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Although Michelangelo Antonioni became one of the icons of "modernist" cinema in the 1960s, his position in the pantheon of great directors has never been quite secure. Unlike his famous contemporaries, such asIngmar Bergman and Luchino Visconti, whose essential contribution to the art of cinema is hardly ever questioned, Antonioni's work has been repeatedly denigrated from many angles for both aesthetic and political reasons. Though the historical importance of some of Antonioni's films as an incarnation of certain attitudes and problems characteristic of the 1960s and 70s is not denied, they are often considered passé, artificial and boring. Contesting prevalent readings, which focus on existential and psychological motifs involving anxiety and the malady of sentiments, this book offers a re-evaluation of Antonioni's most important films interpreted as political cinema engaged with issues which are still crucial in the 21st century. Far from being politically neutral, Antonioni's oblique and "abstract" approach makes possible the prising open and devaluation of the morally and politically constrictive "organic" narrative structures. HIs approach overthrows the primacy of character and plot, on the one hand, by showing them to be emanations of the spectral materiality of capital, and, on the other hand, by allowing for an opening into the utopian dimension, implying engagement in the rethinking of our attachments to the world.

Skin Crafts discusses multiple artists from global contexts who employ craft materials in works that address historical and contemporary violence. These artists are deliberately embracing the fragility of textiles and ceramics to evoke the vulnerability of human skin and - in so doing - are demanding visceral responses from viewers. Drawing on a range of theories including affect theory, material feminism, skin studies, phenomenology and global art history, the book illuminates the various ways in which artists are harnessing the affective power of craft materials to address and cope with violence.Artists from Mexico, Africa, China, the Netherlands and Indigenous artists based in the unceded territory known as Canada are examined in relation to one another to illuminate the connections and differences across their bodies of work. Skin Crafts interrogates ongoing material violence towards women and marginalized others, and demonstrates the power of contemporary art to force viewers and scholars into facing their ethical responsibilities as human beings.

This book explores the interaction between the EU and international investment law, both at the internal level, namely within the EU internal market, and at the external level, i.e. in the context of its relations with third States. The joint treatment of these dimensions reveals that the EU has assumed an ostensibly ambivalent attitude towards international investment law. At the internal level, it has consistently asserted that intra-EU international investment agreements (IIAs) are not compatible with EU law and advocated their termination. At the external level, by contrast, it has eagerly deployed IIAs to develop its post-Lisbon international investment policy. The book finds that beneath this apparent ambivalence towards international investment law ultimately lies the EU's attempt to impose, both internally and externally, its own original model of regulation of cross-border investment. It then argues that the EU adopted this approach with a view to supporting its internal market, enhancing its external influence, and, ultimately, pursuing long-term 'federal aspirations'. Finally, the book identifies the legal and political obstacles that have curtailed the EU's efforts at both the internal and the external level.

More has been said about the Hart-Fuller debate than can be considered healthy or productive even within the precious world of jurisprudential scholarship - too much philosophising about how law has revelled in its own abstractness and narrowness. But the mission of this book is distinctly and determinedly different - it is not to rework these already-rehashed ideas, but to reject them entirely. Rather than add to the massive jurisprudential literature that has been generated by all and sundry, the book criticises and abandons the project that Hart and Fuller set in motion. It contends that the turn that was taken in 1957 has led down a series of cul-de-sacs, blind alleys, and dead-ends to nowhere useful or illuminating. It is more than past time to leave their debate behind and strike out in an entirely new and more promising direction. The book insists that not only law, but also all theorising about law, is political in all its derivations, dimensions, and directions.

This book examines the far-reaching changes made to the constitution in the United Kingdom in recent decades. It considers the way these reforms have fragmented power, once held centrally through the Crown-in-Parliament, by means of devolution, referendums, and judicial reform. It examines the reshaping of the balance of power between the executive, legislature, and the way that prerogative powers have been curtailed by statute and judicial ruling. It focuses on the Human Rights Act and the creation of the UK Supreme Court, which emboldened the judiciary to limit executive action and even to challenge Parliament, and argues that many of these symbolised an attempt to shift the 'political' constitution to a 'legal' one.Many virtues have been ascribed to these reforms. To the extent that criticism exists, it is often to argue that these reforms do not go far enough. An elected upper chamber, regional English parliaments, further electoral reform, and a codified constitution are common tonics prescribed by commentators from this point of view. This volume adopts a different approach. It provides a critical evaluation of these far-reaching reforms, drawing from the expertise of highly respected academics and experienced political figures from both the left and right. The book is an invaluable source of academic expertise and practical insights for the interested public, students, policymakers, and journalists, who too often are only exposed to the 'further reform' position.

This book undertakes unique case studies, including interviews with participants, as well as empirical analysis, of public and private enforcement of Australian securities laws addressing continuous disclosure. Enforcement of laws is crucial to effective regulation. Historically, enforcement was the province of a government regulator with significant discretion (public enforcement). However, more and more citizens are being expected to take action themselves (private enforcement). Consistent with regulatory pluralism, public and private enforcement exist in parallel, with the capacity to both help and hinder each other, and the achievement of the goals of enforcement in a range of areas of regulation. The rise of the shareholder class action in Australia, backed by litigation funding or lawyers, has given rise to enforcement overlapping with that of the government regulator, the Australian Securities and Investments Commission. The ramifications of overlapping enforcement are explained based on detailed analysis. The analysis is further bolstered by the regulator's approach to enforcement changing from a compliance orientation to a "Why not litigate?" approach.The analysis and ramifications of the Australian case studies involve matters of regulatory theory and practice that apply across jurisdictions. The book will appeal to practitioners, regulators and academics interested in regulatory policy and enforcement, and the operation of regulators and class actions, including their interaction.

This significant and timely book explores a novel market mechanism, Stock Connect, which gives mutual market access to Chinese and international investors, and provides original analyses and fresh insights. This mechanism could become the new normal in future global financial integration.By examining this cross-border scheme from a regulatory perspective via a three-tiered analytical framework (investors, issuers and regulators), this book unearths the profound implications of Stock Connect to local and global financial markets and the legal impediments to its implementation. It covers a broad range of topics in this cross-boundary investment channel, including an overview of four existing connectivity arrangements (Shanghai-Hong Kong, Shenzhen-Hong Kong, Shanghai-London and China-Switzerland), the uniqueness of these connectivity arrangements, investor protection, regulations of connect issuers, regulatory cooperation and enforcement, the impacts on local and global financial markets, the implications for the world market connectivity as well as the challenges and future of Stock Connect.This pioneering study will appeal to a broad range of readers who are interested in the on-going reshaping of international financial systems and China's emerging influence in the international financial order.

This book engages in a theological critique of the legal frameworks and theoretical approaches of Australia, the US and England to create a peaceful coexistence of difference which supports both religious freedom and equality.It develops a new framework for reconciling religious freedom and discrimination in Western liberal democracies and presents a unique approach to practically supporting both religious freedom and equality as fundamentally important objectives which promote more compassionate and cohesive communities. The book applies the idea of peaceful coexistence of difference by assuming the dignity and goodwill of different people and perspectives, and proceeds upon shared virtues such as love which are affirmed by all.

Ukrainian Cinema: Belonging and Identity during the Soviet Thaw is the first concentrated study of Ukrainian cinema in English. In particular, historian Joshua First explores the politics and aesthetics of Ukrainian Poetic Cinema during the Soviet 1960s-70s. He argues that film-makers working at the Alexander Dovzhenko Feature Film Studio in Kiev were obsessed with questions of identity and demanded that the Soviet film industry and audiences alike recognize Ukrainian cultural difference. The first two chapters provide the background on how Soviet cinema since Stalin cultivated an exoticised and domesticated image of Ukrainians, along with how the film studio in Kiev attempted to rebuild its reputation during the early Sixties as a centre of the cultural thaw in the USSR. The next two chapters examine Sergei Paradjanov's highly influential Shadows of Forgotten Ancestors (1965) and its role in reorienting the Dovzhenko studio toward the auteurist (some would say elitist) agenda of Poetic Cinema.In the final three chapters, Ukrainian Cinema looks at the major works of film-makers Yurii Illienko, Leonid Osyka, and Leonid Bykov, among others, who attempted (and were compelled) to bridge the growing gap between a cinema of auteurs and concerns to generate profit for the Soviet film industry.

Only recently have philosophers and psychologists begun to consider empirical research methods to inform questions and debates in legal philosophy. With the field ripe for further experimental inquiry, this collection explores the most topical empirical developments and anticipates future research directions. Bringing together legal scholars, psychologists, and philosophers, chapters address questions such as: Do people share a stable set of intuitions about what the law is? What are common perceptions about causation, intentionality, and culpability, and are they consistent with the corresponding legal concepts? To what extent can experimental research methods advance theoretical debates in legal philosophy about the nature of law? With fascinating implications for legal philosophy, ethics, and moral psychology, Advances in Experimental Philosophy of Law sets the agenda for the emerging field of experimental jurisprudence and will be of interest to both researchers and practitioners alike.

Hope is understood to be a significant part of human experience, including for motivating behaviour, promoting happiness, and justifying a conception of the self as having agency. Yet substantial gaps remain regarding the development of the concept of hope in the history of philosophy. This collection addresses this gap by reconstructing and analysing a variety of approaches to hope in late 18th- and 19th-century German philosophy.In 1781, Kant's idea of a "rational hope" shifted the terms of discussion about hope and its role for human self-understanding. In the 19th century, a wide-ranging debate over the meaning and function of hope emerged in response to his work. Drawing on expertise from a diverse group of contributors, this collection explores perspectives on hope from Kant, Fichte, Schelling, Schopenhauer, J. S. Beck, J. C. Hoffbauer, Wilhelm von Humboldt, Georg Friedrich Creuzer, Kierkegaard and others. Chapters consider different aspects of the concept of hope, including the rationality of hope, appropriate and inappropriate applications of hope and the function of hope in relation to religion and society.The result is a valuable collection covering a century of the role of hope in shaping cognitive attitudes and constructing social, political and moral communities. As an overview of philosophical approaches to hope during this period, including by philosophers who are seldom studied today, the collection constitutes a valuable resource for exploring the development of this important concept in post-Kantian German philosophy.

After explaining the importance of diversity audits, this book offers a range of options for how to go about conducting them.Library collections serve as a reflection of their communities and the wider world, and audits are the best way to assess the inclusivity of these collections. In this practical book, Sarah Voels helps libraries meet the challenge of doing a diversity audit.The task of auditing a collection for its diversity is essential to the development of a reflective collection. Conducting a diversity audit gives library professionals a realistic and accurate assessment of the strengths and weaknesses of the materials they provide their readers. Only with this information at hand can libraries work toward improvement. But what's the best way to conduct an audit? What criteria should be used? How can audits be tailored to specific communities? How much will it cost, and how much time will it take?Voels has taken away the guesswork by surveying a wide range of libraries that have performed diversity audits and sharing their successes and challenges. She suggests best practices while acknowledging that each library's specific situation will be unique. All libraries considering a diversity audit will benefit from this guide.

Numbers: A Cultural History provides students with a compelling interdisciplinary view of the development of mathematics and its relationship to world cultures over 4,500 years of human history.Mathematics is often referred to as a "universal language," and that is a fitting description. Many cultures have contributed to mathematics in fascinating ways, but despite its "universal" character, mathematics is also a human endeavor. It has played pivotal roles in societies at particular times; and it has influenced, and been influenced by, a wide range of ideas and institutions, from commerce to philosophy. Ancient Egyptian views of mathematics, for example, are tied closely to engineering and agriculture. Some European Renaissance views, on the other hand, relate the study of number to that of the natural world.Numbers, A Cultural History seeks to place the history of mathematics into a broad cultural context. While it treats mathematical material in detail, it also relates that material to other subject matter: science, philosophy, navigation, commerce, religion, art, and architecture. It examines how mathematical thinking grows in specific cultural settings and how it has shaped those settings in turn. It also explores the movement of ideas between cultures and the evolution of modern mathematics and the quantitative, data-driven world in which we live.

This book addresses a palpable, yet widely neglected, tension in legal discourse. In our everyday legal practices - whether taking place in a courtroom, classroom, law firm, or elsewhere - we routinely and unproblematically talk of the activities of creating and applying the law. However, when legal scholars have analysed this distinction in their theories (rather than simply assuming it), many have undermined it, if not dismissed it as untenable. The book considers the relevance of distinguishing between law-creation and law-application and how this transcends the boundaries of jurisprudential enquiry. It argues that such a distinction is also a crucial component of political theory. For if there is no possibility of applying a legal rule that was created by a different institution at a previous moment in time, then our current constitutional-democratic frameworks are effectively empty vessels that conceal a power relationship between public authorities and citizens that is very different from the one on which constitutional democracy is grounded. After problematising the most relevant objections in the literature, the book presents a comprehensive defence of the distinction between creation and application of law within the structure of constitutional democracy. It does so through an integrated jurisprudential methodology, which combines insights from different disciplines (including history, anthropology, political science, philosophy of language, and philosophy of action) while also casting new light on long-standing issues in public law, such as the role of legal discretion in the law-making process and the scope of the separation of powers doctrine.

This book proposes three liability regimes to combat the wide responsibility gaps caused by AI systems - vicarious liability for autonomous software agents (actants); enterprise liability for inseparable human-AI interactions (hybrids); and collective fund liability for interconnected AI systems (crowds).Based on information technology studies, the book first develops a threefold typology that distinguishes individual, hybrid and collective machine behaviour. A subsequent social science analysis specifies the socio-digital institutions related to this threefold typology. Then it determines the social risks that emerge when algorithms operate within these institutions. Actants raise the risk of digital autonomy, hybrids the risk of double contingency in human-algorithm encounters, crowds the risk of opaque interconnections. The book demonstrates that the law needs to respond to these specific risks, by recognising personified algorithms as vicarious agents, human-machine associations as collective enterprises, and interconnected systems as risk pools - and by developing corresponding liability rules.The book relies on a unique combination of information technology studies, sociological institution and risk analysis, and comparative law. This approach uncovers recursive relations between types of machine behaviour, emergent socio-digital institutions, their concomitant risks, legal conditions of liability rules, and ascription of legal status to the algorithms involved.

Examining work by novelists, filmmakers, TV producers and songwriters, this book uncovers the manner in which the radio - and the act of listening - has been written about for the past 100 years. Ever since the first public wireless broadcasts, people have been writing about the radio: often negatively, sometimes full of praise, but always with an eye and an ear to explain and offer an opinion about what they think they have heard. Novelists including Graham Greene, Agatha Christie, Evelyn Waugh, and James Joyce wrote about characters listening to this new medium with mixtures of delight, frustration, and despair. Clint Eastwood frightened moviegoers half to death in Play Misty for Me, but Lou Reed's 'Rock & Roll' said listening to a New York station had saved Jenny's life. Frasier showed the urbane side of broadcasting, whilst Good Morning, Vietnam exploded from the cinema screen with a raw energy all of its own. Queen thought that all the audience heard was 'ga ga', even as The Buggles said video had killed the radio star and Tom Petty and the Heartbreakers lamented 'The Last DJ'. This book explores the cultural fascination with radio; the act of listening as a cultural expression - focusing on fiction, films and songs about radio. Martin Cooper, a broadcaster and academic, uses these movies, TV shows, songs, novels and more to tell a story of listening to the radio - as created by these contemporary writers, filmmakers, and musicians.

The 1960s saw the nexus of the revolution in popular music by a post-war generation amid demographic upheavals and seismic shifts in technology. Over the past two decades, musicians associated with this period have produced a large amount of important autobiographical writing. This book situates these works -- in the forms of formal autobiographies and memoirs, auto-fiction, songs, and self-fashioned museum exhibitions -- within the context of the recent expansion of interest in autobiography, disability, and celebrity studies. It argues that these writings express anxiety over musical originality and authenticity, and seeks to dispel their writers' celebrity status and particularly the association with a lack of seriousness. These works often constitute a meditation on the nature of postmodern fame within a celebrity-obsessed culture, and paradoxically they aim to regain the private self in a public forum.

The Czech-Brazilian philosopher Vilém Flusser (1920-1991) has been recognized as a decisive past master in the emergence of contemporary media theory and media archeology. His work engages and also rethinks several mythologies of modernity, devising new methodologies, experimental literary practices, and expanded hermeneutics that trouble traditional practices of literary/literate knowledge, shared experience, reception, and communication. Working within an expanded concept of modernism, Flusser presciently noted the power inherent in algorithmic information apparatuses to reshape our fundamental conceptions of culture and history. In an increasingly technological world, Flusser's form of experimental theory-fiction pits philosophy against cybernetics as it forces the category of "the human" to confront the inhuman world of animals and machines. The contributors to Understanding Flusser, Understanding Modernism engage with the multiplicity of Flusser's thought as they provide a general analysis of his work, engage in comparative readings with other philosophers, and offer expanded conceptualizations of modernism. The final section of the volume includes an extended glossary clarifying the playful terminology used by Flusser, which will be a valuable resource for experts and students alike.

An Independent Book of the MonthPenises, and the things people do with them, have been subjects of controversy for a long time. This book examines how one thing that some people do to penises-remove the foreskin-has become a site upon which vital questions of gender, race, religion, sexuality, and psychic life are negotiated. While most contemporary work on the subject is concerned with whether circumcision is right or wrong, safe or harmful, Circumcision on the Couch takes as its starting point that the significance of male circumcision exceeds anatomical and juridical considerations. Deploying a feminist Lacanian framework, while drawing from a wide range of archival sources and critical thought, Jordan Osserman asks: How can psychoanalysis help us shed light on the ideologies, discourses, and fantasies surrounding circumcision and the impassioned stances for and against it? And how might the history of circumcision, in turn, allow us to re-assess and clarify how we understand the split (or "snipped") subject of psychoanalysis?

One of the most exciting theories to emerge from cognitive science research over the past few decades has been Douglas Hofstadter's notion of "strange loops," from Gödel, Escher, Bach (1979). Hofstadter is also an active literary translator who has written about translation, perhaps most notably in his 1997 book Le Ton Beau de Marot, where he draws on his cognitive science research. And yet he has never considered the possibility that translation might itself be a strange loop.In this book Douglas Robinson puts Hofstadter's strange-loops theory into dialogue with a series of definitive theories of translation, in the process showing just how cognitively and affectively complex an activity translation actually is.

Casino games and traditional card games have rich and idiosyncratic histories, complex subcultures and player practices, and facilitate the flow of billions of dollars each year through casinos and card rooms, and between professional players and amateurs. They have nevertheless been overlooked by game scholars due to the negative ethical weight of "gambling" - with such games pathologized and labelled as deviance or mental illness, few look beyond to unpick the games, their players, and their communities. The Casino, Card and Betting Game Reader offers 25 chapters studying the communities playing these games, the distinctive cultures and practices that have emerged around them, their activities and beliefs and interpersonal relationships, and how these games influence - both positively and negatively - the lives and careers of millions of game players around the world. It is the first of a new series of edited collections, Play Beyond the Computer, dedicated to exploring the play of games beyond computers and games consoles.

At Macedonio Fernández's funeral in 1952, Jorge Luis Borges delivered the following elegy: "In those years I imitated him to the point of transcription, to the point of devout and passionate plagiarism. I felt: Macedonio is metaphysics, Macedonio is literature." This is the first book available in English that collects essays by the world's leading scholars on Macedonio Fernández, one of Borges's most important mentors and a still enigmatic thinker of the early 20th century. Macedonio's philosophy, metaphysics, ethics, and experimental writing laid the foundations for Borges's own theoretical and literary matrix. Nonetheless, Borges helped shape a myth of Macedonio as a thinker who could not translate his oratorial geniality into written intelligibility. So, despite the centrality of Macedonio to Borges's thought, his work has remained almost unknown to English-speaking readers. Contributors to this volume demonstrate, however, that this myth reduces the complexities of Macedonio's life and creative process, as each chapter shines new light on his texts. Conceived as both a companion for new readers of Macedonio's writings and an invitation for specialists to revisit his work through new perspectives, essays in this volume provide extensive background and bibliographical references, as well as English translations of Macedonio's original texts. This collection seeks to serve as a catalyst for the continued discovery and rediscovery of Macedonio Fernández's texts and the ways they might help us to rediscover the singularities of our own present moment.

Belfast, Beirut and Berlin are notorious for their internal boundaries and borders. As symbols for political disunion, the three cities have inspired scriptwriters and directors from diverse cultural backgrounds. Despite their different histories, they share a wide range of features central to divided cities. In each city, particular territories take on specific symbolic and psychological meanings. Following a comparative approach, this book concentrates on the cinematographic representations of Belfast, Beirut and Berlin. Filmmakers are in constant search of new ways in order to engage with urban division. Making use of a variety of genres reaching from thriller to comedy, they explore the three cities' internal and external borders, as well as the psychological boundaries existing between citizens belonging to different communities. Among the characters featuring in films set in Belfast, Berlin and Beirut, we may count dangerous gunmen, prisoners' wives, soldiers and snipers, but also comic Stasi-members, punk aficionados and fake nuns. The various characters contribute to the creation of a multifaceted image of city limits in troubled times.

In addition to contributing significantly to the growing field of Burroughs scholarship, Burroughs Unbound also directly engages with the growing fields of textual studies, archival research, and genetic criticism, asking crucial questions thereby about the nature of archives and their relationship to a writer's work.These questions about the archive concern not only the literary medium. In the 1960s and 1970s Burroughs collaborated with filmmakers, sound technicians, and musicians, who helped re-contextualized his writings in other media. Burroughs Unbound examines these collaborations and explores how such multiple authorship complicates the authority of the archive as a final or complete repository of an author's work. It takes Burroughs seriously as a radical theorist and practitioner who critiqued drug laws, sexual practice, censorship, and what we today call a society of control. More broadly, his work continues to challenge our common assumptions about language, authorship, textual stability, and the archive in its broadest definition.

Faulkner, Aviation, and Modern War frames William Faulkner's airplane narratives against major scenes of the early 20th century: the Great War, the rise of European fascism in the 1920s and 30s, the Second World War, and the aviation arms race extending from the Wright Flyer in 1903 into the Cold War era. Placing biographical accounts of Faulkner's time in the Royal Air Force Canada against analysis of such works as Soldiers' Pay (1926), "All the Dead Pilots" (1931), Pylon (1935), and A Fable (1954), this book situates Faulkner's aviation writing within transatlantic historical contexts that have not been sufficiently appreciated in Faulkner's work. Michael Zeitlin unpacks a broad selection of Faulkner's novels, stories, film treatments, essays, book reviews, and letters to outline Faulkner's complex and ambivalent relationship to the ideologies of masculine performance and martial heroism in an age dominated by industrialism and military technology.

Esfir Shub was the only prominent female director of nonfiction film present at the dawning of the Soviet film industry. She was, in fact, the first woman both to write critical texts on cinema and then practically apply these theorisations in her own films. As such, her syncretism of cinema theory and praxis inspired her to ask questions regarding both the nature of nonfiction film, such as the problem of authenticity and reality, and the function of the artist in society; issues which are still relevant in contemporary discussions about the documentary. Accordingly, this book demonstrates Shub's position not only as a significant filmmaker and recognised member of the early Soviet avant-garde but also as a key figure in global cinema history. Shub deserves recognition both as the founder and ardent promoter of the compilation film genre and as a pioneer of the theory and practice of documentary filmmaking.