Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Tubingen, course: Sonnet Cycles from the 16th to the 20th Centuries, 31 entries in the bibliography, language: English, abstract: Shakespeare's sonnets have often been discussed in terms of the degree of their autobiographical content. The question what role the persons which the poet addresses, a young man and a dark woman, had actually played in the author's life sparked as much debate as the opaque initials "W. H.", a dedication by Thomas Thorpe, who had published a Quarto by the title of 'Shakespeare's Sonnets. Never before imprinted' in 1609 (Edmondson / Wells 4). Some critics were led to conclude their research with triumphant statements such as 'Shakespeare's Sonnets. The Problems solved', a title employed by A. L. Rowse in 1964. Rowse claims to have spotted the identity of the young man, the dark lady, the rival poet, as well as of "W. H.". His edition of the sonnets also includes a chapter called "The Story: its Outlines" (24). Other critics have been focussing less on a coherent story with identifiable characters. In their analysis, they often take a purely immanent stance and are more concerned with how the poet, the speaking voice of the sonnets, establishes an identity, a private subjectivity and sensibility and in the course of his amorous encounters engages in a struggle to keep them afloat. I want to argue along the lines of those researchers who put the previously rather central issues of homosocial desire and Platonic and Petrarchan love into the lager context of what Stephen Greenblatt calls the "self-fashioning" of the Renaissance individual (1). He points out that "the power to impose a shape" upon oneself or another person is a major issue in the English Renaissance, the age of "the formation of identity" (1 / 6). According to Colin Morris, there had been distinctions between "types and individual representation" as ea
Seminar paper from the year 2006 in the subject Communications - Theories, Models, Terms and Definitions, grade: 1,0, University of Tubingen (Englisches Seminar), course: Key Terms for Studying Culture, 39 entries in the bibliography, language: English, abstract: Altered pictures have always caused much controversy. Even when photography was still in its infancy, manipulative arrangement was already an issue. Nowadays, digital photography in particular faces an erosion of trust because newsmagazines and newspapers make frequent use of various manipulation techniques, which fiercely challenges the shared belief that photographs record the world objectively and truthfully. Oddly enough, even though a picture may ′lie′, it is still used as evidence in the courtroom or understood as a valuable historical document. In my analysis of photography′s oscillation between image and imagination, with the two terms representing something traditionally thought of as real on the one hand and something thought of as constructed on the other hand, I want to address these questions and analyse how and what a picture represents. I argue that meaning is to a large extent constructed by the viewer and does not exist as an inherent quality. Consequently, whether an altered picture is seen as fraud or merely as an optimisation is a very subjective matter and strongly depends on contextual information. The viewer′s judgement is influenced by the path through which the image is mediated and the context in which it is embedded, but his judgement is also dependent on what the image means to him, not only on what he sees in it. This is not to say that photographs can under no circumstances be used as evidence. However, what can be said is that their truth-value is often overestimated. In any case, manipulation is not a side-effect that coincided with the birth of digital photography. Selection, framing, and other adjustments have always played an important role in film photography. After a gen
Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 66 (A-), University of Warwick (Department of English), course: Medieval to Renaissance English Literature, language: English, abstract: “I have a wyf, the worste that may be,” says the merchant in his prologue of Chaucer’s Canterbury Tales (E.1218). However, in the beginning of the Franklin’s Tale, the narrating voice speaks of “the joye, the ese, and the prosperitee / That is bitwixe an housbonde and his wyf” (F.804-05). This example shows how little unanimity there is among the characters of the Canterbury Tales when it comes to marriage, be they the pilgrims or be they the characters within the pilgrims’ tales. The aim of the present paper is to show the various ways in which Chaucer represents marriage in the Canterbury Tales. I will refer to The Miller’s Prologue and Tale, The Wife of Bath’s Prologue and Tale, The Merchant’s Prologue and Tale and to The Franklin’s Tale. The first three chosen tales show marriage in a deformed shape, as a relationship over which predominance of one sex over the other and / or a strong economic interest are hovering and lead to unpleasant incidences. The fourth tale depicts wedlock as an ideal kind of marriage, a state of mutual connectedness in which values like patience, fidelity, generosity and nobility can be explored (lecture). I will support those claims with an analysis of the tales taken each by its own. I will also examine them as interrelated elements of what is considered a “marriage debate” (Hussey 135). According to this theory, the Franklin’s Tale is seen as the solution and final element of a debate which begins with the Wife of Bath and runs through The Clerk’s Tale and The Merchant’s Tale.
Seminar paper from the year 2004 in the subject Politics - Political Theory and the History of Ideas Journal, University of Warwick, course: Political Theory from Hobbes, language: English, abstract: A free man, according to Rousseau, is independent, responsible, morally competent and master of his own will. Freedom is man’s essential property. The political community, on the other hand, is to invoke in the citizen a feeling of social affiliation and duty rather than a sense of individuality. Most important, citizenship presupposes the right to subject every member of the society to the law, which is produced by the general will, that is by the permanent aspiration of the common good. In The Social Contract (1762), Rousseau sets out to reconcile the claims of freedom and the constrains that arise with the necessary establishment of political authority: What humans need is “a form of association which will defend and protect [...] the person and goods of each associate and in which each, whilst uniting himself with all, may still obey himself alone and be as free as before“. In his opinion, the social contract can bring about such a change by means of law, that is by allowing every citizen to vote “on matters of common interest” in an assembly. The regulations thus set up are an expression of every single man’s will and therefore binding for all. Those who do not subject to it voluntarily will be “forced to be free”. Instead of reconciling the competing claims, Rousseau seems to have erected a verbal paradox. The aim of the following essay is to show to what extent, if at all, the paradox is the solution to the competing claims of the individual and the community. I will begin with a description of the state of nature, the loss of it and the subsequent unsatisfactoryalternative. Those are factors which make another form of political association indispensable. Then, I will introduce Rousseau’s problematic concept of socio-political integration, followed by two major concepts of freedom according to Isaiah Berlin. Finally, I will argue that the solution of the paradox, the unification of liberty and citizenship, hinges primarily on the definition of freedom and in a wider sense on the weighting of obstacles to the practicability of Rousseau’s theory. In my opinion, a reconciliation of the claims of the individuals and the community is possible only in civil but not in moral and liberal terms.
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Tubingen, course: Sonnet Cycles from the 16th to the 20th Centuries, language: English, abstract: Shakespeare’s sonnets have often been discussed in terms of the degree of their autobiographical content. The question what role the persons which the poet addresses, a young man and a dark woman, had actually played in the author’s life sparked as much debate as the opaque initials “W. H.”, a dedication by Thomas Thorpe, who had published a Quarto by the title of ‘Shakespeare’s Sonnets. Never before imprinted’ in 1609 (Edmondson / Wells 4). Some critics were led to conclude their research with triumphant statements such as ‘Shakespeare’s Sonnets. The Problems solved’, a title employed by A. L. Rowse in 1964. Rowse claims to have spotted the identity of the young man, the dark lady, the rival poet, as well as of “W. H.”. His edition of the sonnets also includes a chapter called “The Story: its Outlines” (24). Other critics have been focussing less on a coherent story with identifiable characters. In their analysis, they often take a purely immanent stance and are more concerned with how the poet, the speaking voice of the sonnets, establishes an identity, a private subjectivity and sensibility and in the course of his amorous encounters engages in a struggle to keep them afloat. I want to argue along the lines of those researchers who put the previously rather central issues of homosocial desire and Platonic and Petrarchan love into the lager context of what Stephen Greenblatt calls the “self-fashioning” of the Renaissance individual (1). He points out that “the power to impose a shape” upon oneself or another person is a major issue in the English Renaissance, the age of “the formation of identity” (1 / 6). According to Colin Morris, there had been distinctions between “types and individual representation” as early as 1020 (33 / 65), but A. J. Piesse states that “self-interrogation” beyond a religious context began to loom only at the beginning of the sixteenth century (634). In the 80s, Stephen Greenblatt and Catherine Belsey stressed that “any formulation of identity must be seen in the light of cultural context, that any exposition of self is a manifestation of a series of options, rather than something intrinsically different from anything else” (Piesse 635). In his work Sources of the Self of 1989, Charles Taylor differentiates along the lines of Plato and Aristotle between the importance of context and interior self for the individual (Ibid 635).
Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 68 % (A-), University of Warwick, course: Medieval to Renaissance English Literature, language: English, abstract: In “The Merchant of Venice”, Shakespeare states an attitude towards form and matter which can be considered not only as that of the character but also as his own: Those “that for a tricksy word defy the matter” are “fools” (Hubler 243). This can be read as a claim that form must be subordinated to substance (Hubler 241). Indeed, with regard to the sonnets, Shakespeare does not seem to be very inventive as far as the form is concerned. He adopts the rhyme scheme that Surrey established (abab - cdcd - efefgg) (Spiller 158), draws on the highly passionate and rhetorical language formerly used by Sidney, and he employs some of Spenser’s phrasings in his own works (Prince 176 and 178). Yet, there is something unique about Shakespeare’s poetry, something which is not purely derived from the substance but t o a large extent from the structure. It is the conveyance of emotion with means that are part of the form. In a narrow sense, ‘form’ is “that in virtue of which the parts are related one to another” (Nowottny 111). This notion focuses on elements in terms of their formal (arrangement of the lines into stanzas), syntactical, logical, and phonetic relationship towards each other and is mainly concerned with movements produced by those elements (Booth, 175). In a wider sense, ‘form’ as the opposite of ‘contents’ also includes the use of imagery and other devices which form part of the poetic technique. In the following essay, I will focus on the narrow concept of ‘form’ and explain why and how the sonnet provides a frame within which Shakespeare finds numerous tools to express emotion. After some outlining general remarks about the contents of Shakespeare’s Sonnets and the topics best suited for this kind of poetry, I will deal with Sonnets 29, 4, and 23, all of which belong to the category associated with the young man. I will also point out how Shakespeare’s use of the form differs from that of Sidney, exemplified through Sonnet 71 of the sequence Astrophil and Stella. I will conclude by saying that the form, even if Shakespeare did think it a vassal to the matter of the sonnet, is to a large extent responsible for the success that the poems have achieved in their attempt to convey the denseness of human emotion. [...]
Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: English grade: 65 / USA letter, University of Warwick (-), course: The English 19th Century Novel, language: English, abstract: [...] The aim of the present paper is to show that the dual narrative does not undercut the idea of connectedness despite its divisive appearance. Some subtasks will pave the way for this conclusion. I will first give some examples of how major elements of the no vel are interlinked. Chancery will prove as the emblem of the corruption that has spread far beyond the doors of the law courts and touches upon all the social classes. Tom-all-Alone’s and the aristocracy, poor and rich, have secrete links, some created vo luntarily, some created less voluntarily. Second, I will characterise the two narrators separately, with Esther being analysed both in her narrating function and in her role as a character of Bleak House. The analysis of the effect of combining the two tellers will lead to a result different from that of a mere glance at the of surface of the structure. I will show how the narrators’ accounts are juxtaposed and thereby reinforce each other, and how their unification yields what Graham Storey calls a “third dimension”, an overlapping of two different view points causing a deeper perception of the Bleak House world (20). However, I will also show a negative interpretation of the relationship between the two narrators by following Patricia Ingham’s essay on deixis in Bleak House. Finally, all the relationships will hint at a system within which the holders of the ties are kept: “Dickens wanted [...] the reader to perceive the world of Bleak House in terms of surface disconnection and isolation, and underlying unity [...] Bleak House stands or falls as a portrayal as a system” (Hawthorn 63). My thesis is that Bleak House teaches the reader how to combine apparently loose and disconnected elements and look at them as a system. This task posed and carried out by the plot of the novel is simultaneously mirrored in its form. The double narration sends the reader on a quest to find Esther and the 3rd person narrator as two sides of one coin, independent in terms of their nature, but relating to a common situation.
In Creating Cistercian Nuns, Anne E. Lester addresses a central issue in the history of the medieval church: the role of women in the rise of the religious reform movement of the thirteenth century. Focusing on the county of Champagne in France, Lester reconstructs the history of the women’s religious movement and its institutionalization within the Cistercian order. The common picture of the early Cistercian order is that it was unreceptive to religious women. Male Cistercian leaders often avoided institutional oversight of communities of nuns, preferring instead to cultivate informal relationships of spiritual advice and guidance with religious women. As a result, scholars believed that women who wished to live a life of service and poverty were more likely to join one of the other reforming orders rather than the Cistercians. As Lester shows, however, this picture is deeply flawed. Between 1220 and 1240 the Cistercian order incorporated small independent communities of religious women in unprecedented numbers. Moreover, the order not only accommodated women but also responded to their interpretations of apostolic piety, even as it defined and determined what constituted Cistercian nuns in terms of dress, privileges, and liturgical practice. Lester reconstructs the lived experiences of these women, integrating their ideals and practices into the broader religious and social developments of the thirteenth century—including the crusade movement, penitential piety, the care of lepers, and the reform agenda of the Fourth Lateran Council. The book closes by addressing the reasons for the subsequent decline of Cistercian convents in the fourteenth century. Based on extensive analysis of unpublished archives, Creating Cistercian Nuns will force scholars to revise their understanding of the women’s religious movement as it unfolded during the thirteenth century.
Perry's acclaimed novels have made London's exclusive world of wealth and power an addictive literary destination. This new masterpiece of love and treason displays not only Britain's secret places, but also the innermost sanctums of the Austro-Hungarian Empire.
A remarkable and very important unpublished chronicle written by two soldiers, covering in detail the English campaigns in France from 1415 to 1429. It lists many individuals who served in the war, and was written specifically for Sir John Fastolf, the English commander.This previously unpublished chronicle from the mid-fifteenth century covers the English wars in France from 1415 to 1429. It is highly unusual in that it was written by two soldiers, Peter Basset and Christopher Hanson. William Worcester, secretary to the English commander Sir John Fastolf, also had a hand in it, and it was specifically written for Sir John. The content is unusual, as it includes many lists of individuals serving in the war, and records their presence at battles, naming more than 700 in all. Over half these individuals are French or Scottish, so it would seem that the authors had a particularly detailed knowledge of French military participation. The narrative is important for the English campaigns in Maine in the 1420s in which Fastolf was heavily involved and which otherwise receive little attention in chronicles written on either side of the Channel. The progress of the war is well mapped, with around 230 place names mentioned.The chronicle was extensively used in the sixteenth century by several heralds and by Edward Hall. As a result, it had an influence on Shakespeare. The death of the earl of Salisbury at Orleans in ''Henry VI Part I'' Follows the chronicle closely. The ''Mirror for Magistrates'' Salisbury narrative is also derived from the chronicle. Another point of interest is that the chronicle is by a scribe who can be identified, and proves to be the only known fifteenth-century account of the war written in England in French, which adds an important linguistic dimension to its study.ch Fastolf was heavily involved and which otherwise receive little attention in chronicles written on either side of the Channel. The progress of the war is well mapped, with around 230 place names mentioned.The chronicle was extensively used in the sixteenth century by several heralds and by Edward Hall. As a result, it had an influence on Shakespeare. The death of the earl of Salisbury at Orleans in ''Henry VI Part I'' Follows the chronicle closely. The ''Mirror for Magistrates'' Salisbury narrative is also derived from the chronicle. Another point of interest is that the chronicle is by a scribe who can be identified, and proves to be the only known fifteenth-century account of the war written in England in French, which adds an important linguistic dimension to its study.ch Fastolf was heavily involved and which otherwise receive little attention in chronicles written on either side of the Channel. The progress of the war is well mapped, with around 230 place names mentioned.The chronicle was extensively used in the sixteenth century by several heralds and by Edward Hall. As a result, it had an influence on Shakespeare. The death of the earl of Salisbury at Orleans in ''Henry VI Part I'' Follows the chronicle closely. The ''Mirror for Magistrates'' Salisbury narrative is also derived from the chronicle. Another point of interest is that the chronicle is by a scribe who can be identified, and proves to be the only known fifteenth-century account of the war written in England in French, which adds an important linguistic dimension to its study.ch Fastolf was heavily involved and which otherwise receive little attention in chronicles written on either side of the Channel. The progress of the war is well mapped, with around 230 place names mentioned.The chronicle was extensively used in the sixteenth century by several heralds and by Edward Hall. As a result, it had an influence on Shakespeare. The death of the earl of Salisbury at Orleans in ''Henry VI Part I'' Follows the chronicle closely. The ''Mirror for Magistrates'' Salisbury narrative is also derived from the chronicle. Another point of interest is that the chronicle is by a scribe who can be identified, and proves to be the only known fifteenth-century account of the war written in England in French, which adds an important linguistic dimension to its study. in the sixteenth century by several heralds and by Edward Hall. As a result, it had an influence on Shakespeare. The death of the earl of Salisbury at Orleans in ''Henry VI Part I'' Follows the chronicle closely. The ''Mirror for Magistrates'' Salisbury narrative is also derived from the chronicle. Another point of interest is that the chronicle is by a scribe who can be identified, and proves to be the only known fifteenth-century account of the war written in England in French, which adds an important linguistic dimension to its study.
Fertile Visions conceptualises the uterus as a narrative space so that the female reproductive body can be understood beyond the constraints of a gendered analysis. Unravelling pregnancy from notions of maternity and mothering demands that we think differently about narratives of reproduction. This is crucial in the current global political climate wherein the gender-specificity of pregnancy contributes to how bodies that reproduce are marginalised, controlled, and criminalised. Anne Carruthers demonstrates fascinating and insightful close analyses of films such as Juno, Birth, Ixcanul and Arrival as examples of the uterus as a narrative space. Fertile Visions engages with research on the foetal ultrasound scan as well as phenomenologies, affect and spectatorship in film studies to offer a new way to look, think and analyse pregnancy and the pregnant body in cinema from the Americas.
The year 2000 witnessed the 900th anniversary of the birth of Adrian IV, the only Englishman to sit on the papal throne. His short pontificate of four and a half years, distracted by crisis and controversy and followed as it was by an 18-year schism, could be judged a low point in the history of the papacy. The studies in this book challenge the view that Adrian was little more than a cipher, the tool of powerful factions in the Curia. This is the first large-scale work on Adrian since 1925, and is supported by a substantial appendix of relevant sources and documents in facing translation. Relations with the Empire, the Norman kingdom and the Patrimony are all radically reassessed and the authenticity of 'Laudabiliter' reconsidered. At the same time, the spiritual, educational and devotional contexts in which he was operating are fully assessed; his activities in Catalonia and his legatine mission to Scandinavia are examined in the light of recent research, and his special relationship with St Albans is explored through his privileges to this great abbey. These studies by leading scholars in the field, together with the introductory chapter by Christopher Brooke, reveal an active and engaged pope, reacting creatively to the challenges and crises of the Church and the world.
Becket's life was lived on a European stage, his cause was conducted in a European setting, and the cult of the new martyr spread with extraordinary rapidity to the furthest reaches of Latin Christendom before the end of the twelfth century. The fifteen studies collected here reflect not only the global reach of the subject but the diverse expertise of their author, whose edition and translation of the Correspondence of Archbishop Thomas Becket (2000) and acclaimed biography (Thomas Becket, 2004) have established her place in Becket studies. Based on the critical examination of manuscripts and texts, this collection focuses first on the papal curia and Becket's household in exile. The following studies deal with Becket's letters and their authorship, the coronation of the young King Henry (1170), and Henry II's reconciliation at Avranches (1172). The final part traces the explosion of Becket's cult, the transmission of hagiographical and liturgical texts to France, Germany, and Portugal, and the role of diverse agencies of dissemination: Henry II's daughters, for example, in Saxony, Castile, and Sicily, and the Cistercian and Augustinian orders whose networks of houses embraced the whole of Europe.
The job was supposed to be dead easy—hand-deliver some legal papers to billionaire philanthropist Harry Van Dorn's extravagant yacht, get his signature and be done. But Manhattan lawyer Genevieve Spenser soon realizes she's in the wrong place at the wrong time, and that the publicly benevolent playboy has a sick, vicious side. As he tries to make her his plaything for the evening, eager to use and abuse her until he discards her with the rest of his victims, Genevieve must keep her wits if she intends to survive the night. But there's someone else on the ship who knows the true depths of Van Dorn's evil. Peter Jensen is far more than the unassuming personal assistant he pretends to be—he's a secret operative who will stop at nothing to ensure Harry's deadly Rule of Seven terror campaign dies with him. But Genevieve's presence has thrown a wrench into his plans, and now he must decide whether to risk his mission to keep her alive, or allow her to become collateral damage….
A practical guide to deeper instruction—a framework for challenging, engaging, and empowering students of all ages For schools to meet ambitious new standards and prepare all students for college, careers, and life, research has shown unequivocally that nothing is more important that the quality of daily instruction. Learning That Lasts presents a new vision for classroom instruction that sharpens and deepens the quality of lessons in all subject areas. It is the opposite of a 'teacher-proof' solution. Instead, it is predicated on a model of instruction that honors teachers as creative and expert planners of learning experiences for their students and who wish to continuously grow in their instructional and content knowledge. It is not a theoretical vision. It is a model of instruction refined in some of the nation's most successful public schools—schools that are beating the odds to create remarkable achievement—sited primarily in urban and rural low-income communities. Using case studies and examples of powerful learning at all grade levels and in all disciplines, Learning That Lasts is a guide to creating classrooms that promote deeper understanding, higher order thinking, and student independence. Through text and companion videos, readers will enter inspiring classrooms where students go beyond basics to become innovators, collaborators, and creators. Learning That Lasts embraces a three-dimensional view of student achievement that includes mastery of knowledge and skills, character, and high-quality work. It is a guide for teachers who wish to make learning more meaningful, memorable, and connected to life, and inspire students to do more than they think possible.
Emotions are as old as humankind. But what do we know about them and what importance do we assign to them? Emotional Lexicons is the first cultural history of terms of emotion found in German, French, and English language encyclopaedias since the late seventeenth century. Insofar as these reference works formulated normative concepts, they documented shifts in the way the educated middle classes were taught to conceptualise emotion by a literary medium targeted specifically to them. As well as providing a record of changing language use (and the surrounding debates), many encyclopaedia articles went further than simply providing basic knowledge; they also presented a moral vision to their readers and guidelines for behaviour. Implicitly or explicitly, they participated in fundamental discussions on human nature: Are emotions in the mind or in the body? Can we "read" another person's feelings in their face? Do animals have feelings? Are men less emotional than women? Are there differences between the emotions of children and adults? Can emotions be "civilised"? Can they make us sick? Do groups feel together? Do our emotions connect us with others or create distance? The answers to these questions are historically contingent, showing that emotional knowledge was and still is closely linked to the social, cultural, and political structures of modern societies. Emotional Lexicons analyses European discourses in science, as well as in broader society, about affects, passions, sentiments, and emotions. It does not presume to refine our understanding of what emotions actually are, but rather to present the spectrum of knowledge about emotion embodied in concepts whose meanings shift through time, in order to enrich our own concept of emotion and to lend nuances to the interdisciplinary conversation about them.
Intersex is an umbrella term for many different conditions that cause ambiguous sexual biology. Intersex people are "in between," neither clearly male nor clearly female. Intersex has been largely hidden through surgery and secrecy, but is now coming out into the open. Many intersex people have experienced physical, psychological, and relational pain because of the shame attached to their bodily difference. The existence of people with unusual sexual biology presents a challenge to the Christian ideal of humanity as male and female. How can evangelical Christians rightly respond to this phenomenon? Intersex in Christ provides a balance of grace and truth, upholding male and female as God's created intent, while insisting that there is a positive place in the kingdom of God and the world for people with unusual sexual biology. Intersex people are created in the image of God, because of the love of God. Jesus accepts, loves, and dignifies intersex people. The gospel of Jesus Christ is good news for all people, however sexed. An evangelical response to intersex will therefore be one of acceptance, love, justice, and inclusion. Intersex in Christ will help both intersex Christians and the church to understand intersex through the lens of Christ.
In post-Wall Germany, violence—both real and imagined—is increasingly determining the formation of new cultural identities. Patricia Anne Simpson’s book focuses on the representation of violence in three youth subcultures often characterized by aggression as they enact a rivalry for supremacy on the new German “street”—the author’s operative metaphor to situate the cultural discourse about violence. The selected literary texts, films, and music exemplify the urgent need for a sustained debate about violence as an aspect of both social reality and the national imaginary. Simpson’s study discloses the relationship between narratives of violence and issues of immigration, ethnic difference, and poverty. Her lucid readings examine the ways in which violence is grounded in the asphalt of Germany’s new street. This interdisciplinary study identifies the motivations, decisions, and consequences of violent acts and the stories that convey them. Simpson draws examples from popular genres and subcultures, including punk, hip hop, and skinhead sounds, styles, and politics. With theoretical sophistication and analytical clarity, the author locates the contested territory of the street within larger European contexts of violence while paying careful attention to the particularities of German history. She reveals new insights into the construction of citizenship, masculinity, and contemporary ethics. In addition, Simpson demonstrates the importance of concepts embedded in the representation of violence, including revised definitions of heroism, community, and evolving ideas of fraternity, family, and home.
In this highly readable and illuminating book, Anne Louise Booth looks at the status of society women during the Victorian period, the expectations and limitations they faced, and the ways in which these norms were challenged and boundaries were pushed.
THE CRITICAL WORK IN GLOBAL HEALTH, NOW COMPLETELY REVISED AND UPDATED "This book compels us to better understand the contexts in which health problems emerge and the forces that underlie and propel them." -Archbishop Emeritus Desmond Mpilo Tutu H1N1. Diabetes. Ebola. Zika. Each of these health problems is rooted in a confluence of social, political, economic, and biomedical factors that together inform our understanding of global health. The imperative for those who study global health is to understand these factors individually and, especially, synergistically. Fully revised and updated, this fourth edition of Oxford's Textbook of Global Health offers a critical examination of the array of societal factors that shape health within and across countries, including how health inequities create consequences that must be addressed by public health, international aid, and social and economic policymaking. The text equips students, activists, and health professionals with the building blocks for a contextualized understanding of global health, including essential threads that are combined in no other work: · historical dynamics of the field · the political economy of health and development · analysis of the current global health structure, including its actors, agencies, and activities · societal determinants of health, from global trade and investment treaties to social policies to living and working conditions · the role of health data and measuring health inequities · major causes of global illness and death, including under crises, from a political economy of health vantage point that goes beyond communicable vs. non-communicable diseases to incorporate contexts of social and economic deprivation, work, and globalization · the role of trade/investment and financial liberalization, precarious work, and environmental degradation and contamination · principles of health systems and the politics of health financing · community, national, and transnational social justice approaches to building healthy societies and practicing global health ethically and equitably Through this approach the Textbook of Global Health encourages the reader -- be it student, professional, or advocate -- to embrace a wider view of the global health paradigm, one that draws from political economy considerations at community, national, and transnational levels. It is essential and current reading for anyone working in or around global health.
This new edition of An Aid to the MRCP Paces Volume 1: Stations 1 and 3 has been fully revised and updated, and reflects feedback from PACES candidates as to which cases frequently appear in each station. The hundreds of cases have been written in accordance with the latest examining and marking schemes used for the exam and, together with exam hints, tips, routines and clinical checklists, provide an invaluable training and revision aid for all MRCP PACES candidates.
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