Effatà Editrice is an independent publishing house, founded by Paolo and Gabriella Pellegrino in 1995 in Turin. We deal with religious non-fiction. Our aim is to bring Christian spirituality to everyone, with a fresh and contemporary language. We are open to dialogue with other faiths and try to give readers books that open their hearts and minds.
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Publication of works geared toward a mass-market audience An intentionally small number of titles (15 to 20 titles per year) so as to give a maximum of attention and means to each work and thus optimise their sales potential, both in France and abroad. An ambitious strategy aiming to discover new talent and put French authors back at the top of bestseller lists around the world. In 20 years: 421 titles published, 302 made it on the best-seller lists, 250 have been widely sold abroad.
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Viewers of contemporary art are often invited to involve themselves actively in artworks, by entering installations, touching objects, performing instructions or clicking on interactive websites. Why have artists sought to engage spectators in these new forms of participation? In what ways does active participation affect the viewer's experience and the status of the artwork? Spanning a range of practices including kinetic art, happenings, environments, performance, installations, relational and new media art from the 1950s to the present, this critical anthology sheds light on the history and specificity of artworks that only come to life when you - the viewer - are invited to 'do it yourself.' Rather than a specialist topic in the history of twentieth- and twenty-first century art, the 'do-it-yourself' artwork raises broader issues concerning the role of the viewer in art, the status of the artwork and the socio-political relations between art and its contexts.
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With well over 6,300 articles, including over 500 new entries, this fourth edition of The Encyclopedia of British Film is a fully updated invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema. Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies and this fourth edition will be an essential work of reference for enthusiasts interested in the history of British cinema, and for universities and libraries.
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Thomas May's The Tragedy of Antigone (1631), edited by Matteo Pangallo, is the first English treatment of the story made famous by Sophocles. This edition contains a facsimile of the copy held at the Beinecke Library of Yale University, making the play commercially available for the first time since its original publication. The extensive introduction discusses, among other things, the ownership history of existing copies and their marginal annotations, and of the play's topical political implications in the light of May's wavering between royalist and republican sympathies. Writing during the contentious early years of Charles I's reign, May used Sophocles' Antigone to explore the problems of just rule and justified rebellion. He also went beyond the scope of the original, adding content from a wide range of other classical and contemporary plays, poems and other sources, including Shakespeare's Romeo and Juliet and Macbeth. This volume will be essential reading for advanced students, researchers and teachers of early English drama and seventeenth-century political history.
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The Humorous Magistrate is a seventeenth-century satiric comedy extant in two highly distinctive manuscripts. This, the earliest and clearly working draft of the play is bound with three other plays (including The Emperor's Favourite, published by the Malone Society in 2010) in a volume in the library of the Newdigate family of Arbury Hall, Nuneaton, Warwickshire. The second version, showing yet another stage of revision not found in the Arbury manuscript and orientated towards performance, was purchased by the University of Calgary from the English antiquarian Edgar Osborne in 1972. The relationship between the manuscripts was discovered in 2005. The anonymous play has been attributed to John Newdigate III (1600-1642). Like The Emperor's Favourite, it takes aim at the court; its particular object of satire is governmental strategies under the Personal Rule of Charles I. The play appears in print for the first time in these separate editions. The volumes are illustrated with several plates, some provided for comparative purposes.
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Mary Kelly, we are told, was not a feminist artist, but a feminist who made art. Designed to accompany a major retrospective at the Whitworth Art Gallery, this book contains essays and interviews which show the implications of that distinction and also the legacy of feminists and feminism in relation to art. Challenging and beautiful, Kelly's artworks address questions of sexuality, identity and historical memory in the form of large-scale narrative installations. The works are agilely discussed in contributions by some of the luminary feminist art scholars of our time, including Janet Wolff, Laura Mulvey, Carol Mavor and Amelia Jones, making this collection an essential new text in the discourse on art, feminism, psychoanalysis and representation.
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This book examines the extent and nature of Irish social and cultural difference. It is a collection of twenty-three short essays written in a clear and accessible manner by human scientists who are international experts in their area. The topics covered include the nature of Irish nationalism and capitalism, the Irish political elite, the differences and similarities of the Irish family, the upsurge in immigration, Northern Ireland, the Irish diaspora, the Irish language, sport, music and many other topics. The book will be bought by those who have an academic and personal interest in Irish Studies. It will be attractive to those who are not familiar with the theories and methods of the human sciences and how they can shine a light on the transformations that have taken place in Ireland. Tom Inglis, the editor of the collection, is a sociologist who has written extensively on Irish culture and society.
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Writers have previously placed the action of kissing into categories: kisses of love, affection, peace, respect and friendship. Each of the essays in this fascinating book take a single kind of kiss and uses it as an index to the past. For rather than offering a simple history of the kiss, this book is about the kiss in history. In this collection, an eminent group of cultural historians have explored this subject using an exceptionally wide range of evidence. They explore the kiss through sources as diverse as canonical religious texts, popular prints, court depositions, periodicals, diaries and poetry. In casting the net so wide, these authors demonstrate how cultural history has been shaped by a broad concept of culture, encompassing more than simply the canons of art and literature, and integrating apparently 'historical' and 'non-historical' sources. Furthermore, this collections shows that by analyzing the kiss and its position - embedded as it is as part of our culture - history can use small gestures to take us to big issues concerning ourselves and others, the past and the present. With an afterword by Sir Keith Thomas, this book will be fascinating reading for cultural historians working on a wide range of different societies and periods.
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The sociology of unemployment is an analysis of the experience and governance of unemployment. By considering unemployment as more than just the absence of work; the book explores unemployment as a distinctive experience created by the welfare state. Each chapter explores an aspect of the experience or governance of unemployment; beginning with how people talk about their experience of being unemployed individually and collectively, to the places of unemployment, and on to the processes, policies and forms of the social welfare system. Clear explanations of classic theories are explored and extended, all against the backdrop of new primary research. Chapter by chapter, The sociology of unemployment challenges the 'deprivation theory of unemployment' which dominates sociology, psychology and social policy, by focusing on how governmental power forms the experience of unemployment. As a result, the book is both an introductory text on the sociology of unemployment and a fresh, critical perspective.
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Bob Dylan's cultural production in the second half of the twentieth century, his songs, but also his changing images and self-fashionings have informed and productively re/shaped certain images of America from outside and within. Refractions of Bob Dylan collects scholarly essays which thoroughly investigate the routes of Bob Dylan's cultural appropriations. The collection looks at how Dylan has been used and interpreted by others, and how his work has been reworked into cultural expressions in culturally and regionally divergent spaces. Additionally, a number of essays look at what Dylan has appropriated and incorporated in his own work, focusing on questions of plagiarism, tribute, allusion, love and theft. Some of the essays originate from the Refractions of Bob Dylan conference in Vienna (www.dylanvienna.at) which took place around the 70th birthday of Bob Dylan, and included Dylan experts such as Clinton Heylin, Stephen Scobie and Michael Gray.
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Auteurism - the idea that a director of a film is its source of meaning and should retain creative control over the finished product - has been one of film studies' most important paradigms ever since the French New Wave of the late 1950s and early 1960s, and the adoption of the term auteur by Andrew Sarris. Through the popular, controversial and critically acclaimed films of Olivier Assayas, Jacques Audiard, the Dardenne borthers, Michael Haneke and Francois Ozon, this book looks into how the meaning of 'auteur' has changed over this half-century, and assesses the current state of Francophone auteur cinema. It combines French philosophical and sociological approaches with methodologies from the Anglo-American fields of gender studies, queer theory and postmodernism. This volume will be of interest to researchers and students of film studies, European cinema and French and Francophone studies, as well as to film enthusiasts.
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Already in its 3rd edition, the PTAheute handbook presents the essence of practical pharmacy knowledge and is becoming the standard work for a practical pharmacy. PTAheute authors contribute their professional experience and bundle the most important facts, in the proven manner of the trade journal PTAheute: ■ Comprehensibly prepared content facilitates putting knowledge effectively into practice. ■ Infographics help readers understand the contexts. ■ Yellow boxes provide a quick overview. ■ Pictures and graphic design increase reading pleasure. The content on multiple sclerosis or on the various aspects of Covid-19 is new to the 3rd edition. The chapters on „Antibiotics“ and „Interactions“ have been completely restructured and revised and all other content has been brought fully up to date. The PTAheute handbook – the reliable companion in everyday pharmacy life!
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This book examines the place of 'saints' and sanctity in a self-consciously modern age, and argues that Protestants were as fascinated by such figures as Catholics were. Long after the mechanisms of canonisation had disappeared, people continued not only to engage with the saints of the past but continued to make their own saints in all but name. Just as strikingly, it claims that devotional practices and language were not the property of orthodox Christians alone. Making and remaking saints in the nineteenth-century Britain explores for the first time how sainthood remained significant in this period both as an enduring institution and as a metaphor that could be transposed into unexpected contexts. Each of the chapters in this volume focuses on the reception of a particular individual or group, and together they will appeal to not only historians of religion, but those concerned with material culture, the cult of history, and with the reshaping of British identities in an age of faith and doubt.
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This edited collection is the first to apply the theoretical lens of post-Foucauldian governmentality to an analysis of health problems, practices, and policy in Ireland. Drawing on empirical examples related to childhood, obesity, mental health, smoking, ageing and others, the collection explores how specific health issues have been constructed as problematic and in need of intervention in the Irish State, and considers the strategies, discourses and technologies involved in the art of governing health in advanced liberal democracies. Bringing together academics from social policy, sociology, political science and public health, the text seeks to develop a dialogue about both the nature of health and health policy in the Ireland, but also how governmentality, as a theoretical approach, can contribute to the development of critical health policy analysis.
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This volume of new, spellbinding essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, featuring new perspectives on their collaboration. Featuring essays by leading scholars of Hitchcock's work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and the contribution that Herrmann's work brings to Hitchcock's idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the essays explore approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann's work with Hitchcock brought to this body of films, examining the significance, meanings, histories and enduring legacies of one of film history's most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the book explores the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways in which such partnerships inspire later work.
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The Gothic and death offers the first ever published study devoted to the subject of the Gothic and death across the centuries. It investigates how the multifarious strands of the Gothic and the concepts of death, dying, mourning and memorialisation ('the Death Question') - have intersected and been configured cross-culturally to diverse ends from the mid-eighteenth century to the present day. Drawing on recent scholarship in such fields as Gothic Studies, film theory, Women's and Gender Studies and Thanatology Studies, this interdisciplinary collection of fifteen essays by international scholars combines an attention to socio-historical and cultural contexts with a rigorous close reading of works, both classic and lesser known. This area of enquiry is considered by way of such popular and uncanny figures as corpses, ghosts, zombies and vampires, and across various cultural and literary forms such as Graveyard Poetry, Romantic poetry, Victorian literature, nineteenth-century Italian and Russian literature, Anglo-American film and television, contemporary Young Adult fiction and Bollywood film noir.
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The first anthology of its kind, this timely collection brings together a diverse range of black British literatures, essays and documents from across the post-war period within a single volume.. Spanning half a century, this rich archive of representations includes South Asian, African and Caribbean cultural production by both leading and lesser-known artists, critics and commentators:. Sam Selvon Salman Rushdie George Lamming Hanif Kureishi Stuart Hall Linton Kwesi Johnson Caryl Phillips Paul Gilroy Meera Syal Kobena Mercer James Berry E. R. Braithwaite Wilson Harris Farrukh Dhondy V. S. Naipaul Ben Okri Wole Soyinka Hazel Carby Kamau Braithwaite Isaac Julien C. L. R. James Dick Hebdige A. Sivanandan Buchi Emecheta Louise Bennett Grace Nichols Jackie Kay. Directed at a truly interdisciplinary market, accommodating popular and 'high' cultural materials from across the disciplines of literature, film, photography, history, sociology, politics, Marxism, feminism, cultural and communications studies.. Situated and contextualised within accessible historical and cultural frameworks and incorporating lucid introductions, a detailed chronology and extensive bibliography.
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Recent years have witnessed an explosion of interest in the 'spatialities of cinema' across the social sciences and humanities, yet to date critical inquiry has tended to explore this issue as a question of the 'city' and the 'urban'. For the first time, leading scholars in geography, film and cultural studies have been drawn together to explore the multiple ways in ideas of cinema and countryside are co-produced: how 'film makes rural' and 'rural makes film'. From the expanse of the American great west to the mountainous landscapes of North Korea, Cinematic countrysides draws on a range of popular and alternative film genres to demonstrate how film texts come to prefigure expectations of rural social space, and how these representations come to shape, and be shaped by, the material and embodied circumstances of 'lived' rural experience. At the heart of this volume's varied apprehensions of the 'cinematic countryside' is a concern to argue that ideas of rurality in film are central to wider questions of 'modernity' and 'tradition', 'self' and 'other', 'nationhood' and 'globalisation', and crucially, ones that are central to an account of the 'cinematic city'.
