To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
The Origins of the Corinthian Christ Group: Paul's Chord of Gods argues that Paul's language about his god (father, lord Jesus Christ and pneuma) would have been familiar to Corinthian gentiles as a small group of gods - a chord of gods. Worship of Paul's chord of gods matches the common religious practice (in Theodore Schatzki's sense) around the ancient Mediterranean and in Corinth and would have been familiar to the Corinthians. This religious practice could have formed the basis of attraction for the Corinthians to join Paul's Christ group, served as a social engine for its growth among gentiles in Corinth and been a source of conflict with Paul that he tries to address in his letters to the Corinthians.
Timothy Deane-Freeman traces Deleuze's remarks about the digital to reveal both their origins and implications. In so doing, we encounter a position which is fundamentally ambiguous. On the one hand, digital techniques are intimately related to what Deleuze calls 'societies of control', which deploy them in order to close down potential spaces of creativity and resistance. On the other, digital images take up the mantle of cinema, displacing habitual forms of cognition and forcing us to think in new ways. Deane-Freeman traces these dual impulses through the images of cinema, television and social media, as well as explicating key Deleuzian concepts, including virtuality, immanence and the outside.
Virginia Woolf and Capitalism explores Woolf's engagement with and critiques of capitalism throughout her life, arguing for its central importance in our understanding of her as an author, activist and publisher. Galvanised by existing scholarship on the place of economics, class, gender and empire in Woolf's writing, this collection draws attention to her thinking about history, labour and economics and gives space for understandings of Woolf in the context of our own late-capitalist moment. Chapters by leading and emerging scholars range across Woolf's oeuvre in all its generic diversity, from her earliest short fiction and 'Night and Day' to 'Three Guineas' and 'Between the Acts', showcasing a range of critical approaches from the archival to the creative to the pedagogical. This collection demonstrates how productive and provocative thinking about Woolf's fiction and non-fiction through the lens of capitalism can be for Woolf scholars.
The Double Life of Books confronts a central challenge for the history of reading: how to investigate and then describe the elusive process of what the leading book historian Robert Darnton calls 'inner appropriation'. It does so by bringing two voices together for the first time: the so-called 'ordinary reader' who began life as a devotee of Dr Seuss's 'The Cat in the Hat' and the literature professor who writes about the history of media and reading. Ranging across world literatures in English since the 1890s and drawing on the latest research into the neuroscience of the reading brain, The Double Life of Books is at once an exercise in materialist autobibliobiography, asking what it means to be a living reader in our multimedia age, and a sustained reflection on academic professionalization, raising new questions about the limits of disciplinarity and critique.
Cinema and Machine Vision unfolds the aesthetic, epistemic, and ideological dimensions of machine-seeing films and television using computers. With its critical-technical approach, this book presents to the reader key new problems that arise as AI becomes integral to visual culture. It theorises machine vision through a selection of aesthetics, film theory, and applied machine learning research, dispelling widely held assumptions about computer systems designed to watch and make images on our behalf.
At its heart, Cinema and Machine Vision is an invitation for film and media scholars to critically engage with AI at a technical level, a prompt for scientists and engineers working with images and cultural data to critically reflect on where their assumptions about vision come from, and a joint recognition of the fruitful problems of working together to understand the algorithmic governance of the visual.
In this rare approach to half a century of ethnographic study of a pastoral ethnic community in the hinterland of Iran, the emotional and judgmental reactions local people have to conventions and customs of their own culture is in sharp focus. The book rests on a longitudinal ethnographic study of an agro-pastoral group over five decades in a remote mountain area in Iran. The effects of hard work, poverty, and lifestyle changes over the past decades have moulded people's likes and dislikes, their comforts and pains and what they deem beautiful and ugly. In the aesthetics of everyday life, social structures, traditions and local habits provide many choices for behaviour and experiences, and also for the feelings the various options allow or even provoke. This focus on the cognitive and emotive side of culture affords insights into how rural/transhumant people evaluate their life conditions, their relationships to others, to nature, to time, to religion, and thus to the aesthetic dimension of their lives over half a century of rapid change.
This book explores the role that talent intermediaries, including talent agents, talent managers and producers, play in packaging, marketing and selling screen media products, services and brands by constructing and positioning their clients and collaborators as indie-auteurs. Exploring several case-studies across a range of screen media during an era of media convergence, including American indie cinema, high-end television, music video, advertising and branded content, the book explores the strategies that talent intermediaries adopt and the industrial, cultural and social connotations and hierarchies that indie-auteurism as a promotional discourse and tool carries and reinforces. As a result, the book stakes out new ground that complicates popular ideas of indie-auteurs as highly autonomous and innovative filmmakers by exploring how this authorial discourse migrates between media and is constructed and reconfigured in relation to changing industrial and cultural contexts.
A wide-ranging intellectual history of the Critical Legal Studies Movement, drawing from personal accounts, academic works, and the media. The Rise and Fall of Critical Legal Studies unpacks Critical Legal Studies (CLS) to address what CLS was, how it came about, and what its legacy means for contemporary legal theories.
Taking a CLS approach to CLS, a range of legal, literary, filmic, and philosophical lenses are applied to key theorists and their works, with a specific focus on Duncan Kennedy. Through this analysis, a dominant type of CLS is untangled, and in true Crit form, repeatedly questioned from different perspectives to see what it achieved.
The Rise and Fall of Critical Legal Studies argues that CLS haunts the legal landscape, constricting emerging critiques of law. While the personal hierarchies of the Movement's founders ensured CLS was also limited.
Lyn Hejinian is considered one of the most important avant-garde poets of the twentieth and twenty-first centuries. Beginning with five poems written from 1963 to 1965, The Proposition collects Hejinian's previously uncollected works from 1963-1983 in one unique volume. The individual early works curated in this volume broaden the existing published collections of Hejinian's works, showing Hejinian's play with form, visual language, and linguistic experiment before the poet's move to project orientated writing practices. With a new Preface by Lyn Hejinian, and five essays by prominent critics in the field, the volume offers both a new collection of Hejinian's poetry and an important scholarly resource for students, scholars, and readers of contemporary avant-garde writing more widely.
The Cultural Politics of Veterans' Narratives investigates the role of veterans' stories in our collective cultural and political life. Drawing on contemporary narrative theory, it offers a conceptual framework for studying veterans' narratives, followed by a series of unique empirical chapters dealing with different genres of veteran storytelling, including trauma, transition, culture and identity, and the Afghanistan war memoir. The book questions the British veteran as a political figure, exploring what their stories tell us about the morality and politics of war as well as military life. It also traces how social norms about militarism, nationalism, and patriotism pivot as a result. Caddick considers what the stakes are for veterans as their stories interact with wider cultural narratives, and for society in grappling with the 'militarist terms of reference' these stories impart to us.
In Shakespeare's Britain rivers were not only a crucial form of travel and important natural resources which sustained communities and provided employment but were also sites to which myths and memories accrued and which could be used to figure religious ideas of cleansing and the waters of life. Pageants were performed on them, legends grew up about their names and led to plays and poems being written about personified river gods and goddesses, and stories were told of historic battles which had been fought on their banks. These essays explore the cultural and literary geography of rivers in the early modern period and the ways in which they shaped the lives and identities of those who lived near them. By charting changes (both manmade and natural) to the way in which rivers ebb and flow the book also reminds us of the urgency of the climate crisis.
Western thinking on sexuality has historically affirmed not only a binary division between two sexes, each of which is defined by unique fixed attributes that delineate its essence, but also a privileging of the masculine over the feminine and heteronormative relations over alternatives. By engaging with psychoanalytic theory, phenomenology, feminist and gender theory, and the new materialisms, Gavin Rae shows how this model came under sustained and heterogeneous attack in the twentieth century. Rather than affirm one of these critical trajectories, Rae rethinks the problematic by turning to Walter Benjamin's notion of concepts as constellations to develop an alternative model called sexuality as constellation.
The Female Avenger, Women's Anger and Rape-Revenge Film and Television examines the contentious nature of the female rape survivor turned avenger in rape-revenge stories. The focus is on a trend of contemporary rape-revenge film made by women directors. Vaage asks what it might mean for women in particular to watch female avengers, and suggests that the reason some women filmmakers explore the rape-revenge convention is because it is all about an emotion that is difficult for women, and used to label women as difficult, namely anger.
The central premise in this book is that understanding the emotions stirred up by this type of story is crucial in order to understand its recurring, controversial presence in popular culture, and also its potential value. Vaage offers a cultural and political analysis of contemporary rape-revenge film made by women grounded in the psychological and philosophical study of the emotions.
Reading Modernism's Readers: Virginia Woolf, Psychoanalysis and the Bestseller examines the scene of reading in modernist, psychoanalytic and popular writing from the early twentieth century. Focusing on the writing of Virginia Woolf, and reading her novels alongside writing by Marcel Proust, Sigmund Freud, James Strachey, Ethel M. Dell, Melanie Klein, Marion Milner, and others, this book challenges our prevailing critical assumptions about modernist reading. Reading Modernism's Readers argues that the modernist scene of reading reveals some of our culture's most powerful and enduring fantasies about the role of literature in psychic, social and political life. Reading modernism alongside psychoanalysis and the bestseller, this book aims not only to intervene in debates about modernism, but also to address its legacies in contemporary literature, and in the context of increasingly urgent questions about how - and why - we read today.
Fritz Schulz once famously described the Roman law of inheritance as 'labyrinthine' and it is deemed to be the most complex part of the Roman legal system. As Rome evolved from a city-state to an imperial power, the rules of inheritance often changed because of the economic importance of acquisition at death. These changes are reflected in the Corpus iuris civilis, despite the best efforts of the compilers of the Corpus to eliminate variations in the text in order to standardise the existing material for the purposes of their compilation.
The Roman Law of Inheritance gives the reader an insight into the content, structure and evolution of Roman inheritance law and provides an understanding of a fundamental part of Roman legal thought. In addition, it tackles the most difficult features of Roman law of inheritance, including the fideicommissa and the interpretation of wills which are explained against the background of historical stratification.
The Greek landing in Smyrna in May 1919 is widely seen as the catalyst of the Turkish national struggle but even during the chaos of between 1919-1923, the diverse peoples of Asia Minor coexisted and created astonishing but fragile infra-national solutions. In sharp contrast to popular history, this book tells the often-overlooked story of cooperation and resistance in a province renowned for its rich and prosperous ethnic and religious diversity in the face of a larger geopolitical struggle. As such, this research demonstrates that even the most contested national conflicts can display a remarkable degree of capacity for coexistence at the local level, a capacity that is all too easily forgotten amid global conflicts today.
The Films of Agnieszka Holland is the first monograph devoted to the internationally most famous Polish filmmaker, a three times Oscar nominee and the recipient of numerous film festival prizes. It examines her rich, original oeuvre, which ranges from Holocaust dramas such as 'Europa', 'Europa (1990)' to episodes of the HBO series 'The Wire'. In examining the multifaceted nature of Holland's authorship, the study situates her work in the context of art, popular, national, European, Hollywood, transnational, women's, and queer cinema, as well as global television projects. Her colourful public persona oscillates among auteur, celebrity director, and political activist in an extraordinary professional trajectory, which started in the Eastern Bloc, continued in Western Europe and North America, then backtracked to a unified Europe. That zigzagged route conveys the unique nature of Holland's career while epitomising the transformations of post-Cold War cultural production.
This book rediscovers a lost history of the Roman Empire, written by Sextus Aurelius Victor in the middle of the fourth century A.D. Though little regarded today, Victor was the most famous historian of his day, read by Jerome and Ammianus, honoured with a statue by the pagan Emperor Julian, and a prestigious prefecture by the Christian Theodosius. Our rediscovery of the original scope and scale of his 'Historia' revolutionises our understanding of the writing of history in late antiquity, with profound implications for the study of Roman history and the transmission of the Classics.
This monograph offers the first ever comprehensive study of Channel 4's film production, distribution and broadcasting activities and represents a significant contribution to British cinema and television history. The importance of Channel 4 to the British film industry over the last forty years cannot be overstated. The birth of the Channel in 1982 heralded a convergence between the UK film and television sectors which was particularly notable given that the two industries had historically been at loggerheads. In addition to its role as a broadcaster and curator of feature film programming, since its inception Channel 4 has funded or co-funded hundreds of feature films through its film commissioning arm, Film4. The Channel's commitment to financing between fifteen to twenty films per year helped form the backbone of the ailing film sector throughout the 1980s and early 1990s, while Film4 funding has also been instrumental to the success of many companies which have become vital to the British film industry.
Television/Death intertwines the study of death, dying and bereavement on television with discussion of the ways that television (and the TV archive) provides access to the dead.
Part One looks at the representation of death, dying and the afterlife on television, in historical and contemporary factual television (from around the world) and in US television drama.
Part Two focuses on dramas of grief and bereavement and discusses how the long form seriality and narrative complexity of television, from family melodramas to the ghost serial, allows for an emotionally realist representation of experiences of grief, bereavement and death-related trauma.
Finally, Part Three proposes that television has been overlooked in critical analyses of recorded sounds' and images' propensity to 'bring back the dead'. It argues that television is the posthumous medium par excellence and looks at how the dead return via incorporation into new television programmes or through projects to bring television out of the archive.