This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
Authoritative, comprehensive and definitive, Pulmonary Circulation builds on the success of its previous two editions by providing practising respiratory physicians with a highly-ordered, unique reference work on the structure, function and pathophysiology of the pulmonary circulation. New for the third edition: Thoroughly revised with comprehensive coverage from diagnosis and clinical evaluation of pulmonary hypertension, to imaging techniques, disorders and treatment A new truly global team of expert editors, authors and key opinion leaders provide a wealth of detail on the latest developments and issues New chapters, such as: paediatrics, critical care, special environments including high altitude and underwater More quality chapters, authors, illustrations with thorough and thoughtful referencing make this book a contemporary essential reference text Pulmonary Circulation remains an essential resource for pulmonary hypertension specialists and should prove invaluable in all respiratory, cardiac and intensive care units.
Viewing the medieval period as an era of constant change rather than as a monolithic whole, Robert S. Sturges examines a wide variety of English and French literary works within the cultural contexts of the early and late Middle Ages. Sturges analyzes these medieval works in roughly chronological order, thus providing a sense of historical change within the general period. Seeking to discover which critical methods best serve each work, he also compares medieval with postmodern approaches to interpretation, pointing out, of course, where current critical practices do not apply. Examining the Chanson de Roland, and Chrétien’s Charrette, Sturges reveals how belief in an indeterminacy of literary meaning grew between the 12th and 15th centuries. He argues that whereas the earlier Middle Ages’ Neoplatonic cultural context produced the "directed vision" of the early genres (chanson de gest, saint’s life), changes introduced in the 12th century and later allowed a second vision to emerge. Supplementing rather than replacing the Neoplatonic view, this new mind set emphasized a multiplicity of possible literal meanings in the world and in language. Authoritative truths no longer could be revealed through allegorical interpretation. In his second chapter, Sturges compares Chrétien’s Conte del Graal with the Queste del saint Graal to counterpoise the levels of interpretation required by allegory against the potential multiplicity of literal meanings possible when interpreting nonallegorical works. Chrétien, he notes, rejects allegory in favor of ambiguity. Chapter 3 compares Marie de France’s Lais with Machault’s Voir-Dit, making an analogy between the erotic activity of the represented lovers and the reader’s interpretation of the literary works. Sturges points out that by the 14th century semantic indeterminacy in love and in reading was expected, conventional, and enjoyable. Still, both Marie and Machault suggest the dangers of uncertainty in human relations: if true knowledge of the other (lover or text) is impossible, how can we communicate? In his fourth chapter, Sturges examines The Book of the Duchess, Troilus and Criseyde, and "The Wife of Bath’s Tale" to determine how at various points of his career Chaucer responded to the essential question: how can any truth be communicated among people or between texts and readers? Chapter 5 approaches such questions of truth and communication from the perspective of alterity and historical understanding in both La Mort le roi Artu and the final sections of Malory’s Mort Darthur, two works that present themselves as works of history. Yet the ambiguity introduced from 13th-century romance on through the 15th century undermined the historical foundation such works rest on. Sturges considers four centuries, two nationalities, and the genres of verse and prose romance, allegory, Breton lay, dit, dream-vision, and frame-story. He convincingly applies his study of medieval literature to issues vital to 20th-century literary theory, issues ranging from the interplay of speech and writing to the reader’s role in the production of meaning.
Why is our sense of smell so under-appreciated? We tend to think of smell as a vestigial remnant of our pre-human past, doomed to gradual extinction, and we go to great lengths to eliminate smells from our environment, suppressing body odour, bad breath and other smells. Living in a relatively odour-free environment has numbed us to the importance that smells have always had in human history and culture. In this major new book Robert Muchembled restores smell to its rightful place as one of our most important senses and examines the transformation of smells in the West from the Renaissance to the beginning of the 19th century. He shows that in earlier centuries, the air in towns and cities was often saturated with nauseating emissions and dangerous pollution. Having little choice but to see and smell faeces and urine on a daily basis, people showed little revulsion; until the 1620s, literature and poetry delighted in excreta which now disgust us. The smell of excrement and body odours were formative aspects of eroticism and sexuality, for the social elite and the popular classes alike. At the same time, medicine explained outbreaks of plague by Satan's poisonous breath corrupting the air. Amber, musk and civet came to be seen as vital bulwarks against the devil's breath: scents were worn like armour against the plague. The disappearance of the plague after 1720 and the sharp decline in fear of the devil meant there was no longer any point in using perfumes to fight the forces of evil, paving the way for the olfactory revolution of the 18th century when softer, sweeter perfumes, often with floral and fruity scents, came into fashion, reflecting new norms of femininity and a gentler vision of nature. This rich cultural history of an under-appreciated sense will be appeal to a wide readership.
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