Financial stability is one of the key tenets of a central bank’s functions. Since the financial crisis of 2007-2009, an area of hot debate is the extent to which the central bank should be involved with prudential regulation. This book examines the macro and micro-prudential regulatory frameworks and systems of the United Kingdom, Australia, the United States, Canada and Germany. Drawing on the regulator frameworks of these regions, this book examines the central banks’ roles of crisis management, resolution and prudential regulation. Alison Lui compares the institutional structure of the new ‘twin-peaks’ model in the UK to the Australian model, and the multi-regulatory US model and the single regulatory Canadian model. The book also discusses the extent the central bank in these countries, as well as the ECB, are involved with financial stability, and argues that the institutional architecture and geographical closeness of the Bank of England and Financial Policy Committee give rise to the fear that the UK central bank may become another single super-regulator, which may provide the Bank of England with too much power. As a multi-regional, comparative study on the importance and effectiveness of prudential regulation, this book will be of great use and interest to students and researchers in finance and bank law, economics and banking.
Le Roman de la Manekine marks the beginning of its author's literary career. Philippe de Remi, on whom much attention has focused in the last two decades, was an unusual figure: a 13th-century land-holder and professional administrator who loved literature and who produced a large and varied corpus of narrative and lyric. Here is presented for the first time since 1884 a scholarly edition of Philippe's first romance, a tale centering on a heroine of great courage and integrity who passes through many trials without losing hope. The text is accompanied by a line-by-line English version, and by extensive commentary touching on the author, his milieu, and the literary context and major themes of the romance. Studies of the manuscript (Paris BNF fr 1588), its illustrations (all of them reproduced), and its history, have been provided by Alison Stones and Roger Middleton. The volume should be of interest to specialists in medieval French literature, to general readers who find English translations useful, and to scholars in the fields of medieval art and manuscript history.
Unlike many studies of the family in the ancient world, this volume presents readings of mothers in classical literature, including philosophical and epigraphic writing as well as poetic texts. Rather than relying on a male viewpoint, the essays offer a female perspective on the lifecycle of motherhood. Although almost all ancient authors are men, this book nevertheless aims to carefully unpack the role of the mother – not as projected by the son or other male relations, but from a woman’s own experiences – in order to better understand how they perceived themselves and their families. Because the primary interest is in the mothers themselves, rather than the authors of the texts in which they appear, the work is organized according to the lifecycle of motherhood instead of the traditional structure of the chronology of male authors. The chronology of the male authors ranges from classical Greece to late antiquity, while the motherly lifecycle ranges from pre-conception to the commemoration of offspring who have died before their mothers.
Alison Holland’s innovative book fills a gap in Beauvoir studies by focusing on the writer’s frequently neglected novels and short stories, L’Invitée, Les Mandarins, Les Belles Images, and La Femme rompue. In illuminating the density and rich complexity of Beauvoir’s style, Holland challenges the often accepted view that Beauvoir’s writing is flat, detached, and controlled, revealing, rather, that her prose is frequently disrupted and inflected by forceful emotion. Holland shows that excess and transgression are intrinsic qualities of the texts, and argues that Beauvoir’s textual strategies duplicate madness in her fiction. Holland’s reading of Beauvoir’s fiction demonstrates the extent to which Beauvoir’s fiction undermines an ideologically patriarchal position on language. Her study is important not only for its re-evaluation of Beauvoir as a fiction writer but for its contribution to the wider debate on madness and literature.
Alison Stones has taught History of Art and Architecture in the USA since 1969 and has enjoyed Visiting Fellowships at the Universities of Oxford, Cambridge and Paris. She is a specialist in illuminated manuscripts, co-authoring Les Manuscrits de Chretien de Troyes (1993), The Pilgrim's Guide to Santiago de Compostela, A Critical Edition (1998), and writing Le Livre d'images de Madame Marie (Paris, BNF n.a.fr. 16251) (1997), and Gautier de Coinci, Miracles, Music and Manuscripts (2006). Her four-volume study, Manuscripts Illuminated in France, Gothic Manuscripts 1260-1320 was published in 2013 and 2014. Her research has been supported by the American Council of Learned Societies, the American Philosophical Society, the Fulbright Foundation, and the National Endowment for the Humanities. She is a Fellow of the Society of Antiquaries of London, a Correspondant etranger honoraire of the Societe nationale des Antiquaires de France and a Chevalier de l'Ordre des Arts et des Lettres. These two volumes collect and update Professor Stones's papers on Arthurian manuscript illustration, one of her continuing passions. These essays explore aspects of the iconography of the romances of Chretien de Troyes in French verse, the lengthy Lancelot-Grail romance in French prose, and other versions of the chivalrous exploits of King Arthur's knights - the best-sellers of the Middle Ages. Illustrated copies of these romances survive in huge numbers from the early thirteenth century through the beginnings of print, and were read for their text and their pictures throughout the French-speaking world. Of special interest is the cultural context in which these popular works were made and disseminated, by scribes and artists whose work encompassed all kinds of books, for patrons whose collecting was wide-ranging, including secular books alongside works of liturgical and devotional interest.
A Vos Marques! is an introductory course for students taking French as an option alongside their main degree course. It has been developed specifically for false beginners: students who have a slight acquaintance with the language. The course comprises a student's book, teacher's book and 180 minutes of audio (available for free download at http://www.routledge.com/books/details/9780415157285/ ) and, through fifteen chapters, follows the progress of an English-speaking student studying in Paris, whose achievements are designed to reflect those of the course user. Special features include: * activities involving pair and group work * an aid to self-assessment at the end of each chapter * hints on vocabulary learning * clear and accessible layout including integrated cartoons. The guidance offered by the teachers book is of particular importance, as lower-level classes in universities are often taught by native-speaking lecturers with little or no teaching training or experience.
Rembrandt's life and art had an almost mythic resonance in nineteenth-century France with artists, critics, and collectors alike using his artistic persona both as a benchmark and as justification for their own goals. This first in-depth study of the traditional critical reception of Rembrandt reveals the preoccupation with his perceived "authenticity," "naturalism," and "naiveté," demonstrating how the artist became an ancestral figure, a talisman with whom others aligned themselves to increase the value of their own work. And in a concluding chapter, the author looks at the playRembrandt, staged in Paris in 1898, whose production and advertising are a testament to the enduring power of the artist's myth.
This collection of essays brings an approach to Beauvoir studies and makes an important contribution to Beauvoir's writing practice in her novels and short stories, and analysis the extent to which the meaning of her texts cannot be separated from the way they are written.
The nineteenth century saw a fundamental change in the practice and psychology of shopping with the appearance of the department store: La Samaritaine in Paris (1869), Macy's in New York (1858) and Harrods in London (1849) were early representations of Western consumer culture. The Sentiment of Spending examines this shift first on a socio-historic level and then through the literary lens of some of the century's most vital authors, the exponents of Naturalism - Emile Zola, Guy de Maupassant, and Jori-Karl Huysmans - as well as the fascinating, if rarely studied, Rachilde. In the works discussed, the characters reveal through their interpersonal, sexual, and sentimental relationships the penetrating effects of a consumerist culture. As both a literary and social analysis, this book also addresses the moral question inherent in a world where shopping and sentiment are so inextricably intertwined. The Sentiment of Spending provides profound insights into some essential texts, and is an engaging read for anyone with an interest in French literature and its reflection of our society.
Explores the art of John Singer Sargent in the context of nineteenth-century botany, gynecology, literature, and visual culture. Argues that the artist was elaborating both a period poetics of homosexuality and a new sense of subjectivity, anticipating certain aspects of artistic modernism"--Provided by publisher.
Brown demonstrates how Florentine thinkers used Lucretius—earlier and more widely than has been supposed—to provide a radical critique of prevailing orthodoxies. She enhances our understanding of the “revolution” in sixteenth-century political thinking and our definition of the Renaissance within newly discovered worlds and new social networks.
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