Search results for ""Author Robert"

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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Behind some of the most popular works of science fiction, fantasy, and horror there are forgotten stories of female creators. It's no secret that genres like science fiction, fantasy, horror, and more, have evolved from niche interest to mainstream staple in the last few decades. However, the countless women who have been instrumental in creating and shaping those genres for the last fifty-plus years have largely gone largely unrecognized -- until now. Pop Culture Pioneers explores and pays respect to the work and influence of the female creators who played a crucial role in creating and influencing of some of the most famous worlds and characters in pop culture from the early 70s through to 2010 including:* Creators like Bonnie Erickson (co-creator of Miss Piggy), Christy Marx (Jem! And The Holograms creator), Roberta Williams (creator of the adventure game genre), and Betty Cohen (founder of Cartoon Network)* Writers & Editors like Jeanette Khan (head of DC Comics), Alice Bradley Sheldon (writing as James Tiptree Jr.) and Malia Scotch Marno (screenwriter for Jurassic Park and Hook)* Animators & Artists like Vicky Jenson (animator and director of Shrek) and Brenda Chapman (animator and director of Brave)* Directors & Producers like Jean MacCurdy (producer of Batman: The Animated Series and Animaniacs), Denise Di Novi (co-producer of Batman Returns and The Nightmare Before Christmas), and Fran Walsh (co-producer of the Lord of the Rings trilogy)* As well as Yvonne Blake (costume designer for Superman), Marlene Clark (Blaxploitation actress), Jane Feinberg (casting director for Blade Runner, E.T., The Goonies, and Indiana Jones), and so many more!

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Can poetry act as an aesthetic amplification device, akin to a microscope, through which we can sense minute or nearly imperceptible phenomena such as the folding of molecules into their three-dimensional shapes, the transformations that make up the life cycle of a silkworm, or the vaporous movements that constitute the ever-shifting edges of clouds? We tend to think of these subjects as reserved for science, but, as Ada Smailbegović argues, twentieth- and twenty-first-century writers have intermingled scientific methodologies with poetic form to reveal unfolding processes of change. Their works can be envisioned as laboratories within which the methodologies of experimentation, natural historical description, and taxonomic classification allow poetic language to register the rhythms and durations of material transformation.Poetics of Liveliness moves across scales to explore the realms of molecules, fibers, tissues, and clouds. It investigates works such as Christian Bök’s insertion of a poetic text into the DNA code of living bacteria in order to generate a new poem in the shape of a protein molecule, Jen Bervin’s considerations of silk fibers and their use in biomedicine, Gertrude Stein’s examination of brain tissues in medical school and its subsequent influence on her literary taxonomies of character, and Lisa Robertson’s studies of nineteenth-century meteorology and the soft architecture of clouds. In their attempt to understand physical processes unfolding within lively material worlds, Smailbegović contends, these poets have developed a distinctive materialist poetics. Structured as a poetic cosmology akin to Lucretius’s “On the Nature of Things,” which begins at the atomic level and expands out to the vastness of the universe, Poetics of Liveliness provides an innovative and surprising vision of the relationship between science and poetry.

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A thoroughly updated and substantially expanded edition of an acclaimed anthologyThis is a thoroughly updated and substantially expanded new edition of one of the most popular, wide-ranging, and engaging anthologies of Western political thinking, one that spans from antiquity to the twenty-first century. In addition to the majority of the pieces that appeared in the original edition, this new edition features exciting new selections from more recent thinkers who address vital contemporary issues, including identity, cosmopolitanism, global justice, and populism. Organized chronologically, the anthology brings together a fascinating array of writings—including essays, book excerpts, speeches, and other documents—that have indelibly shaped how politics and society are understood. Each chronological section and thinker is presented with a brief, lucid introduction, making this a valuable reference as well as an essential reader. A thoroughly updated and substantially expanded edition of an acclaimed anthology of political thought Features a wide range of thinkers, including Thucydides, Plato, Aristotle, Cicero, Augustine, Aquinas, Christine de Pizan, Machiavelli, Luther, Calvin, Hobbes, Spinoza, Locke, Swift, Hume, Rousseau, Adam Smith, Jefferson, Burke, Olympes de Gouges, Wollstonecraft, Kant, Hegel, Bentham, Mill, de Tocqueville, Frederick Douglass, Lincoln, Marx, Nietzsche, Lenin, John Dewey, Gaetano Mosca, Roberto Michels, Weber, Emma Goldman, Freud, Einstein, Mussolini, Arendt, Hayek, Franklin D. Roosevelt, T. H. Marshall, Orwell, Leo Strauss, de Beauvoir, Fanon, Martin Luther King Jr., Malcolm X, Havel, Fukuyama, Habermas, Foucault, Rawls, Nozick, Walzer, Iris Marion Young, Martha Nussbaum, Peter Singer, Amartya Sen, and Jan-Werner Müller Includes brief introductions for each thinker

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Jim Jarmusch: Music, Words and Noise is the first book to examine the films of Jim Jarmusch from a sound-oriented perspective. The three essential acoustic elements that structure a film - music, words and noise - propel this book's fascinating journey through his work. Exploring the director's extensive back catalogue, including Stranger Than Paradise (1984), Down By Law (1986), Dead Man (1995), and Only Lovers Left Alive (2013) Sara Piazza's unique reading reveals how Jarmusch created a form of "sound democracy" in film, in which all acoustic layers are capable of infiltrating each other and in which sound is not subordinate to the visual. In his cultural melting pot, hierarchies are irrelevant: Schubert and Japanese noise-bands, Marlowe and Betty Boop can co-exist easily side-by-side. Developing the innovative idea of a Silent-Sound Film, Piazza identifies prefiguring elements from pre-sound-era film in Jarmusch's work. Highlighting the importance of Jarmusch's treatment of sound, Piazza investigates how the director's distinctive reputation consolidated itself over the course of a thirty-year career.Based in New York, Jarmusch was able to develop a fiercely personal vision far from the commercial pressures of Hollywood. The book uses wide-ranging examples from music, film, literature and visual art, and features interviews with many prominent figures including Ennio Morricone, Luc Sante, Roberto Benigni, John Lurie, and Jarmusch himself.An innovative account of a much-admired body of work, Jim Jarmusch will appeal not only to the many fans of the director, but also all those interested in the connections between sound and film.

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To speak of “restoration” in relation to contemporary art seems almost oxymoronic. On the one hand, it is commonly assumed that the art produced in our own time is still too new to need conservation. On the other hand, with some artists deliberately seeking change or decay in their art through the use of perishable or unstable materials, the conceptual assumptions and technical practices governing conservation and restoration are being subjected to fascinating new challenges. Mass-produced objects, bread, beans, blood, excrement (human and animal), garbage, seeds, leaves, moving gears, lights and scents are just some of the materials that a restorer of contemporary art has to deal with. These wear out, grow rusty or moldy, fade, ferment, become infested by insects, stall, dry out. Each work of contemporary art is unique and unrepeatable—and consequently so is each intervention made by a conservator. Questions of how to conserve these kinds of artworks—and to what ends—have a critical bearing on how contemporary art is seen and understood. But the peculiarities of restoring contemporary art have received relatively little exploration or theorization outside of the technical conservation literature. Featuring interviews with curators and artists such as Roberto Cuoghi and Massimiliano Gioni, Art Work: Conserving and Restoring Contemporary Art fills this gap, inviting readers to explore how conservation practices are shaping the nature of the contemporary art object.

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In The Americas Revealed, distinguished art historian and curator Edward J. Sullivan brings together a vibrant group of essays that explore the formation, in the United States, of public and private collections of art from the Spanish- and Portuguese-speaking Americas.The contributors to this volume trace the major milestones and emerging approaches to collecting and presenting Spanish Colonial and modern Latin American art by museums, galleries, private collections, and corporations from the late nineteenth to the twenty-first century. In chronicling the roles played by determined collectors from New York to San Francisco, the essays examine a range of subjects from MoMA’s mid-twentieth-century acquisition strategies to the growing taste on the West Coast for the work of Diego Rivera. They consider the impact of various political shifts on art collecting, from reactions against the “American exceptionalism” of the Monroe Doctrine to the aesthetic biases of government-sponsored art academies in Mexico, Rio de Janeiro, and Havana. The final three chapters focus on living collectors such as Roberta and Richard Huber, Patricia Phelps de Cisneros, and Estrellita B. Brodsky.A thorough and definitive account of the changing course of private and public collections and their important connection to underlying political and cultural relations between the United States and Latin American countries, this volume gives a rare glimpse into the practice of collecting from the collectors’ own point of view.In addition to the editor, contributors to this volume are Miriam Margarita Basilio, Estrellita B. Brodsky, Vanessa K. Davidson, Anna Indych-López, Ronda Kasl, Gabriel Pérez-Barreiro, Berit Potter, Mari Carmen Ramírez, Joseph Rishel, Delia Solomons, and Suzanne Stratton-Pruitt.

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In the postdictatorial era, Latin American cultural production and criticism have been defined by a series of assumptions about politics and art—expecially the claim that political freedom can be achieved by promoting a more direct experience between the textual subject (often a victim) and the reader by eliminating the division between art and life. The Vanishing Frame argues against this conception of freedom, demonstrating how it is based on a politics of human rights complicit with economic injustices. Presenting a provocative counternarrative, Eugenio Claudio Di Stefano examines literary, visual, and interdisciplinary artists who insist on the autonomy of the work of art in order to think beyond the politics of human rights and neoliberalism in Latin American theory and culture.Di Stefano demonstrates that while artists such as Diamela Eltit, Ariel Dorfman, and Albertina Carri develop a concept of justice premised on recognizing victims’ experiences of torture or disappearance, they also ignore the injustice of economic inequality and exploitation. By examining how artists such as Roberto Bolaño, Alejandro Zambra, and Fernando Botero not only reject an aesthetics of experience (and the politics it entails) but also insist on the work of art as a point of departure for an anticapitalist politics, this new reading of Latin American cultural production offers an alternative understanding of recent developments in Latin American aesthetics and politics that puts art at its center and the postdictatorship at its end.

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Carlos Chavez (1899-1978) is the central figure in Mexican music of the twentieth century and among the most eminent of all Latin American modernist composers. An enfant terrible in his own country, Chavez was an integral part of the emerging music scene in the United States in the 1920s. His highly individual style--diatonic, dissonant, contrapuntal--addressed both modernity and Mexico's indigenous past. Chavez was also a governmental arts administrator, founder of major Mexican cultural institutions, and conductor and founder of the Orquesta Sinfonica de Mexico. Carlos Chavez and His World brings together an international roster of leading scholars to delve into not only Chavez's music but also the history, art, and politics surrounding his life and work. Contributors explore Chavez's vast body of compositions, including his piano music, symphonies, violin concerto, late compositions, and Indianist music. They look at his connections with such artistic greats as Aaron Copland, Miguel Covarrubias, Henry Cowell, Silvestre Revueltas, and Paul Strand. The essays examine New York's modernist scene, Mexican symphonic music, portraits of Chavez by major Mexican artists of the period, including Diego Rivera and Rufino Tamayo, and Chavez's impact on El Colegio Nacional. A quantum leap in understanding Carlos Chavez and his milieu, this collection will stimulate further work in Latin American music and culture. The contributors are Ana R. Alonso-Minutti, Amy Bauer, Leon Botstein, David Brodbeck, Helen Delpar, Christina Taylor Gibson, Susana Gonzalez Aktories, Anna Indych-Lopez, Roberto Kolb-Neuhaus, James Krippner, Rebecca Levi, Ricardo Miranda, Julian Orbon, Howard Pollack, Leonora Saavedra, Antonio Saborit, Stephanie Stallings, and Luisa Vilar Paya. Bard Music Festival 2015: Carlos Chavez and His World Bard College August 7-9 and August 14-16, 2015

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"In this new edition of Historical Anthology of Music by Women, Briscoe offers an indispensable resource for our own moment. . . . He has commissioned new biographical and critical essays by leading musicologists such as Thomas J. Mathiesen, Elizabeth Aubrey, Suzanne Cusick, Ellen Rosand, and Mark Everist, thus making the most recent interpretations of these women and their music easily available for the classroom." —from the Foreword by Susan McClaryNew Historical Anthology of Music by Women updates the extremely popular collection with 55 compositions by 46 women composers from the ancient Greeks to the present. Each work is introduced by an informative essay by a specialist in the field, with recommendations for further reading, listening, and performing. Historical scores have been transcribed into modern notation for ease of use, and the works represent a wide variety of genres, including solo songs, chamber music, piano music, and orchestral scores. Composers include Sappho, Hildegard of Bingen, Barbara Strozzi, Clara Schumann, and Fanny Mendelssohn-Hensel. The anthology includes a foreword by Susan McClary, the leading scholar on women's music. New Historical Anthology of Music by Women is supplemented by an expanded 3-CD set featuring newly commissioned recordings.Contributors: Elizabeth Aubrey, Laura Barceló-Lastra, Melissa Blakesly, Adrienne Fried Block, Marcia J. Citron, Suzanne Cusick, David Gordon Duke, Susan Erickson, Mark Everist, Jill Munroe Fankhauser, Annegret Fauser, Nancy Fierro, Susan M. Filler, Barbara Garvey Jackson, Bryony Jones, Michael Klaper, Carolyn Lindeman, Roberta Lindsey, Thomas J. Mathiesen, Hidemi Matsushita, Susan McClary, Sharon Mirchandani, Craig B. Parker, Karin Pendle, Barbara A. Petersen, Martin Picker, Janet Pollack, Caroline Potter, Nancy B. Reich, Ellen Rosand, Judith Rosen, and Diane Touliatos-Milesis.

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Doris Chase has achieved international stature as a pioneer in the field of video art since she moved from Seattle to New York City in 1972. An artist of remarkable and continuous creativity, Chase now divides her time between her video headquarters in New York and a Seattle studio where she works on new projects in painting and sculpture. Beginning as an innovative painter and sculptor in Seattle in the 1950s, Chase created sculpture that was meant to be touched and manipulated by the viewer. Chase then developed large-scale kinetic sculptures in collaboration with choreographers, and her art was set in motion by dancers. In New York, her majors contribution to the evolution of artists' video has been her work in videodance. On videotape, dancers and sculpture evolve into luminous abstract forms which represent some of the most sophisticated employments of video technology by an artist of the 1970s. In the 1980s, Chase began working in the nascent genre of video theater. In these productions, she uses the imtimacy of the video screen to achieve a new synthesis of visual and dramatic art. Her video theatre compositions present multicultural and social commentary, utilizing scripts by writers such as Lee Breuer, Thulani Davis, and Jessica Hagedorn in the "Concepts" series. Collaborating with actresses Geralding Page, Ann Jackson, Roberta Wallach, Joan Plowright, and Luise Riner in the "By Herself" series, she focuses on the viewpoints and experiences of older women. Today, coming full circle, Doris Chase in Seattle is exploring a renewed interest in painting and sculpture as well as in the modernist aesthetic she never really ceased pursuing, even during her most adventuresome multimedia years. This profile by art historian Patricia Failing is both a celebration of a distinguished artists and a historical summary of the development of video as an art form from the early seventies to the present day. The making of Chase's widely acclaimed filmdance, Circles II (1972), is discussed within the context of her own artists evolution and also as exemplary of an artistic milieu shaped by McLuhanism and a growing interest in multimedia experimentation. An entire chapter focuses on the institutional and theoretical working environment for video artists in the 1970s, outlining the circumstances under which New York became the best-endowed center for the production of artists' video. Attention is also paid to the specific manner in which Chase learned to employ video technology, the mechanisms of exhibition and distribution of independent video art, and the theoretical and practical issues raised in collaborations among artists from different art forms. Centering upon first-hand commentary by Chase and her colleagues, Doris Chase, Artist in Motion is an accessible introduction to a pioneering artist and her milieu. The Foreword by noted critic and teacher of video art Ann-Sargent Wooster adds a valuable dimension to the volume. Doris Chase, Artist in Motion is illustrated with representative examples of Chase's work and includes selected lists of her videotapes and films as well as her works in public collections. It will appeal to students of video art as well as to those intersted in women artists and feminist performance.

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Pairing full-length scholarly essays with shorter pieces drawn from scholarly blogs and conference presentations, as well as commissioned interviews and position statements, Debates in the Digital Humanities 2016 reveals a dynamic view of a field in negotiation with its identity, methods, and reach. Pieces in the book explore how DH can and must change in response to social justice movements and events like #Ferguson; how DH alters and is altered by community college classrooms; and how scholars applying DH approaches to feminist studies, queer studies, and black studies might reframe the commitments of DH analysts. Numerous contributors examine the movement of interdisciplinary DH work into areas such as history, art history, and archaeology, and a special forum on large-scale text mining brings together position statements on a fast-growing area of DH research. In the multivalent aspects of its arguments, progressing across a range of platforms and environments, Debates in the Digital Humanities 2016 offers a vision of DH as an expanded field—new possibilities, differently structured.Published simultaneously in print, e-book, and interactive webtext formats, each DH annual will be a book-length publication highlighting the particular debates that have shaped the discipline in a given year. By identifying key issues as they unfold, and by providing a hybrid model of open-access publication, these volumes and the Debates in the Digital Humanities series will articulate the present contours of the field and help forge its future.Contributors: Moya Bailey, Northeastern U; Fiona Barnett; Matthew Battles, Harvard U; Jeffrey M. Binder; Zach Blas, U of London; Cameron Blevins, Rutgers U; Sheila A. Brennan, George Mason U; Timothy Burke, Swarthmore College; Rachel Sagner Buurma, Swarthmore College; Micha Cárdenas, U of Washington–Bothell; Wendy Hui Kyong Chun, Brown U; Tanya E. Clement, U of Texas–Austin; Anne Cong-Huyen, Whittier College; Ryan Cordell, Northeastern U; Tressie McMillan Cottom, Virginia Commonwealth U; Amy E. Earhart, Texas A&M U; Domenico Fiormonte, U of Roma Tre; Paul Fyfe, North Carolina State U; Jacob Gaboury, Stony Brook U; Kim Gallon, Purdue U; Alex Gil, Columbia U; Brian Greenspan, Carleton U; Richard Grusin, U of Wisconsin, Milwaukee; Michael Hancher, U of Minnesota; Molly O’Hagan Hardy; David L. Hoover, New York U; Wendy F. Hsu; Patrick Jagoda, U of Chicago; Jessica Marie Johnson, Michigan State U; Steven E. Jones, Loyola U; Margaret Linley, Simon Fraser U; Alan Liu, U of California, Santa Barbara; Elizabeth Losh, U of California, San Diego; Alexis Lothian, U of Maryland; Michael Maizels, Wellesley College; Mark C. Marino, U of Southern California; Anne B. McGrail, Lane Community College; Bethany Nowviskie, U of Virginia; Julianne Nyhan, U College London; Amanda Phillips, U of California, Davis; Miriam Posner, U of California, Los Angeles; Rita Raley, U of California, Santa Barbara; Stephen Ramsay, U of Nebraska–Lincoln; Margaret Rhee, U of Oregon; Lisa Marie Rhody, Graduate Center, CUNY; Roopika Risam, Salem State U; Stephen Robertson, George Mason U; Mark Sample, Davidson College; Jentery Sayers, U of Victoria; Benjamin M. Schmidt, Northeastern U; Scott Selisker, U of Arizona; Jonathan Senchyne, U of Wisconsin, Madison; Andrew Stauffer, U of Virginia; Joanna Swafford, SUNY New Paltz; Toniesha L. Taylor, Prairie View A&M U; Dennis Tenen; Melissa Terras, U College London; Anna Tione; Ted Underwood, U of Illinois, Urbana–Champaign; Ethan Watrall, Michigan State U; Jacqueline Wernimont, Arizona State U; Laura Wexler, Yale U; Hong-An Wu, U of Illinois, Urbana–Champaign.

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Between Jesus and the Market looks at the appeal of the Christian right-wing movement in contemporary American politics and culture. In her discussions of books and videotapes that are widely distributed by the Christian right but little known by mainstream Americans, Linda Kintz makes explicit the crucial need to understand the psychological makeup of born-again Christians as well as the sociopolitical dynamics involved in their cause. She focuses on the role of religious women in right-wing Christianity and asks, for example, why so many women are attracted to what is often seen as an antiwoman philosophy. The result, a telling analysis of the complexity and appeal of the "emotions that matter" to many Americans, highlights how these emotions now determine public policy in ways that are increasingly dangerous for those outside familiarity’s circle. With texts from such organizations as the Christian Coalition, the Heritage Foundation, and Concerned Women for America, and writings by Elizabeth Dole, Newt Gingrich, Pat Robertson, and Rush Limbaugh, Kintz traces the usefulness of this activism for the secular claim that conservative political economy is, in fact, simply an expression of the deepest and most admirable elements of human nature itself. The discussion of Limbaugh shows how he draws on the skepticism of contemporary culture to create a sense of absolute truth within his own media performance—its truth guaranteed by the market. Kintz also describes how conservative interpretations of the Holy Scriptures, the U.S. Constitution, and the Declaration of Independence have been used to challenge causes such as feminism, women’s reproductive rights, and gay and lesbian rights. In addition to critiquing the intellectual and political left for underestimating the power of right-wing grassroots organizing, corporate interests, and postmodern media sophistication, Between Jesus and the Market discusses the proliferation of militia groups, Christian entrepreneurship, and the explosive growth and "selling" of the Promise Keepers.

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From the post room to the board room, everyone thinks they can be the manager. But how do you manage outrageous talent? What do you do to inspire loyalty from your players? How do you turn around a team in crisis? What’s the best way to build long-term success? How can you lead calmly under pressure? The issues are the same whether you’re managing a Premier League football team or a FTSE 100 company. Here, for the first time, some 30 of the biggest names in football management reveal just what it takes. With their every act, remark, and success or failure under constant scrutiny from the media and the fans, these managers need to be the most adroit of leaders. In The Manager they explain their methods, offer lessons they’ve learned along the way, and describe the decisions they make and the leadership they provide. Each chapter tackles a key leadership issue for managers in any walk of life and, in their own words, shows how the experts deal with the challenges they face in an abnormally high-pressure environment. Offering valuable lessons for business leaders and fascinating behind-the-scenes insights for football fans, The Manager is an honest, accessible and unprecedented look at the day-to-day work of these high-profile characters and the world of top-level football management. Featuring: Roy Hodgson, Carlo Ancelotti, Arsène Wenger, Sam Allardyce, Roberto Mancini, José Mourinho, Brendan Rodgers, Harry Redknapp, Sir Alex Ferguson, Walter Smith, Mick McCarthy, Gerard Houllier, Tony Pulis, Martin O’Neill, Neil Warnock, Howard Wilkinson, Kevin Keegan, Dario Gradi, Andre Villas-Boas, David Moyes, Alex McLeish, Hope Powell, Martin Jol, Glenn Hoddle, Chris Hughton, David Platt, Paul Ince, and George Graham.

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The U.S. Supreme Court decision in Roe v. Wade stands as a historic victory for abortion-rights activists. But rather than serving as the coda to what had been a comparatively low-profile social conflict, the decision mobilized a wave of anti-abortion protests and ignited a heated struggle that continues to this day. Picking up the story in the contentious decades that followed Roe, The Street Politics of Abortion is the first book to consider the rise and fall of clinic-front protests through the 1980s and 1990s, the most visible and contentious period in U.S. reproductive politics. Joshua Wilson considers how street level protests lead to three seminal Court decisions—Planned Parenthood v. Williams, Schenck v. Pro-Choice Network of Western N.Y., and Hill v. Colorado. The eventual demise of street protests via these cases taught anti-abortion activists the value of incremental institutional strategies that could produce concrete policy gains without drawing the public's attention. Activists on both sides ultimately moved—often literally—from the streets to fight in state legislative halls and courtrooms. At its core, the story of clinic-front protests is the story of the Christian Right's mercurial assent as a force in American politics. As the conflict moved from the street, to the courts, and eventually to legislative halls, the competing sides came to rely on a network of lawyers and professionals to champion their causes. New Christian Right institutions—including Pat Robertson's American Center for Law and Justice and the Regent University Law School, and Jerry Falwell's Liberty University School of Law—trained elite activists for their "front line" battles in government. Wilson demonstrates how the abortion-rights movement, despite its initial success with Roe, has since faced continuous challenges and difficulties, while the anti-abortion movement continues to gain strength in spite of its losses.

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Building on the long-established success of Ethan Mordden's Opera Anecdotes, The New Book Of Opera Anecdotes continues where the original left off, bringing into view the new corps of major singers that arose after the first book's publication in 1985 -- artists such as Renee Fleming, Roberto Alagna, Deborah Voigt, Jonas Kaufmann, Kathleen Battle, and Jane Eaglen (who tested her family with Turandot's three riddles and got a very original answer). There are also fresh adventures with opera's fabled great -- Rossini, Wagner, Toscanini (whose temper tantrums are always good for a story), Franco Corelli, Luciano Pavarotti, Leontyne Price (who, when the Met's Rudolf Bing offered her the voice-killing role of Abigaille in Verdi's Nabucco, said, "Man, are you crazy?"). Almost all the stories in The New Book Of Opera Anecdotes are completely new, whether from the present or the past, taking in many historical developments, from the rise of the conductor to the appearance of the gymmed-up "bari-hunk" who refuses to play any role in which he can't appear shirtless. While most of Mordden's anecdotes are humorous, some are emotionally touching, such as one recounting a Met production of Mozart's The Marriage Of Figaro in which Renee Fleming sang alongside her own six-year-old daughter. Other tales are suspenseful, as when Tito Gobbi shows off his ability to make anyone turn around simply by staring at his or her back. He tries it on Nazi monster Joseph Goebbels, who does turn around, and then starts to move toward Gobbi, seething with rage, step by step... Mordden recounts these stories in his own unique voice, amplifying events for reading pleasure and adding in background material so the opera newcomer can play on the same field as the aficionado. Witty, dramatoic, and at times a little shocking, The New Book Of Opera Anecdotes will be a welcome addition to any opera fan's library.

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City State showcases the work of twenty-seven London writers between the ages of 16 and 36. From hyperlinked walks of Battersea bombsites and guerilla gardening projects to jagged urban lyrics and dark hymns to the East End, City State presents a confident, entertaining and truly diverse snapshot of the best new poetry from London.Featuring poems by: Jay Bernard, Caroline Bird, Ben Borek, Siddhartha Bose, Tom Chivers, Swithun Cooper, Alex Davies, Inua Ellams, Laura Forman, Wayne Holloway-Smith, Christopher Horton, Kirsten Irving, Annie Katchinska, Amy Key, Chris McCabe, Marianne Munk, Holly Pester, Heather Phillipson, Nick Potamitis, Imogen Robertson, Jacob Sam-La Rose, Ashna Sarkar, Jon Stone, Barnaby Tidman, Ahren Warner, James Wilkes, Steve Willey"We are offered London as a test case for a new diversity of means and manner, from sassy performance scripts to the solid blocks of densely disjunctive language characterised as innovative or avant-garde. [City State proposes] a central space that is also the meeting place of many edges."Philip Gross, Poetry London"City State is [a] journey across the metropolis in rush hour: a journey that by turns bewilders, delights and throws up unpalatable truths. The anthology showcases a real range of styles, from Jacob Sam-La Rose's heartfelt verse, to Chris McCabe's complex, darkly witty observations. Though diverse, the poets featured here often seem to riff around several themes that are associated with London itself: dislocation, escapism, breathlessness."Helen Mort"Performance poets are wedged side by side with the new crop of post-langpo practitioners and sculptors of sound; formalism and new narrative jostle for position with cut-ups, found poems and the inheritors of a confessional poetics [...] What seems to unit the best of the poets here is a quality of looking outward: they are aware of, and play with, the possibilities of language and form; they draw on a recognisable tradition but refresh it, linguistically and subjectively [...] There is a great deal of vitality and versatility among the younger generation of emerging poets in the country's capital."Simon Turner"Here is a good, deep shaft drilled into the poetry of the capital. [...] What I like about this anthology is its range. There are poets here who, I guess, could fit into the latest Bloodaxe catalogue with relative ease. There are others, like Nick Potamitis or Steve Wiley and Alex Davies, who are much more experimental and are carrying on the work of poets such as Allen Fisher and Iain Sinclair. And there are poets coming out of a more performance-oriented stream such as Jacob Sam-La Rose, whose wonderfully ironic 'How to be Black' is one of the many highlights of this collection.[...] A true anthology of what's going on in poetry now."Steven WalingTom Chivers (editor) was born in 1983 in South London. A writer, editor and promoter of poetry, his publications include The Terrors (Nine Arches Press, 2009) and How To Build A City (Salt Publishing, 2009). A winner of the inaugural Crashaw Prize, he is Associate Editor of Tears in the Fence, was Poet in Residence at The Bishopsgate Institute, London, and has appeared on BBC Radio 3 and 4. Tom is Director of Penned in the Margins and Co-Director of London Word Festival.

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*As seen on ITV's The Pembrokeshire Murders*'Fascinating. A book that will be essential reading for every aspiring crime writer' Guardian'Offers a chilling glimpse into her life's work. Fascinating stuff.' Sunday Times 'Compelling' Daily Mirrror__________By the time I arrived at the wood yard in Huddersfield on a bitterly cold night in February 1978, the body of the 18-year-old victim had already been taken to the mortuary.__________Never before has criminal justice rested so heavily on scientific evidence. With ever-more sophisticated and powerful techniques at their disposal, forensic scientists have an unprecedented ability to help solve even the most complex cases. Angela Gallop has been a forensic scientist for over 40 years. After joining the Forensic Science Service, the first crime scene she attended was for a case involving the Yorkshire Ripper. As well as working on a wide range of cases in many countries around the world, she is now the most sought-after forensic scientist in the UK, where she has helped solve numerous high-profile cases, including the investigation that finally absolved the Cardiff Three the Pembrokeshire Coastal Path murders, and the killings of Stephen Lawrence, Damilola Taylor, Rachel Nickell and Roberto Calvi. From the crime scene to the courtroom, When the Dogs Don't Bark is the remarkable story of a life spent searching for the truth.'Fascinating' The Sun'a casebook that reads like The Encyclopedia Of Murder' Daily Express'One of the profession's leading lights' Woman & Home'The real life Silent Witness' Belfast Telegraph__________The compelling memoir from the UK's most eminent forensic scientist and some of the most fascinating criminal investigations she has worked on. You learnt about forensic pathology with Dr Richard Shepherd in Unnatural Causes and about anthropology with Professor Sue Black in All That Remains. Now it's time to learn about the scene of the crime. . .

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He may live in Madrid but he continues to make front-page headlines. This is David Beckham's own story of his career to date, for Manchester United, Real Madrid and England, and of his childhood, family and private life. Featuring David's first full account of a turbulent year in Spain, on and off the field, and England's fortunes in Euro 2004. This is Beckham's fascinating life story in his own words. His rise through the ranks at the biggest club side in the world. His complex relationship with United boss Alex Ferguson. The England story, from being vilified by the nation before returning as the prodigal son to eventually captaining his country. His acrimonious falling-out with his manager and departure from Old Trafford in June 2003. And starting a new chapter of his life on foreign soil in the glare of the world’s press. Now from Beckham himself, we gain a vivid and eye-opening insight into the family man behind the famous footballer, the international model and fashion leader. He describes how he first met and then married ex-Spice girl Victoria Adams, and the upbringing of their two children Brooklyn and Romeo. How his family's every step is monitored by a posse of newshounds and paparazzi. Also, the influence of his parents, growing up as a shy youngster in the family home, and how their subsequent split affected him. Intimate and soul-searching, this is the real David Beckham like we have never seen before. NEW FOR THIS PAPERBACK EDITION: - Beckham’s first season with Real Madrid from within the dressing room, with key stories on the likes of Figo, Roberto Carlos and Zidane.- His exclusive reaction to the sensational allegations about his private life; their effect on his relationship with Victoria and a reappraisal of their living arrangements.- England and Euro 2004: the players’ threatened strike in support of Rio Ferdinand; Eriksson as England boss; and all the behind the scenes stories leading up to and including the Finals in Portugal.- One year down the line, does Beckham have any regrets about leaving Manchester United? And is there any truth in the rumours that he is unsettled in Madrid?

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In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery, showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’, providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television. The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art, to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes, amateurism, and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records, and a sporadic string of live performances, the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds, samples of disconcerting narrative and conversation, and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour, and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene, many of their followers and fans formed bands in later years. Drawing on works such as Andy Bennett’s When the Lights Went Out, this book looks at late 1970s Britain, before, during and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time, and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value, as Throbbing Gristle emerged with punk in late 1976, seemingly grappled with it through 1977, and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances, as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time, both ‘mainstream’ and fringe (subcultural, avant-garde art, counter-culture, taboo subjects, extremes) such that Throbbing Gristle events had an impact and affect, and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.

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In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery, showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’, providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television. The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art, to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes, amateurism, and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records, and a sporadic string of live performances, the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds, samples of disconcerting narrative and conversation, and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour, and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene, many of their followers and fans formed bands in later years. Drawing on works such as Andy Bennett’s When the Lights Went Out, this book looks at late 1970s Britain, before, during and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time, and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value, as Throbbing Gristle emerged with punk in late 1976, seemingly grappled with it through 1977, and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances, as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time, both ‘mainstream’ and fringe (subcultural, avant-garde art, counter-culture, taboo subjects, extremes) such that Throbbing Gristle events had an impact and affect, and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.

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This book comprises twenty-two articles devoted to First Millennium Egypt, all intended to honour Antony Leahy, whose interest in this period is well known to scholars of this period. Both archaeology and philology are represented in this volume as well as studies on history and material culture. The interlocking interpretation of texts and objects is also noteworthy. The paper by Karl Jansen-Winkeln re-examines the question of the Libyan or Egyptian nature/origin/ethnic identity of the Third Intermediate Period, whilst others are more specific in their scope. Chronological discussions concerning the order of the kings of the 25th Dynasty in Egypt and Nubia are presented by Gerard Broekman and Roberto Gozzoli. Several objects belonging to a king Djehutyemhat are described by Troy Sagrillo. Statues belonging to the Memphite governor, chancellor and scribe to the king Horsematuyemhat; the Theban governor Nesptah A; the admiral Hor, who presumably lived in Tell el Yahudiya; and the royal tutor Ankhefensenmut from Permanu are discussed by Mélanie Cressent, Frédéric Payraudeau, Campbell Price and Oliver Perdu respectively, with the latter arguing for an identification of Permanu with Kom Firin. The Theban choachytes of the Third Intermediate Period are studied by Cynthia Sheikoleslami, whilst Maria Cannata reports on the remains of an embalmer’s cache from the Saite Period. The minor arts of the First Millenium BC are addressed by Claus Jurman, who writes on a number of seals, Julia Budka, who deals with Twenty-fifth Dynasty votive pottery from Abydos, Benjamin Hinson, who reports on the presence of bells in First Millennium private tombs, and John Taylor, who discusses two lost Twenty-second Dynasty Theban cartonnages. Other studies examine the possibility of a third large Twenty-first dynasty cache at Thebes (David Aston); the possible location of the tomb of Osorkon III at Thebes (Michinori Ohshiro); the use of Pyramid texts in Twenty-fifth and Twenty-sixth Dynasty tombs (Antonio Morales); Saite warfare (Alan Lloyd) and Thirtieth Dynasty Apis burials (Didier Devauchelle). The volume also comprises philologically orientated contributions on Glorification Texts (Martin Bommas) and the Horus Throne in djet and neheh (Stephen Gregory). The collection of articles is rounded off by Günter Vittmann’s account of a previously unpublished letter written in abnormal hieratic from Amheida in the Dakhleh Oasis.

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The Portuguese Jewish diaspora was born out of a double tragedy: the expulsion of the Jews from Spain in 1492 and the forced conversion/expulsion of the Jews from Portugal in 1497. The potent combination of expulsion, Inquisition, and crypto-Judaism left people neither wholly Jewish nor wholly Christian in their identity. Subsequently many left the Iberian peninsula; some found refuge in the Caribbean, but succeeded in maintaining strong connections with Portuguese Jews in western Europe, the Ottoman empire, and the Far East, while they also forged ties with the surrounding peoples and cultures. This book looks at many different aspects of this complex past. Its interdisciplinary approach allows a wealth of new information to be brought together to create a comprehensive picture. Part I sets the context, and also considers the relationship of Caribbean Jewry to European trading systems; its special ties to Amsterdam and Dutch-ruled Curaçao; and the role of Jewish merchants in Jamaica’s commerce. Part II examines the material and visual culture of Jews in the British and Dutch Caribbean, while Part III looks at Caribbean Jewish identity and heritage and their modern manifestations. Part IV contains archival studies that illuminate other subjects of importance—adventure and piracy, Jewish participation in a nineteenth-century revolt of black slaves and in the first Jamaican elections after Jews were granted the right to vote, and questions of concubinage and sexual relations between Jews and blacks. Part V moves from the local to the international, in particular the connection with mainland America. In their diversity, the contributions to this volume suggest the many ways in which the formation of the Caribbean Jewish diaspora can be understood today: as a Jewish diaspora dispersed under different European colonial empires; as a Jewish cultural entity created by a set of shared traditions and historical memories; and as one component in a web of relationships that characterized the Atlantic world. Defining it is no simple matter: like all diaspora identities it was constantly in flux, reinventing itself under changing historical circumstances. CONTRIBUTORS: Aviva Ben-Ur, Miriam Bodian, Judah M. Cohen, Eli Faber, Rachel Frankel, Noah L. Gelfand, Jane S. Gerber, Josette Capriles Goldish, Matt Goldish, Jonathan Israel, Stanley Mirvis, Gérard Nahon, Joanna Newman, Ronnie Perelis, Jackie Ranston, James Robertson, Jessica Roitman, Dale Rosengarten, Barry L. Stiefel, Hilit Surowitz-Israel, Karl Watson, Swithin Wilmot

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'An uplifting and delicious taste of Italy' ERICA JAMES'The perfect recipe for the ultimate escapist read!' VERONICA HENRY 'Knowing, compassionate and moving' CATHERINE ROBERTSON The scenery is swoonsome' STEVE BRAUNIAS Love happens when you least expect it... Assunta has given up on love. She might run her little trattoria in the most romantic mountain town in Italy, but love just seems to have passed her by. Sarah-Jane is finished with love. She's hiring an old convertible and driving around Italy this summer - it's the perfect way to forget all about her hot celebrity ex-boyfriend!But when Sarah-Jane's car breaks down in Montenello, she has to stay longer than she intended! And the trouble is, love is everywhere...Praise for Nicky Pellegrino'A novel about the joy of learning to live again. It also made me very hungry!' Jojo Moyes'Warm, engaging and truly delicious' Rosanna Ley'A delicious and sensual adventure . . . as evocative and captivating as Venice itself' Fiona Gibson'A wonderfully evocative setting and mouth-watering descriptions of Venetian food' Pamela Hartshorne'Full-bodied as a rich Italian red, it's a page-turner combining the missed chances of Captain Corelli's Mandolin with the foodie pleasures of Chocolat' Eve'Three generations of Italian women talk romance and cooking . . . an evocative foodfest of a novel' Prima'A slice of pure sunshine' Good Housekeeping'A lovely read . . . with a genuine heart and true observation' Elizabeth Buchan'A touching story about one woman's search for love' Sunday Express'Set against a backdrop of love, friendship and food . . . The descriptions of Italian food will make your mouth water' Cosmopolitan'Sink back on the sofa with this delightful read' Now MagazineReaders are loving Nicky Pellegrino!'I could smell the fresh pasta, feel the sunshine, smell the sea breeze and feel my worries wash away. It was lovely to stumble down the cobbled paths and stroll along the beautiful scenery''Through Italy, through food, through heartbreak, through love, through family. Add in a pinch of karmic justice and you have the perfect read with a joyful ending!''Once again Nicky Pellegrino had me captivated with this amazing story. It made me laugh, made me cry. I read it in one afternoon''I will say that if you are a woman on the cusp of discovering who you are and what your heart desires...then you will devour this book as I did''Such a great escapism read, full of emotions and family drama with love'

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A pregnant Sam Shephard investigates the murder of an expectant mother in Dunedin, as it becomes clear that the killer is ready to strike again … Queen of New Zealand Crime, Vanda Symon, returns with a shocking, twisty new Sam Shephard thriller… 'From the opening pages, this story left me gasping for breath' Michael Robotham ‘Chillingly intense with a finely honed sense of place … Vanda Symon knows Dunedin and brings it vibrantly to life in this fast-paced thriller’ Craig Robertson ‘An excellent thriller, definitely one of the best of this year. Vanda Symon is a master of characterisation, plot and dialogue … I loved every moment’ Liz Nugent 'New Zealand's modern Queen of Crime' Val McDermid _________________________________ A killer targeting pregnant women.A detective expecting her first baby… The shocking murder of a heavily pregnant woman throws the New Zealand city of Dunedin into a tailspin, and the devastating crime feels uncomfortably close to home for Detective Sam Shephard as she counts down the days to her own maternity leave. Confined to a desk job in the department, Sam must find the missing link between this brutal crime and a string of cases involving mothers and children in the past. As the pieces start to come together and the realisation dawns that the killer’s actions are escalating, drastic measures must be taken to prevent more tragedy. For Sam, the case becomes personal, when it becomes increasingly clear that no one is safe and the clock is ticking… _______________________ ‘Dark, chilling and utterly heartbreaking. A highly emotive and compelling thriller’ Michael Wood ‘New Zealand's answer to Siobhan Clarke’ The Times 'The Edinburgh of the south has never been more deadly' Ian Rankin ‘From the ominous and shocking beginning to the heart-pounding ending, Expectant had me in its grasp’ Nikki Crutchley 'A sassy heroine, fabulous sense of place, and rip-roaring stories with a twist. Perfect curl-up-on-the-sofa reading' Kate Mosse 'Fans of The Dry will love Vanda Symon' Red Magazine ‘A wonderful storyteller’ Helen FitzGerald Praise for Vanda Symon ***SHORTLISTED for the CWA John Creasey (New Blood) Dagger*** ***SHORTLISTED for Best Paperback in the Barry Awards*** 'If you like taut, pacy thrillers with a wonderful sense of place, this is the book for you' Liam McIlvanney 'Vanda Symon's work resembles Janet Evanovich's Stephanie Plum series she knows how to tell a good story and the NZ setting adds spice' The Times 'Atmospheric, emotional and gripping' Foreword Reviews 'A plot that grabs the reader's attention with a heart-stopping opening and doesn't let go' Sunday Times 'It is Symon's copper Sam, self-deprecating and very human, who represents the writer's real achievement' Guardian ‘Edgy, thrilling and terrifyingly realistic’ Lisa Hall ‘All the thrills of a brilliantly plotted crime novel with some interesting moral questions woven between the words. Fast, furious and intense' Helen Fields 'Completely gripping … a poignant study of how our society shapes unlikely saints and monsters' Eve Smith

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