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Issues of race and ethnicity in Latin America continue to gain a growing amount of academic attention. While themes of ethnic identities, indigeneity, and race relations are commonly examined in our respective disciplines, it is less common to bring together essays from scholars from such a broad variety of disciplines. The papers collected in this volume draw on a wide range of studies from across Latin America, including the examination of ethnohistory, the environment, and culture. They convey a large diversity of perspectives, disciplines, and issues that reflect the richness and complexities of the social processes that encompass the Americas. Taken as a whole, this broad range of studies on ethnohistory, environmental and legal issues, education, and culture advances our understandings of race and ethnicity in Latin America. In the process, these studies incorporate related issues of how historical and political developments in Latin America have, and continue to be, experienced differently based on varying gendered and class perspectives. These studies examine how those speaking from the margins continue to shape and reshape what we know as Latin America.

American Drama/Critics: Writings and Readings is a collection of essays on acknowledged classics of American drama such as Death of a Salesman, The Glass Menagerie, and Our Town, and on newer but no less esteemed works like David Mamet's Glengarry Glen Ross and Sam Shepard's Buried Child. Included are interviews with the great American drama critics Eric Bentley and Stanley Kauffmann; a consideration of the practice of American dramaturgy; an analysis of the adaptation to film of several American dramas; and an examination of experimental playwriting and production in the United States, as seen in the work of Gertrude Stein as well as that of other, lesser-known avant-garde dramatists. This book's thesis is not only the generally accepted one that American drama is essentially a representational one and that its avant-garde experiments are just that--experimental detours that ultimate lead back to the main highway of realism and naturalism. The thesis of Americam Drama/Critics is also that the decline of American drama in the late twentieth to early twenty-first century is paralleled by, and even attributable to, the decline or disappearance of American dramatic criticism.

In ontology, realism and anti-realism may be taken as opposite attitudes towards entities of different kinds, so that one may turn out to be a realist with respect to certain entities, and an anti-realist with respect to others. In this book, the editors focus on this controversy concerning social entities in general and fictional entities in particular, the latter often being considered nowadays as kinds of social entities. More specifically, fictionalists (those who maintain that we only make-believe that there are entities of a certain kind) and creationists (those who believe that entities of a certain kind are the products of human activity) present themselves as the champions of the anti-realist and the realist stance, respectively, regarding the above entities. By evaluating the pros and cons of both these positions, this book intends to focus new light on a longstanding debate.

Social movements continue to provide rich fodder for social researchers in the twenty-first century.

Higher education worldwide is operating in a highly volatile context, a consequence of rapid globalisation, constricting funding and intense technological change. These forces challenge assumptions about work, productivity, and international demand for knowledge, skills and resources, igniting needs for highly competent and educated graduates.

To what extent is there really a universal structure, whether innate or not, of language for learning? Or conversely, is language learning mainly context-based?

This book spells out exactly what happens within the personality when psychotherapy is successful. Much of the answer has long been written between the lines of Freud's seminal works, awaiting their coming together and integration. The book considers what changes within various psychic systems and how these are functions of the underlying disorders are spelled out for neurotic, borderline and psychotic illnesses. The result is the identification of another vein of ore in Freud's ideas that clarifies the healing aspects of his model, and adds a new level of precision to the therapeutic process.Freud's writings on the nature of healing and growth take second place to his ideas on the structure of the personality and pathology. His well-defined ideas on the mechanism of healing and growth are scattered across his writings and rarely, if ever, drawn together into a unified presentation. His following has deeply explored the meanings of his seminal ideas when it comes to theory and practice, but is short in the area of what actually takes place within successful psychotherapy. This text's effort to gather up and unify his thoughts in this area results in both theoretical and therapeutic gains, the former for clarifications of how various psychic systems function within healing and growth, and the latter because of a more exact identification of the signs of it.

This book explores the legacy of colonial heritage on Nigerian political activities and journalistic practices. It asserts that journalism and multi-party politics were introduced into the country during British colonial rule, and, while they have become domesticated and indigenised, they still exhibit traces of their roots because they emerged in a different socio-cultural and political environment. Taking as its point of departure the view that, without the colonial intervention, the Nigerian state may not have come into being or survived in its present form, this book offers fresh insight into the impact of British colonial rule on contemporary journalistic practices and political activities more than 100 years after the 'creation' of Nigeria.It draws attention to the enduring effect of colonial inheritance on Nigeria and how the 'creation' process of the country produced unintended consequences that remain problematic. Using press coverage of the politics of transition-to-civil-rule programmes during periods of military dictatorship as a case study, the book identifies trends and patterns of influence from the past that have been interlaced into the present.

This book brings together several major essays on foundational topics of narrative studies and the theory of fictionality by one of the preeminent figures of postclassical narrative theory. It reexamines and reconceives the role of the author, the status of implied authors, the model for unnatural narrative theory, the nature of narrative, and the ideological implications of narrative forms. It also explores the status of historical characters in fictional texts, the paradoxes of realism, the presence of multiple implied readers, the role of actual readers, and the question of fictionality. In addition, an appendix offers a useful approach for teaching narrative theory. The book includes analyses of works by Conrad, Joyce, Woolf, Nabokov, Beckett, Jeanette Winterson, Deborah Eisenberg, and others. Throughout, it argues for a more expansive conception of narrative theory and keen attention to the nature and difference of fiction. This provocative book makes crucial interventions in ongoing critical debates about narrative theory, literary theory, and the theory of fictionality, and is essential reading for all students of narrative.

This book is a passionate rendezvous with cinema, the most collaborative of art forms. The essays here explore the possibilities offered by a close reading of cinema that keeps cultural contexts and their socio-historical roots firmly in sight. This collection does not consider the "e;frame"e;, that oft-referenced basic unit of vision in films, as a limiting structure. Rather, it brings into purview what is left out. Divided into three sections, the essays look firstly at Indian cinema, both Bollywood and regional films, tracing the journey of Indian cinema from the periphery to the center.The second section focuses on Adaptation Studies and takes an unorthodox look at classic adaptations of literature. The final section is a reappraisal of directors like Alfred Hitchcock and Stanley Kubrick. The essays propose that, even though the film as an artwork does not change fundamentally over time, it still strikes a contemporary critical gaze differently.

Echo and Narcissus: Echolocating the Spectator in the Age of Audience Research came about as a response to the recent shift of focus in the studies of cinema. While the seventies and the eighties were marked by increasingly complex theorisations of spectatorship, the last two decades have witnessed a turn towards ethnographic research into film reception. However, this long overdue turn towards the empirical viewer has not produced a genuinely broader scope of analysis. It has rather, all too hastily, consigned the spectator, a textually constructed viewing position, to oblivion, thanks to the concept's perceived hegemonic and totalising premise. Echo and Narcissus intervenes into this state of affairs by arguing for a productive nexus between theorisations of spectatorship and the currently more fashionable audience research. Petek maintains that an informed mapping of contemporary (and past) filmviewing practices still requires a spectatorial model and she offers such a model through a re-reading of Ovid's tale of Echo and Narcissus. She demonstrates that the myth's central role in traditional theorisations of spectatorship has not yet been properly reflected upon. Her critical recuperation of the Ovidian myth provides a revised model of the spectator-one with discursive access to all types of cinema, yet, flexible enough to accommodate a range of viewers' responses and their cultural diversity.

Mistress, Mother, Muse: An Exploration of the Female in Modern and Contemporary Mediterranean Literature fills a vacuum in comparative literary studies in that it lays the foundations for Mediterraneanism to develop as an area in literary studies.The book is an exploration of aspects of female liminality, including motherhood, sexuality and creativity, in three distinctive Mediterranean cultures, namely Spanish, Greek and Arabic. It adopts myth as an approach to literary analysis, and, thus, introduces a new, ground-breaking method of analysis in literary studies.Mistress, Mother, Muse: An Exploration of the Female in Modern and Contemporary Mediterranean Literature represents a useful reference to students, scholars and academics in the fields of comparative literature, modern Greek literature, Spanish literature, Arabic literature, myth studies, classical Greek literature, and women's studies.

This book brings together over eleven years of experience in the field of sustainable tourism, and will serve as handbook for further insights into this field. It will cater to the needs of those within the sustainable tourism industry, who wish to widen their perspective of the field by gaining further understanding of its problems and the opportunities and prospects it offers. Along the way, the book concentrates also on equipping the reader with managerial skills and marketing practices which are time-tested, as well as those currently in place. Its analysis draws on the tourism system framework to examine the current problems and prospects of tourism, while also looking forward to cater for the needs of students currently pursuing tourism courses in various Indian universities.

On September 9th, 2012, the Abruzzo National Park - now Abruzzo, Latium and Molise National Park - celebrated its ninetieth birthday. It is - along with the Gran Paradiso National Park - the oldest protected area in Italy and one of the oldest in Europe.

Popular anthologies hold that the Romantic Era in Great Britain ended promptly in 1832 and that the early Twentieth Century was the time of Modernism and the rejection of the Romantic in British letters. However, in Wales, just the opposite was true. This study traces the work of poets and novelists in Wales in the early- to mid-Twentieth Century who all found their poetic master to be William Wordsworth.In the early part of the century, W. H. Davies, John Cowper Powys and Huw Menai - a tramp, a mystic novelist and a coal miner - produce novels and poetry with Wordsworth as their acknowledged master. By mid-century, Idris Davies, a coal miner turned teacher, R. S. Thomas, an Anglican priest, and Leslie Norris, another teacher, are writing in the "e;mountainous shadow of William Wordsworth."e;While the literary lights of London are leading the Modernist revolution, in Wales, the inspiration is still the English poet, Wordsworth. This study will illuminate this flare up of Romanticism, and show the way in which Romanticism re-emerges from unexpected quarters.

Daniel-Francois-Esprit Auber (1782-1871) was long considered one of the most typically French as well as one of the most successful of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opera-comique La Bergere Chateleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber's life was his meeting with the librettist Eugene Scribe (1791-1861), with whom he developed a long and illustrious working partnership that only ended with Scribe's death. Success followed success; works such as Le Macon (1825) and La Muette de Portici (1828) brought Auber public fame and official recognition. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Legion d'Honneur.Auber seems to have been fated to live in revolutionary times; during his long life no less than four revolutions took place in France (1789, 1830, 1848, 1870). Auber's famous historical grand opera La Muette de Portici (also known by its hero's name as Masaniello) is perhaps unsurprisingly based on revolution, depicting the 1647 Neapolitan uprising against Spanish rule. It is a key work in operatic history, and has a revolutionary history itself: it was a performance of this work in Brussels in 1830 that helped spark the revolution that led to the separation of Belgium from Holland. It was a revolution that hastened Auber's death at the old age of 89. He died on 12 May 1871 as a result of a long illness aggravated by the privations and dangers of the Siege of Paris. He had refused to leave the city he had always loved, even after his house had been set on fire by the petroleurs et petroleuses. In a twist of fate, a mark had been placed on the house of the composer of Masaniello, the very voice of Romantic liberty!Auber's overtures were once instantly recognizable, favourites of the light Classical repertoire. His gracious melodies and dance rhythms had a huge influence, both on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. Musical tastes and fashions have changed, and contemporary audiences are more accustomed to the heavier fare of verismo, Wagnerian transcendentalism, and twentieth-century experimentalism. The operas themselves, apart from Fra Diavolo (1830), are seldom performed, yet Auber's elegant, delicate and restrained art remains as appealing to the discerning listener as ever it was.Zerline, an opera in three acts with libretto by Eugene Scribe, was first performed at the Academie nationale de musique (Salle de la rue Le Peletier) on 16 May 1851. The scene is set in Palermo, during the Restoration. The Prince of Roccanera, married to the sister of the King, has a supposed niece, Gemma. She is really his daughter by Zerline, an orange-seller. The latter was abducted by pirates, and having returned to Palermo after many trials, now meets her daughter, assuming the role of her aunt. She learns that Gemma loves a young naval officer, Rodolphe, but that the Prince's wife wishes Gemma to marry the King's cousin, much against the girl's wishes. In the third act, Zerline, already alerted to an intrigue compromising to the two young lovers, is able to safeguard their integrity and bring about their union.The action is better suited to a vaudeville than an opera, and the scenario has little innate interest. The role of Zerline was devised especially for the great contralto Marietta Alboni (1823-94), the first role she created. The B-flat major overture immediately establishes the family nature of the drama, with its parable of past sins, social disparity and all-conquering maternal love.There is allusion to the Sicilian setting in the two opening choruses of act 1 which are dominated by barcarolle rhythms in establishing the couleur locale. Alboni's magnificent talent added great value to the light music written by Auber for this slight canvas. The work consequently contains many pieces of a purely virtuoso nature. Among them are the grand air d'entree "e;A"e; Palerme! o Sicile!"e;, the thematically central canzonetta "e;Achetez mes belles oranges"e;, and the duet for soprano and contralto "e;Quel trouble en mon ame"e; in act 1. It is as though the Italian setting of the story and the Italian origins of the prima donna caused Auber to look to his early love for Rossini, and his enduring attachment to Italian musical forms and local colour (as in Fiorella, La Muette de Portici, Fra Diavolo, Acteon, La Sirene, Zanetta and Haydee).The vocal part of Zerline is a conscious re-creation of the old Rossini mode, and her various solos are written in the style of the virtuoso contralto of the opera seria, obviously with a contemporary Gallic fleetness all Auber's own. The Grand Air demonstrates all the features.The original cast was: Merly (Roccanera); Mlle Marietta Alboni (Zerline); Mlle Maria-Dolores-Benedicta-Josephine Nau (Gemma); Aimes (Rodolphe); Mlle Dameron (the Princess of Roccanera); and Lyons (the Marquis of Bettura). The work was only performed 14 times in Paris, with no reprise. It was translated into Italian, and produced in Brussels (in French) and London (in Italian).

Byron at the Theatre is a collection of essays by a wide spectrum of European scholars, dealing with Byron's dramas in a variety of ways.

Researching the Self originated in a conference held at the University of Amsterdam in 2005, where scholars from various academic backgrounds presented their current theories and research. One central theme that emerged from the conference is the need for interdisciplinarity in the study of self.

The benefits of the digital age are huge. Our lives have been transformed, both in the developed and the undeveloped world. However, this transformation has its dark side.

Introduction written by Professor Benjamin B FerenczThis challenging volume examines the jurisprudence of international criminal justice from various points of view. The philosophy of justice may vary from time to time and from nation to nation, depending on prevailing attitudes towards the substantive rules which deal, in one way or another, with cultural norms. In the national and international area, the principles of criminal justice have a key role in examining the scope of the most serious violations of international criminal law. It is on the basis of appropriate judgment that these principles may be accumulated and achieved for the future conduct of man. This volume, therefore, examines the principles and dimensions of the constitutions of various international criminal tribunals/courts, with particular focus on the Statute of the International Criminal Court (ICC). As such, the volume offers a comprehensive evaluation of the rule of law and criminal justice and their legal tasks within the complementarity system of international criminal jurisprudence.The volume emphasises the prosecution and punishment of all those who may successfully escape from the proceedings of national and international criminal courts because of their juridical, political, religious, economic or military power. It demands the implementation of international law of jus cogens. The provisions of the Statute should not be deduced in contradiction to the norms from which no derogation is possible, such as prohibitions governing crimes against humanity, torture, apartheid, rape, war crimes, genocide and aggression. If the value of the task of the Court is to be realised by the majority of states in the international community, the cycle of impunity has to be abolished in the case of all states, including the five permanent members of the Security Council of the United Nations.