This book provides a critical survey of the gothic texts of late twentieth-century and contemporary Scottish women writers including Kate Atkinson, Ellen Galford, A.L. Kennedy, Ali Smith and Emma Tennant focusing on four themes: quests and other worlds, w
This study is the first to examine the important political role played by astrology in Italian court culture. Reconstructing the powerful dynamics existing between astrologers and their prospective or existing patrons, The Duke and the Stars illustrates how the “predictive art” of astrology was a critical source of information for Italian Renaissance rulers, particularly in times of crisis. Astrological “intelligence” was often treated as sensitive, and astrologers and astrologer-physicians were often trusted with intimate secrets and delicate tasks that required profound knowledge not only of astrology but also of the political and personal situation of their clients. Two types of astrological predictions, medical and political, were taken into the most serious consideration. Focusing on Milan, Monica Azzolini describes the various ways in which the Sforza dukes (and Italian rulers more broadly) used astrology as a political and dynastic tool, guiding them as they contracted alliances, made political decisions, waged war, planned weddings, and navigated health crises. The Duke and the Stars explores science and medicine as studied and practiced in fifteenth-century Italy, including how astrology was taught in relation to astronomy.
The reform of the European Constitution continues to dominate news headlines and has provoked a massive debate, unprecedented in the history of EU law. Against this backdrop Monica Claes' book offers a "bottom up" view of how the Constitution might work, taking the viewpoint of the national courts as her starting point, and at the same time returning to fundamental principles in order to interrogate the myths of Community law. Adopting a broad, comparative approach, she analyses the basic doctrines of Community law from both national constitutional perspectives as well as the more usual European perspective. It is only by combining the perspectives of the EU and national constitutions, she argues, that a complete picture can be obtained, and a solid theoretical base (constitutional pluralism) developed. Her comparative analysis encompasses the law in France, Belgium, Denmark, the Netherlands, Germany, Ireland, Italy and the United Kingdom and in the course of her inquiry discusses a wide variety of prominent problems. The book is structured around three main themes, coinciding with three periods in the development of the judicial dialogue between the ECJ and the national courts. The first focuses on the ordinary non-constitutional national courts and how they have successfully adapted to the mandates developed by the ECJ in Simmenthal and Francovich. The second examines the constitutional and other review courts and discusses the gradual transformation of the ECJ into a constitutional court, and its relationship to the national constitutional courts. The contrast is marked; these courts are not specifically empowered by the case law of the ECJ and have reacted quite differently to the message from Luxembourg, leaving them apparently on collision course with the ECJ in the areas of judicial Kompetenz Kompetenz and fundamental rights. The third theme reprises the first two and places them in the context of the current debate on the Constitution for Europe and the Convention, taking the perspective of the national courts as the starting point for a wide-ranging examination of EU's constitutional fundamentals. In so doing it argues that the new Constitution must accommodate the national perspective if it is to prove effective.
Since Ursula Andress's white-bikini debut in Dr No, 'Bond Girls' have been simultaneously celebrated as fashion icons and dismissed as 'eye-candy'. But the visual glamour of the women of James Bond reveals more than the sexual objectification of female beauty. Through the original joint perspectives of body and fashion, this exciting study throws a new, subversive light on Bond Girls. Like Coco Chanel, fashion's 'eternal' mademoiselle, these 'Girls' are synonymous with an unconventional and dynamic femininity that does not play by the rules and refuses to sit still; far from being the passive objects of the male gaze, Bond Girls' active bodies instead disrupt the stable frame of Bond's voyeurism. Starting off with an original re-assessment of the cultural roots of Bond's postwar masculinity, the book argues that Bond Girls emerge from masculine anxieties about the rise of female emancipation after the Second World War and persistent in the present day. Displaying parallels with the politics of race and colonialism, such tensions appear through sartorial practices as diverse as exoticism, power dressing and fetish wear, which reveal complex and often contradictory ideas about the patriarchal and imperial ideologies associated with Bond. Attention to costume, film and gender theory makes Bond Girls: Body, Gender and Fashion essential reading for students and scholars of fashion, media and cultural studies, and for anyone with an interest in Bond.
Using sources ranging from the famous 12th-century female practitioner, Trota of Salerno, through to the great tomes of Renaissance male physicians, this is a pioneering study challenging the common belief that, prior to the 18th century, men were never involved in any aspect of women's healthcare in Europe.
Monica Germana considers four thematic areas of the supernatural - quests, dangerous women, doubles and ghosts - each explored in one of the four main chapters. Being the first critical work to bring together contemporary women's writing and the Scottish fantasy tradition, the volume pioneers in-depth investigation of some previously neglected texts such as Ali Smith's Hotel World; Alice Thompson's Justine; Margaret Elphinstone's longer fiction, as well as offering new readings of more popular texts including A.L. Kennedy's So I am glad, Emma Tennant's The Bad Sister and Two Women of London. Underlying the broad scope of this survey are the links - both explicit and implicit - established between the examined texts and the Scottish supernatural tradition.Having established a connection with a distinctively Scottish canon, Monica Germana points to the ways in which the selected texts simultaneously break from past traditions and reveal points of departure through their exploration of otherness as well as their engagement with feminist and postmodernist discourses in relation to the questions of identity and the interrogation of the real.
Since Ursula Andress's white-bikini debut in Dr No, 'Bond Girls' have been simultaneously celebrated as fashion icons and dismissed as 'eye-candy'. But the visual glamour of the women of James Bond reveals more than the sexual objectification of female beauty. Through the original joint perspectives of body and fashion, this exciting study throws a new, subversive light on Bond Girls. Like Coco Chanel, fashion's 'eternal' mademoiselle, these 'Girls' are synonymous with an unconventional and dynamic femininity that does not play by the rules and refuses to sit still; far from being the passive objects of the male gaze, Bond Girls' active bodies instead disrupt the stable frame of Bond's voyeurism. Starting off with an original re-assessment of the cultural roots of Bond's postwar masculinity, the book argues that Bond Girls emerge from masculine anxieties about the rise of female emancipation after the Second World War and persistent in the present day. Displaying parallels with the politics of race and colonialism, such tensions appear through sartorial practices as diverse as exoticism, power dressing and fetish wear, which reveal complex and often contradictory ideas about the patriarchal and imperial ideologies associated with Bond. Attention to costume, film and gender theory makes Bond Girls: Body, Gender and Fashion essential reading for students and scholars of fashion, media and cultural studies, and for anyone with an interest in Bond.
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