new edition publishes in time for the start of the Burne Jones Exhibition at Tate Britain, starting in October 18. It is a vital book in understanding the Pre-Raphaelite art, which remains as popular and moving as ever.

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With Reading the Obscene, Jordan Carroll reveals new insights about the editors who fought the most famous anti-censorship battles of the twentieth century. While many critics have interpreted obscenity as a form of populist protest, Reading the Obscene shows that the editors who worked to dismantle censorship often catered to elite audiences composed primarily of white men in the professional-managerial class. As Carroll argues, transgressive editors, such as H. L. Mencken at the Smart Set and the American Mercury, William Gaines and Al Feldstein at EC Comics, Hugh Hefner at Playboy, Lawrence Ferlinghetti at City Lights Books, and Barney Rosset at Grove Press, taught their readers to approach even the most scandalizing texts with the same cold calculation and professional reserve they employed in their occupations. Along the way, these editors kicked off a middle-class sexual revolution in which white-collar professionals imagined they could control sexuality through management science. Obscenity is often presented as self-shattering and subversive, but with this provocative work Carroll calls into question some of the most sensational claims about obscenity, suggesting that when transgression becomes a sign of class distinction, we must abandon the idea that obscenity always overturns hierarchies and disrupts social order. Winner of the 2022 MLA Prize for Independent Scholars, sponsored by the Modern Language Association

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The end of the Second World War saw the emergence of neorealist film in Italy. In Italian Neorealist Cinema, Christopher Wagstaff analyses three neorealist films that have had significant influence on filmmakers around the world. Wagstaff treats these films as assemblies of sounds and images rather than as representations of historical reality. If Roberto Rossellini's Roma citt aperta and Pais , and Vittorio De Sica's Ladri di biciclette are still, half a century after they were made, among the most highly valued artefacts in the history of cinema, Wagstaff suggests that this could be due to the aesthetic and rhetorical qualities of their assembled narratives, performances, locations, lighting, sound, mise en sc ne, and montage. This volume begins by situating neorealist cinema in its historical, industrial, commercial and cultural context, and makes available for the first time a large amount of data on post-war Italian cinema. Wagstaff offers a theoretical discussion of what it means to treat realist films as aesthetic artefacts before moving on to the core of the book, which consists of three studies of the films under discussion. Italian Neorealist Cinema not only offers readers in Film Studies and Italian Studies a radically new perspective on neorealist cinema and the Italian art cinema that followed it, but theorises and applies a method of close analysis of film texts for those interested in aesthetics and rhetoric, as well as cinema in general.

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Complicating Articulation in Art Cinema argues that art cinema draws attention to its disjointed, multi-parted form, but that criticism has too frequently sought to explain this complexity away by stitching the parts together in totalizing readings. This stitching together has often relied on the assumption that the solution to art cinema's puzzles lies in interpreting each film as the expression of a focalizing character's internal disturbance. This book challenges this assumption. It argues that the attempt to explain formal complexity through this character-centric approach reduces formal achievements and enigmatic characters to inadequate approximations of one another. Reference to character cannot fully tame unschematic and unpredictable combinations of - and collisions between - contradictory levels of narration, clashing styles, discontinuously edited shots, jarring allusions, dislocated genre signifiers, and intermedial elements. Through close analyses of films by Roberto Rossellini, Robert Bresson, Luis Buñuel, Terence Davies, Peter Greenaway, and Kelly Reichardt, Complicating Articulation in Art Cinema offers an ethics of criticism that suggests that the politics of art cinema's eccentric form are limited by character-centred readings. Each of the featured films presents inarticulate characters, whose emotional and intellectual lives are unknowable, further complicating the relationship between character and form. This book argues that, by acknowledging this resistance to interpretation, critics can think in new ways about art cinema's interrogation of the possibilities of knowledge.

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Choice Outstanding Academic Title 2023 From The Passion of the Christ to Life of Brian, and from The Ten Commandments to Last Temptation of Christ, filmmakers have been adapting the stories of the Bible for over 120 years, from the first time the Höritz Passion Play was filmed in the Czech Republic back in 1897. Ever since, these stories have inspired musicals, comedies, sci-fi, surrealist visions and the avant-garde not to mention spawning their own genre, the biblical epic. Filmmakers across six continents and from all kinds of religious perspectives (or none at all), have adapted the greatest stories ever told, delighting some and infuriating others. 100 Bible Films is the indispensable guide to this wide and varied output, providing an authoritative but accessible history of biblical adaptations through one hundred of the most interesting and significant biblical films. Richly illustrated with film stills, this book depicts how such films have undertaken a complex negotiation between art, commerce, entertainment and religion. Matthew Page traces the screen history of the biblical stories from the very earliest silent passion plays, via the golden ages of the biblical epic, through to more innovative and controversial later films as well as covering significant TV adaptations. He discusses films made not only by some of our greatest filmmakers, artists such as Martin Scorsese, Jean Luc Godard, Alice Guy, Roberto Rossellini, Pier Paolo Pasolini, Lotte Reiniger, Carl Dreyer and Luis Buñuel, but also those looking to explore their faith or share it with lovers of cinema the world over.

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This book investigates what a case study of a northern market town and its rural hinterland can tell us about village differentiation, exploring how and why rural communities developed in what was chiefly an industrial region and, notably, how the relationship between town and country influenced rural communities. It looks at six villages close to Doncaster - Sprotbrough, Warmsworth, Rossington, Fishlake, Stainforth and Braithwell - chosen to represent the diversity of landownership and land type of the Doncaster district. Rural communities, and more specifically the development of English villages, have proved fertile ground for historians. This book makes an original contribution to these debates. In particular, it engages with existing models of village typology, suggesting that not only are they too restrictive to account for nuanced differences, but also that they fail to acknowledge the importance of the relationships between rural communities and between town and country. Following Sarah Holland’s detailed research into different aspects of rural communities, the book offers new perspectives on how rural communities in close proximity developed, often differently, during the mid-nineteenth century. Themes looked at in detail include living and working conditions, agriculture and industry, religion and education, and through these Holland considers existing theories of village typology, before setting out her ideas regarding social hierarchies, spheres of influence and agency, which combine to create complex patterns of differentiation. Communities in Contrast will appeal to all those interested in rural life and economy in the nineteenth century, the relationship between town and country, as well as the history of Yorkshire.

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Bob Dawson has had a vast of experience, spanning over 35 years, with both the Spirit World, and the Spiritualist Movement and its periphery. During this time he has developed as a Healer and a Spiritualist Medium, and he has taken Spiritualist Church Services, workshops, and demonstrated Mediumship throughout the North West of England. In the past he was a committee member and former President of Rawtenstall Spiritualist Church, and is the Founder and Trustee of Rossendale Spiritualist Centre, which was established in 2003. During his life Bob has witnessed an array of what people would describe as paranormal events. Many would consider these magical, or even impossible, but in fact they are a reality, and adhere precisely to the Laws of Creation. He describes these events as life changing, in particular the physical phenomena that he has witnessed, and these are documented and critically examined within his book. In recounting these experiences Bob adds his own thought-provoking insight into the workings of Creation, and the function of the Spirit World through the evidence they have provided. He also explains the manifestation of our Spirit incarnation and reason for our progressive experiences in this world. This book provides the reader with an insight to what the Spirit World can achieve and demonstrate at our physical level, and points the way towards the self-discovery of who you truly are, which is not who you think you are. You Can’t Die for The Life In You is a fascinating account which will continue to stimulate the readers’ curiosity about the evidence, their identity, and life itself.

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MotoGP is enjoying a period of unprecedented popularity and Ring of Fire details the acclaim, the heroism and the pressures of riding motorbikes at speeds of more than 200mph. This is a world where manufacturers invest millions and the world champion celebrates by staging mock jail breaks and giving pillion rides to a blow-up doll. One rider warms up for major races by singing Hank Marvin songs on his karaoke machine and a rising Italian star sees the world in terms of black and white energy tubes. Another sees nothing strange in racing with two broken ankles.Ring of Fire covers the recent history of MotoGP, from American Nicky Hayden spectacularly overturning established champion Valentino Rossi in 2006, through the emergence of wild young Australian Casey Stoner as the new champion in 2007, to the fierce rivalry between them and Spaniards Dani Pedrosa and Jorge Lorenzo in what would prove to be one of the most closely-contested years of racing in 2008. It gives a behind the scenes look at World Superbike Champion James Toseland's attempts to break into this elite, and looks back at the tradition of reprobates, romance and debauchery in the paddock dating back to the 60s and stars like Mike Hailwood and Giacomo Agostino.Rick Broadbent introduces us not just to the stars and the multi-million pound contracts, but also to the officals, mechanics, doctors, team owners and fans who make up this white-knuckle ride of a sport. By turns funny, sad, shocking and uplifting, Ring of Fire brings us face to face with those who battle to emerge unscathed, or who just ignore the pain and ride to win against all odds.

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