Edizioni Mediterranee founded in 1953, together with Hermes, Arkeios and Studio Tesi is a publishing group. Amongst Italian and foreign authors the catalogue includes more than 2.500 titles. Main subjects are: yoga, body-mind-spirit, alternative healing, alchemy, astrology, magic, sport, martial arts.
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This volume on Norman Italy (southern Italy and Sicily, c. 1000-1200) honours and reflects the pioneering scholarship of Graham A. Loud. An international group of scholars reassesses and recasts the paradigm by which Norman Italy has been conventionally understood, addressing varied subjects across four key themes: historiographies, identities and communities, religion and Church, and conquest. The chapters revise and refine our understanding of Norman Italy in the eleventh and twelfth centuries, demonstrating that it was not just a parochial Norman or Mediterranean entity but also an integral player in the medieval mainstream.
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Over fifty years after Jamaican and Trinidadian independence, Imagining Caribbean womanhood examines the links between beauty and politics in the Anglophone Caribbean, providing a first cultural history of Caribbean beauty competitions, spanning from Kingston to London. It traces the origins and transformation of female beauty contests in the British Caribbean from 1929 to 1970, through the development of cultural nationalism, race-conscious politics and decolonisation. The beauty contest, a seemingly marginal phenomenon, is used to illuminate the persistence of racial supremacy, the advance of consumer culture and the negotiation of race and nation through the idealised performance of cultured, modern beauty. Modern Caribbean femininity was intended to be politically functional but also commercially viable and subtly eroticised.
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This book examines human disappearances anthropologically in various contexts, ranging from enforced disappearances under oppressive governments and during armed conflicts to disappearing undocumented migrants and, finally, to people who go missing under more everyday circumstances. Two focuses run through the book: the relationship between the state and disappearances, and the consequences of disappearances for the families and communities of missing persons. The book analyses both the circumstances that make some people disappear and the variety of responses that disappearances give rise to; the latter include projects focused on searching for the missing and identifying human remains, as well as political projects that call for accountability for disappearances. While providing empirical examples from a variety of places, with Bosnia-Herzegovina as they key empirical site, the book develops an analytic grip on the slippery category of the 'disappeared'.
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Colouring the Caribbean offers the first comprehensive study of Agostino Brunias's intriguing pictures of colonial West Indians of colour - so called 'Red' and 'Black' Caribs, dark-skinned Africans and Afro-Creoles, and people of mixed race - made for colonial officials and plantocratic elites during the late-eighteenth century. Although Brunias's paintings have often been understood as straightforward documents of visual ethnography that functioned as field guides for reading race, this book investigates how the images both reflected and refracted ideas about race commonly held by eighteenth-century Britons, helping to construct racial categories while simultaneously exposing their constructedness and underscoring their contradictions. The book offers provocative new insights about Brunias's work gleaned from a broad survey of his paintings, many of which are reproduced here for the first time.
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Jack Tar to Union Jack examines the intersection between empire, navy, and manhood in British society from 1870 to 1918. Through analysis of sources that include courts-martial cases, sailors' own writings, and the HMS Pinafore, Conley charts new depictions of naval manhood during the Age of Empire, a period which witnessed the radical transformation of the navy, the intensification of imperial competition, the democratisation of British society, and the advent of mass culture. Jack Tar to Union Jack argues that popular representations of naval men increasingly reflected and informed imperial masculine ideals in Victorian and Edwardian Britain. Conley shows how the British Bluejacket as both patriotic defender and dutiful husband and father stood in sharp contrast to the stereotypic image of the brave but bawdy tar of the Georgian navy. This book will be essential reading for students of British imperial history, naval and military history, and gender studies.
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Ireland, slavery and the Caribbean is a complex and ground-breaking collection of essays. Grounded in history, it integrates perspectives from art historians, architectural and landscape historians, and literary scholars to produce a genuinely interdisciplinary collection that spans from 1620-1830: the high point of European colonialism. By exploring imperial, national and familial relationships from their building blocks of plantation, migration, property and trade, it finds new ways to re-create and question how slavery made the Atlantic world.
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In François Truffaut's opinion The Innocents was 'the best English film after Hitchcock goes to America'. Tennessee Williams said of The Great Gatsby: 'a film whose artistry even surpassed the original novel'. The maker of both films was Jack Clayton, one of the finest English directors of the post-war era and perhaps best remembered for the trail-blazing Room at the Top which brought a new sexual frankness and social realism to the British screen. This is the first full-length critical study of Clayton's work. The author has been able to consult and quote from the director's own private papers which illuminate Clayton's creative practices and artistic intentions. In addition to fresh analyses of the individual films, the book contains new material on Clayton's many unrealised projects and valuably includes his previously unpublished short story 'The Enchantment' - as poignant and revealing as the films themselves. This is a personal and fascinating account of the career and achievement of an important, much-loved director that should appeal to students and film enthusiasts.
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"Rescue” has two fundamentally different “existential” dimensions. One is aimed at “saving” individual lives that are in danger. Firefighters, for instance, rescue people from fires, while the sea rescue services rescue shipwrecked people from the Mediterranean. The second dimension of “rescue”, on the other hand, concerns systems – think of the bailing out of banks, the euro or the climate disaster – and so points to a larger context that creates the conditions for “life” to even be possible, or at least to be preserved. The complex subject of this stringent essay is just to what extent politics enable or prevent “rescue attempts”, to what extent it understands its actions as “rescue actions”, and how decisively the “narrative”, i.e. the “talk of rescue”, ultimately dominates our entire understanding of politics.
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