bluuebunny/crossref_metadata_2025 huggingface dataset:
Competências gerenciais do enfermeiro no processo de trabalho em atenção básica de saúde
Authors: Gomes Talita Lima Venetillo , Valente Geilsa Soraia Cavalcanti
Published: May 2020

Objetivos: Identificar os principais problemas na Atenção Básica à Saúde, enfrentados pelo enfermeiro, Descrever as competências da equipe de enfermagem na Atenção Básica à Saúde e discutir os limites e possibilidades de Atenção Básica à Saúde da população em Rede Básica de Saúde, a partir das competências do enfermeiro. Trata-se de um estudo exploratório descritivo, que tem como objetivo esclarecer e proporcionar uma visão geral em dimensões mais ampliadas acerca de um determinado fato. Foram realizadas entrevistas semiestruturadas com 10 enfermeiros gestores da Atenção Básica de Saúde. Os cenários escolhidos para pesquisa foram o Programa Médico de Família (PMF) Vital Brazil, a Policlínica Regional Carlos Antônio da Silva e a Clínica Comunitária da Família do Badu, ambos da cidade de Niterói (RJ- Brasil), e uma Unidade Tipo A da Zona Oeste de Rio de Janeiro. As perguntas versaram, principalmente, sobre situações problemáticas no cotidiano do trabalho e quais as estratégias e atitudes gerenciais tomadas para solucionar ou diminuir cada uma delas. Concluiu-se que se faz necessário envidar esforços na formação permanente do enfermeiro, no sentido de alcançar as competências gerenciais, cada vez mais requeridas pelo mundo do trabalho.
Docência universitária: percursos formativos de professores bacharéis que atuam em cursos de licenciatura
Authors: Monteiro Rachel Rachelley Matos , Pacheco Mayara Alves Loiola , Magalhães Junior Antonio Germano , Silva Neta Maria de Lourdes da
Published: May 2020

Os percursos da formação dos docentes do ensino superior para se constituírem professores perpassam caminhos diversos no ensino do terceiro grau, sejam, com as trajetórias vivenciadas nos cursos de educação ou de suas áreas específicas de atuação. Este estudo objetivou compreender a formação dos professores universitários que atuam nos cursos de licenciatura de Pedagogia, Química e Ciências Biológicas de uma Instituição do Ensino Superior do Estado do Ceará. Essa pesquisa possui a abordagem mista quali-quanti. Tivemos como principais fundamentos teórico metodológico os estudos dos especialistas na área de Educação. Concluímos que a formação inicial dos professores bacharéis se constitui como uma formação voltada para áreas especificas ligadas a formação inicial de cada um, não possuindo formação de caráter propriamente pedagógico para o exercício da docência, no entanto, por possuírem formação em nível de especialização, mestrado e/ou doutorado esses profissionais se tornam aptos ao exercício da docência no ensino superior.
The origins and development of the cartographic tradition in the central Mexican highlands
Authors: Helmke Christophe , Nielsen Jesper , Rivera Guzmán Ángel Iván
Published: May 2020

More than four decades ago H.B. Nicholson compared the so-called Palace Stone from Xochicalco to a page in a Mesoamerican codex. Showing numerous calendrical dates and toponymic signs connected by a path marked by footprints the monument readily recalls the cartographic tradition that is well-known for the central Mexican highlands at the time of the Spanish conquest. In this paper we explore the Epiclassic evidence of this tradition, discussing not only central features of the Palace Stone, but also additional monuments from Xochicalco and sites in the vicinity, such as the recently discovered Tetlama stela, that belong to the same genre. Thus, we provide a preliminary analysis of the formal features and contents of these fascinating monuments that record an important narrative history and founding myth of Xochicalco and some of its satellite communities. Furthermore, we shall also introduce evidence that suggests that the conventions of this tradition can ultimately be traced back to Teotihuacan in the Early Classic.
Politics of Dialogue
Authors: Koczanowicz Leszek
Published: May 2020

Contemporary democracy is in crisis. People are losing faith in in a system of democratic institutions that can cope with current social problems. The book sheds new light on this issue, drawing on the ideas of M. M. Bakhtin, American pragmatism, and others to show that dialogue in democracy can transcend both antagonistic and consensual perspectives. The author provides an overview of the history of the dialogue-vs.-antagonism opposition as it is embedded in modern political theory, and outlines the concept of dialogue in contemporary political thought. The author argues that dialogue is a value in and by itself and that it aims at better understanding rather than at consensus. Therefore, the main purpose of the democratic system is to promote better understanding. This idea is labelled as “non-consensual democracy.” The author goes on to demonstrate that Bakhtin’s theory of dialogism can usefully amend and augmet the ways in which community is addressed in political theory, allowing us to overcome allowing us to overcome the liberalism-vs.-communitarianism debate. To conclude, he introduces the concept of |”critical community,” i.e., a "dialogical, self-reflective community critical of its own tradition," to show that collective identities can be constructed in critical dialogue with the tradition and the values of a community.
Friend or Foe? The US Invades Grenada
Authors: Treharne Sally-Ann
Published: May 2020

The US-led invasion of the Caribbean island of Grenada at the alleged behest of the Organisation of Eastern Caribbean States (OECS) on 25 October 1983 had a profound negative impact upon the development of the Special Relationship under Reagan and Thatcher. The dubious legality of the intervention was widely criticised by the international community, most notably the UK. And yet, it was the Thatcher government that bore the scars of considerable domestic criticism regarding the unlawful US involvement in the internal affairs of a member of the British Commonwealth. The US invasion of Grenada, or operation ‘Urgent Fury’ as it is otherwise known, raised important questions regarding the limits of British credibility and importance within the Anglo-American alliance.
Vested Interests: US Involvement in the Anglo-Guatemalan Dispute
Authors: Treharne Sally-Ann
Published: May 2020

The question of Belizean independence was an important issue for both the Reagan and Thatcher governments in the early 1980s. For the UK, Belizean independence represented an opportunity to reduce its financial obligations in maintaining a former British colony. It also afforded the UK an opportunity to secure a Belizean commitment to the British Commonwealth. The US saw Belizean independence as a means to counter Soviet expansion in the region and as a bulwark against the possible expansion of leftist guerrilla activity from neighbouring Honduras. This was particularly important to the Reagan administration given the perceived communist threat in the region from Cuba, Nicaragua and El Salvador.1 A democratic Belize would provide the US with a valuable political and ideological ally given its strategic location bordered on two sides by both Honduras and Guatemala. The US also hoped that involvement in the Belizean issue would help it to establish closer ties with Guatemala. Improved US– Guatemalan relations would allow the US to explore the possibilities of renewed US–Guatemalan military trade and, to a lesser extent, the construction of a US naval base in Guatemala.
Contesting Marriage: The Finnish Unromantic Comedy
Authors: Seppälä Jaakko
Published: May 2020

The genre of the romantic comedy was domesticated in the studio era of Finnish cinema that lasted from the early 1930s to late 1950s by filmmakers who admired Hollywood films, an example of whom would be Valentin Vaala. This domestication was an easy process for the reason that romantic comedies are universal in tone, which means they can be set pretty much in any location, discuss context-specific problems related to relationships and be produced with the modest budgets of small nation cinemas. This has made the genre more than suited for Finnish cinema.
Before analysing the Finnish films in detail, I am going to provide a quick background exploration of Finnish romantic comedies of the studio era in order to show the transformation.
Going Hollywood: Nordic Directors in American Cinema
Authors: Lunde Arne
Published: May 2020

Starting with a historical overview of the presence of Nordic directors in Hollywood, this chapter aims to explore the critical mass of Nordic directorial talents in contemporary American cinema. It interrogates their importance for the transnational dynamism of Nordic cinema outside its normative national borders and reveals how vitally Nordic directors have contributed to an increasingly globalised Hollywood. By configuring Nordic directors within different temporal and categorical groupings, this study charts differences and similarities of ‘Nordic’ stylistic and thematic traits when migrating into Hollywood cinema.
Preferisco l’inferno: Early Italian Horror Cinema
Authors: Hunter Russ
Published: May 2020

The precise generic beginnings of horror cinema have the odd status of being both simultaneously clear and opaque. The general trend in studies of horror cinema has been to date the genre’s beginnings around the release of the series of Universal’s ‘monster movies’ beginning with Frankenstein (James Whale, 1931) and Dracula (Tod Browning, 1931). The desire to search for the antecedents, roots and origins of any genre leads film scholars to identify certain texts as key turning points that effectively lay the ground for what follows. While this view of genre can be overly deterministic, it is nonetheless true that some texts rather than others are given the status of key reference points based upon their perceived historical importance.
Scrap Metal, Stains, Clogged Drains: Argento’s Refuse and its Refusals
Authors: Schoonover Karl
Published: May 2020

It is a cliché to title a critical account of horror with a list of things.1 Things such as those that precede the colon in my title announce the uncanny role given to them and the expressive hyperbole granted objects by horror diegesis. What I find interesting about this titular evocation of horror’s things is that the books and essays they announce rarely address these objects themselves. Instead, horror’s things are pretexts for a discussion of the unique affective registers of horror or its exuberant corporeality. This essay will attempt to account for things in the giallo and horror films made by Dario Argento during the first decade of his directorial career, widely regarded as his canonical period. In what follows, I largely bracket the infamously wasted bodies of those iconic films in order to allow the matter that populates Argento’s mise-en-scène to come to the fore.
The Popularisation of Sufism in Ayyubid and Mamluk Egypt, 1173-1325
Authors: Hofer Nathan
Published: May 2020

After the fall of the Fatimid Empire in 1171 and the emergence of a new Sunni polity under the Ayyubids, Sufism came to extraordinary prominence in Egypt. The state founded and funded hospices to attract foreign Sufis to Egypt; local charismatic Sufi masters appeared throughout Upper and Lower Egypt; organized Sufi brotherhoods emerged in the urban centers of Cairo and Alexandria; and even Jews took up the doctrines and practices of the Sufis. By the middle of the Mamluk period in the fourteenth century, Sufism had become massively popular. How and why did this popularisation happen? This book is the first to address this issue directly, surveying the social formation and histories of several different Sufi collectivities from this period. Adopting an agentival approach, the book argues that the popularization of Sufism during this time was the direct result of deliberate and variegated Sufi programs of outreach, strategies of legitimation, and performances of authority across Egypt. The book situates these programs, strategies, and performances within the social and political contexts of the institutionalization of Sufism, audience participation, and Ayyubid and Mamluk state policies.
What is Popular about the Khānqāh?
Authors: Hofer Nathan
Published: May 2020

After Saladin opened the Saʿīd al-Su ʿadāʾ Cairo was infused with many hundreds of juridical Sufis from the East. This immigration had a profound impact on the social and religious fabric of the city. Upon their arrival these individuals lived and worked in the very heart of urban Cairo, the bayn al-qa‚ rayn district. While the Sufis were obliged to spend portions of their day engaged in devotions within the walls of the khānqāh, they were not required to sequester themselves. They performed public rituals every evening, they paraded through the streets of Cairo every Friday, and they frequented the city’s many madrasas, mosques and teaching circles. Locals also came to the khānqāh to study with them on site. All these practices contributed to the popularisation of Sufism on a large scale in Cairo. But what exactly where these Sufis popularising?
The Question of Divine Help in the Jihād
Authors: Urvoy Dominique
Published: May 2020

The theme of ‘help’ is ubiquitous in the Qurʾān. In it, composites of the root n-ṣ-r appear approximately 120 times with that meaning. But more explicitly, in the sūras that are traditionally associated with the Medinan period (particularly, sūras 5, 8 and 9), this theme comes to light as the idea of a concrete aid given by God to those who fight for Him: this idea appears twelve times, and in two of these, there is a passage of several verses where the verb naṣara or the substantive naṣr is explicitly stated ten times.
This help from God can take on several aspects. The Qurʾān sometimes insists on the contrast between the divine plan and the limited vision of humans: it is then a question of divine inspiration as to the decision to fight, in spite of the reluctance of some people (Q 3:5; 33:11–15), or not to give in to the temptation to flee (Q 9:25).
ʿAbbāsid State Violence and the Execution of Ibn ʿĀʾIsha
Authors: Nawas John A.
Published: May 2020

In what follows, an otherwise obscure incident in Islamic history – the execution of a leading member of the ʿAbbāsid family by an ʿAbbāsid caliph in the third ah/ninth ad century – is discussed to explicate the bounds of what can be considered ‘legitimate state violence’ at the time. The execution and the manner in which the caliph carried it out were intended to serve as a warning for a recalcitrant wing of his ʿAbbāsid family – the pro-al-Amīn faction. In the long run, however, the episode would have repercussions for Islamic history, and this pro-al-Amīn faction (which included the executed ʿAbbāsid) ultimately won the day after al-Muʿtaṣim was appointed caliph, rather than a son or other progeny of al-Maʾmūn – the caliph in question, who executed the ʿAbbāsid.1 This article first recounts the background and circumstances surrounding the arrest and execution of Ibn ʿĀʾisha – a not very well-known member of the ruling ʿAbbāsid family.2 Following this, I will undertake an analysis of how al-Maʾmūn, the ʿAbbāsid caliph who executed Ibn ʿĀʾisha, conceptualised the institution of the caliphate and the role of its incumbent, the caliph. The narrative ends by relating Ibn ʿĀʾisha’s execution to al-Maʾmūn’s political reasoning, delineating this caliph’s understanding of what constituted legitimate state violence.
Eating People is Wrong: Some Eyewitness Reports of Cannibalism in Arabic Sources
Authors: Szombathy Zoltán
Published: May 2020

There is something deeply disquieting about cannibalism. Motives and technicalities do not matter; eating human flesh is now universally considered revolting, whatever the circumstances. However, if we trust a long line of anthropologists and ethnographers, this has not always been the case in all parts of the world and is therefore not self-evident. Stripped of all cultural context and psychological connotations and in purely detached terms, the act of cannibalising a corpse might be considered a victimless crime, the victim of the act being a lifeless body destined to decay anyway. And yet, cannibalism is instinctively perceived in virtually all cultures today as grisly violence and, more than that, a violation of all that makes us human. It is probably this perception that led some scholars to question whether human beings could ever have engaged in such practices, except in the most wretched conditions.
Introduction: Picnic Time, Prime Time, Story Time
Authors: Stevenson Randall
Published: May 2020

France’s millennium celebration – l’incroyable pique-nique, marking the line of the Paris meridian – indicated the continuing relevance at the end of the C20th of issues of space, time and their global measurement, much discussed after the French Revolution and again at the end of the C19th. This chapter suggests that –in an increasingly industrialised age, and one more and more rigorously in thrall to exact and exacting temporalities – the demarcations and delineations involved figured as a set of fault-lines throughout C20th imagination, shaping the period’s fiction in particular. It outlines a set of narratological strategies through which their significance can be recognised and their effects on narrative and narrative form appreciated, defining the term ‘chronotype’ to describe historically-specific developments of narrative form.
Not Like Old Times: the 1930s to Mid-Century
Authors: Stevenson Randall
Published: May 2020

1920s trends discussed in Chapter 3 continue to figure in the next decade, in which the work of J.W Dunne – loosely connected with the popularity of relativity, and proposing a visionary, pre-cognitive understanding of time – exercised an influence over several contemporary authors. Generally, though, 1930s writing moved away from resistance to the minutely-measured temporalities of the clock and towards broader, often nostalgic encounters of memory with history, with some of Virginia Woolf’s later fiction indicating the nature of the change. The long analepsis in Rebecca West’s The Return of the Soldier provides a paradigm for many nostalgic revisitings, in 1930s fiction, of the supposedly-idyllic Edwardian period – in novels by Christopher Isherwood, Aldous Huxley, Lewis Grassic Gibbon, George Orwell and others. Similar patterns of analepsis and idyllic recollection can be found in writing published during and after the Second World War, by authors including Evelyn Waugh, Joyce Cary, Rosamond Lehmann, L.P Hartley and others. Though still occasionally discernible in fiction later in the century, the pattern fades during the following decades, whose difficulties in recalling affirmatively any period within living memory may have constituted a problem for narrative fiction generally.
Merdeka!: Merger, Separation and a Transnational Golden Age
Authors: Lim Edna
Published: May 2020

This chapter begins the book’s study of the golden age as a pre- national cinema, and examines the period as a transnational cinema that mimics Singapore’s positioning as a transnational space. Borrowing Sheldon Lu’s argument on Chinese cinema, it shows that film production in Singapore arose as ‘an event of transnational capital from its beginning’. To that end, the chapter considers the development, practices and migrant constitution of the film industry vis-à-vis the socio-political circumstances of this burgeoning nation, including Singapore’s complex relationship with Malaysia, and places Singapore cinema within the larger transnational network of film production and distribution in the region, Hong Kong and China.
Influence, Hybridity and How the Past is a Foreign Country
Authors: Lim Edna
Published: May 2020

This chapter discusses two ways that films from the golden age could be considered Singapore films. First, when viewed within the context of its time, the golden age is a cinema of hybrid films produced by a culturally heterogeneous and transnational industry and country. The hybridity of the films is apparent in the narrative, musical style and language which reveal a diversity of influences ranging from other cinematic conventions such as Hollywood and Bollywood cinemas and performance practices like bangsawan theatre. Second, watching these films now creates a ‘consciousness of doubling’ between the Singapore in the films and the one materially present today. It is precisely because we see (an)other Singapore being performed at each viewing that the films from the golden age can be considered Singapore films.
Nation-building, a Nun and a Bionic Boy
Authors: Lim Edna
Published: May 2020

This chapter initiates the book’s study of the post-studio 1970s as an important turning point that marks the transition from the pre-national cinema of the golden age to the post-national one today. It explores the socio-political context of post-independent Singapore, such as the state’s efforts at nation-building, the global focus of its policies and the arrival of television, which resulted in a changing audience and the development of a different cinema that was also internationally oriented. Like the country within which it operates, this is a cinema in transition and the films perform a Singapore that is either absent or foreign.
Moral Theory and Divine Justice
Authors: Abdulsater Hussein Ali
Published: May 2020

This chapter investigates the position of human beings in this theological system. Its point of departure is a definition of the human being, from which it develops an understanding of human agency in relation to God and the world. Divine assistance (luṭf) is highlighted as the bridge between human autonomy and divine sovereignty. Following is an elaborate description of religious experience: its origins, justification, relevant parties, responsibilities and characteristics. The concept of moral obligation (taklīf) is shown to be the cornerstone of Murtaḍā’s theory on religion. The chapter is divided into three sub-headings: The Human Being; Justification of Moral Obligation; Characteristics of Moral Obligation.
Reading for romance: the marriage plot
Authors: Michie Helena , Warhol Robyn
Published: May 2020

So far we have structured the story of this project around an originary narrative and, indeed, a moment of origin– our encounter with George Scharf’s album of menus and invitations that served as our introduction to him (see Fig. 1.1). Certainly that origin shaped our initial sense of George as a guest, a diner out. If we had not always had before us the glowing after-image of the menus, the gilded names of country houses and the calling cards of the rich and famous, we would perhaps have read the diaries differently: we might have read George not only or primarily as a guest but also as a host. Although, as we describe in the introduction, we found traces of Scharf as a host in the album and in the nightmare of hospitality we construed from those traces, the album resolutely and snobbishly tied him to country estates and their social rituals. The diaries, however, show Scharf as an almost obsessive giver of dinners, small and large, and as the centre of what one guest called ‘The Ashley Place Circle’, a group of male friends defined by the address of the lodgings Scharf rented for the last two and a half decades of his life.
Deleuze's Kantian Ethos
Authors: Carr Cheri Lynne
Published: May 2020

Deleuze’s Kantian Ethos explores the potential Deleuze’s reformulation of Kantian critique has for developing a transformative ethical practice. The starting point is the idea that ontology implies an actual practical attitude that is not a theory but a choice about oneself. This ethical choice must be made today in relation to the myriad ways that what we are capable of doing and becoming have been limited, most troublingly by our desire for our own repression. Deleuze’s energetic, critical ontology leads him to seek to resist all forms of fascism within the self. This ethical orientation towards the self within Deleuze’s ontology allows for the extrapolation of an ethos built on new habits of deterritorializing sedimented ways of thinking and behaving. The idea of critique as a way of life – Deleuze’s critical ethos – expresses the mode of living an ontology of becoming through a critique of subjectivity. Practically, this is lived as a form of self-directed moral pedagogy, the goal of which is developing in our selves the wisdom to perceive unanticipated features of moral salience, evaluate the principles we presuppose, affirm the limits those presuppositions impose, and create concepts that capture new ways of thinking about moral problems.
The Deleuzian Subject
Authors: Carr Cheri Lynne
Published: May 2020

In his earliest work, Deleuze presents a relational theory of subjectivity in constant flux. The larval, passive flux becomes an active subject capable of saying “I” through the exercise of certain capacities or faculties, namely, the habit of forming habits. Though the exercise of habit formation is passive, the result is an activated subject with the capacity to intervene in its own passive processes, capable of undertaking the difficult, transformative, and liberating work of destroying old habits of thinking and acting in favor of creating new ones that embrace fluidity, ambiguity, freedom, and difference. Yet, this capacity for catalyzing transformative change is frequently subverted from the inside. This is the ethical problem at the center of Deleuze’s ontology of change: the very habits that produce the conditions of becoming an ethical subject also produce the desire for repression of the fluidity of becoming. That is, the desire for fascism is the companion of the movement of subjectivation.
Moral Destiny and Culture
Authors: Carr Cheri Lynne
Published: May 2020

There is a structural parallel between Kant and Deleuze on the relationship between culture and critique, a parallel which could be worrying given the widespread criticism that Kant’s moral system smuggled in Kant’s own racist, misogynist, and elitist “subjective presuppositions.” In contrast to Kant, however, Deleuze’s determination of culture does not presuppose empirical knowledge or pre-determined moral interests. Deleuze’s immanent critique does not presuppose any particular goal Deleuze may have wanted to impute to it beyond his definition of philosophy as “breaking with doxa” (DR 134). If culture is determined through immanent critique’s examination of the faculties’ intrinsic power, without either hierarchizing the faculties or imposing on them a certain ideal organization based on so-called “rational” constraints, Deleuze is not making an implicit appraisal in which certain cultures are more valuable than others. Rather, the critical ethos expressing Deleuze’s ontology is built on the constantly renewed evaluation of all presuppositions. As such, it does not limit possibilities of life but arouses life to expand to the very limits of its power.
‘The Singular Wrought Out into the Strange and Mystical’: Blackwood’s Edinburgh Magazine and the Transformation of Terror
Authors: Morrison Robert
Published: May 2020

When Lord Byron decided in May 1819 to publish his Gothic fragment, ‘Augustus Darvell’, Blackwood’s Edinburgh Magazine seemed to him the obvious choice (Byron 1973–94, vol. 6: 126).1 Though founded only eighteen months earlier, the magazine had quickly established itself as one of the leading periodical publications of the day, and one that specialised in terror. Led by its editor, William Blackwood, and key contributors such as John Wilson and J. G. Lockhart, Blackwood’s routinely used variously aestheticised forms of violence and fear as a method of engagement with a host of social, critical and cultural issues, and as a means of promulgating its virulent version of High Toryism, as seen most clearly in its bellicose attacks on Whig enemies such as the Edinburgh Review, and its literary assassinations of ‘Cockney School’ writers like John Keats and Leigh Hunt (Schoenfield 2013).
Queer Scottish Gothic
Authors: Turner Kate
Published: May 2020

This chapter’s analysis of queer Scottish Gothic originates from a simple observation: there is a large and coherent scholarship on queer Gothic and Scottish Gothic respectively; however, there is notably little analysis of the way Scottish and queer Gothic may interact. With the exception of one recent article by Fiona McCulloch, queer Scottish Gothic has not yet been given full critical attention. This chapter explores revisions in the treatment of Gothic monsters, traditionally viewed as ‘all that is dangerous and horrible in the human imagination’ (Gilmore 2003: 1), in Louise Welsh’s The Cutting Room (2002), Luke Sutherland’s Venus as a Boy (2004) and Zoë Strachan’s Ever Fallen in Love (2011). More specifically, this analysis considers the dissociation of the monstrous figure from fear and terror in these texts, and suggests that they are repositioned as elusive figures through which the peripheral identities of Scottish and of queer may be simultaneously explored.
Can We Call it Sexploitation?
Authors: Waddell Calum
Published: May 2020

The first chapter of ‘The Style of Sleaze’ to discuss the sexploitation film and its genesis and history. The argument made is that softcore filmmaking of the 1960s, in particular, has a clear stylistic link to the later ‘hardcore’ period (which most scholars treat as a separate entity). This stylistic evolution is discussed in this chapter and singles out five key films.
Sex Morality Plays: Character in Adult Cinema
Authors: Waddell Calum
Published: May 2020

This chapter discusses the use of complex characterisation in sexploitation cinema – arguing that the character motivation and narrative causality is often more conservative than many might assume. A comparison is also made to the concurrent evolution of the sexual dynamics that begin to creep into Hollywood cinema via such notable motion pictures as ‘Last Tango in Paris’. This chapter argues that often the ‘underground’ sex films of the period featured more interesting and radical female portrayals.
The Body is Everything: Sexploitation Spectacle
Authors: Waddell Calum
Published: May 2020

With a close focus on the hardcore blockbuster ‘The Devil in Miss Jones’, this chapter discusses how the sexploitation film evolved, stylistically, into a form that challenged audiences and critics to – briefly – question where or not these might be even radical art cinema. The style of the sexploitation film is argued to have hit a new peak with this particular motion picture which defined the genre for its era but ultimately also indicated that it might have nowhere else to go other than glossier reproductions of the sex spectacle itself.
Sex, Violence and Urban escape: Blaxploitation Tropes and Tales
Authors: Waddell Calum
Published: May 2020

Initially building on the work of Cornel West, whose quote introduces this chapter, the blaxploitation form is discussed in terms of its characters and its difference from Hollywood cinema and African-American representations therein. The Hollywood film ‘Shaft’ is introduced and spoken about – with the chapter arguing about its status as part of the ‘blaxploitation’ pantheon.
The Blaxploitation Female
Authors: Waddell Calum
Published: May 2020

As per the title, this chapter talks about how the blaxploitation style evolved, however briefly, into a glossier stylistic approach with a female-led perspective. The film ‘Coffy’, which made Pam Grier a superstar, is maintained to be a game-changing text which also concluded blaxploitation as a viable commercial force. The motion picture, made by the independent studio AIP which was primarily a B-movie company, took the blaxploitation ethos into a more lavish production style and – arguably – began to move its various representations into a direction that took it away from its radical underground roots.
The First Female Gaze at Post-war Japanese Women: Tanaka Kinuyo, Film Director
Authors: González-López Irene , Mayu Ashida
Published: May 2020

The chapter focuses on the production and reception of Love Letter (Koibumi, 1953) and The Moon Has Risen (Tsuki wa noborinu, 1955) –the first two films directed by Tanaka—to call into question the meaning and construction of the category of ‘woman director’. The chapter is divided in three parts. The first contextualises Tanaka’s decision to become a director within the post-war legal and social changes affecting women, illuminating how she positioned herself within trending discourses. The second offers a textual analysis of the representation of gender roles and power dynamics in both films to question whether Tanaka was offering new perspectives on the subject. The last part illuminates how the figure of ‘woman director’ was being defined, contextualised and negotiated in the public sphere by a detailed analysis of promotional material and reviews from the contemporaneous Japanese press.
Screening Statues
Authors: Jacobs Steven , Felleman Susan , Adriaensens Vito , Colpaert Lisa
Published: May 2020

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.
Carving Cameras on Thorvaldsen and Rodin: Mid-Twentieth-Century Documentaries on Sculpture
Authors: Jacobs Steven
Published: May 2020

The earliest examples of “art films,” which date from the first two decades of the twentieth century, had monuments and public sculptures as their subject. While often being actualities showing inaugurations of public statues, many of these films focus on the social event of the ceremony rather than the sculptures themselves, but some films did give attention to the plastic qualities of the sculptures in natural light.3 While a cinematic reproduction of a painting seemed useless or redundant, the medium of film was considered perfect for visualizing threedimensional artworks, which necessitate a moving approach to grasp their different angles and spatial dimension. Likewise, German art film pioneer Hans Cürlis, who founded the Institut für Kulturforschung in 1919 in order to develop and propagate film as a mediator for art, considered paintings highly “unfilmic.”4 Throughout the 1920s, Cürlis made several films that consist of static shots of sculptures rotating on their axis, grouped under titles such as “Heads,” “Negro Sculpture,” “Old-German Madonnas,” “German Saints,” “Kleinplastik,” “Indian Crafts,” or “East-Asian Crafts.” Other landmark art documentaries produced before the Second World War also focused on sculpture.
Coda: Returning the Favor (A Short History of Film Becoming Sculpture)
Authors: Feleman Susan
Published: May 2020

This book has focused on the many manifestations and aspects of sculpture in cinema. We have demonstrated that sculpture – especially figural sculpture – engages the living figure in a range of intermedial ways in film, heightening tensions around motion and stasis, the animate and inanimate, life and death, presence and absence, as well as embodying narrative themes. This is in theory as true for sculptures that play a small role, as props or minor plot devices, as for those that are central actors. In Rear Window, for instance, the abstract sculpture on which a neighbor of Jeff’s is shown working is seen briefly and intermittently but it is overdetermined. The lady artist is a Greenwich Village cliché and she is ridiculed along predictably sexist lines. Along with the dancer and the composer who are among Jeff’s other neighbors, she exemplifies the bohemian milieu in ways both realist and comical. The sculpture itself, as with the ballerina referred to as “Miss Torso,” is suggestive of – even almost a substitute for – the dismembered body of Mrs. Thorwald that cannot be shown: only imagined.
Sculpture Gallery: 150 Statues from European and American Cinema
Authors: Adriaensens Vito , Colpaert Lisa
Published: May 2020

Abstract and Keywords to be supplied.
United Kingdom?
Authors: Marks Peter
Published: May 2020

Post-war Britain has long been seen as a nation in decline: the loss of imperial territory and international clout from 1945 onwards undeniable and inexorable facts that exposed the fantasy that Britain remained a Great Power. That fantasy was still viable during conferences at Yalta and Potsdam in 1945 that set the boundaries for a new, Cold War, geography. The Suez Crisis of 1956 is an oft-recited marker of decline, exposing the myth of British imperial reach, and prompting US Secretary of State’s Dean Acheson’s crushing evaluation that Great Britain had lost an Empire but had not yet found a role. The 1980s might be read as slowing the pace of decline, the Thatcher government under its forthright, pro-American leader attempting to re-establish Britain’s credentials on the world stage.
Love in the Nineties
Authors: Marks Peter
Published: May 2020

The lyrics from Blur’s ‘Girls and Boys’ advertise a simultaneously troubling, ambiguous and celebratory reading of love and sexuality in the nineties. The clip that accompanied the song revels in the festive and (apart from two ambiguous shaven headed figures tongue kissing) the heterosexual, mostly featuring partying British teenagers and twenty-somethings. The words that precede those quoted above – ‘Streets like a jungle / So call the police / Following the herd / Down to Greece / On holiday’ – explain the paranoia somewhat, while presenting a garish snapshot of the slightly mindless hedonism of British youth. The words immediately following those quoted above – ‘Always should be someone you really love’ – sanction sexual freedom, while requiring some level of emotional responsibility. The playful and slightly risqué ambiguity of girls who are boys who like girls to be boys also reflects the increasing acceptance of diverse sexualities.
Rewriting the Past
Authors: Marks Peter
Published: May 2020

Historian David Cannadine claimed in 2004 that the Britain of the late 1990s and early 2000s was interested in history to an unprecedented level. Cannadine judged that this interest was widely dispersed ‘among publishers, in the newspapers, on radio and in film, and (especially) on television; and from the general public who, it seemed, could not get enough of it’. Translating this interest to ‘the market-oriented language of our day, it looked as though more history was being produced and consumed than ever before’ (quoted in Korte and Pirker 2011: 11). Yet history itself was not the only growth area, literary historian Jerome de Groot noting in 2010 that ‘at present the Historical Novel is in robust
health, critically, formally and economically’.
Conclusion: Endings and Beginnings
Authors: Marks Peter
Published: May 2020

Will it work? Of course. Will it be ready on time? Certainly. Probably. Maybe. The Government is prepared to throw as much money into the hole as it takes (around £758 million and rising). They can’t fail. This is their Big Idea. The vision thing made manifest. A celebration of that which is to come (with heavily edited highlights of whatever has been achieved in the last thousand years of human history that is not offensive to BT, Manpower, Marks and Spencer, Sky, Tesco, McDonald’s and anybody else prepared to chip in £12 million)....
Rethinking the Teen Movie
Authors: Smith Frances
Published: May 2020

There have always been teenagers. But it was only in 1904 that American psychologist G. Stanley Hall’s ground-breaking publication, Adolescence: its Psychology and its Relations to Physiology, Anthropology, Sex, Crime and Education, established the existence of a hitherto undocumented period of ‘storm and stress’ between childhood and adulthood (Hall 1904: 2). As the case studies in later chapters will demonstrate, it is this sense of liminality that motivates my interest in the construction of identity found in the Hollywood teen movie. Here, I address both the evolution of the on-screen teenager in Hollywood cinema and, in tandem, the various ways in which film scholars have conceived the teen movie as a genre. With this understanding of how the field has developed over time, I explain how this book aims to rethink the Hollywood teen movie.
Introduction: Female Fury and the Masculine Spirit of Vengeance
Authors: Dawson Lesel
Published: May 2020

This chapter examines revenge narratives in relation to gender, asking whether depictions of vengeance reinforce conservative gender roles, interrogate the ‘masculine’ values that society prizes, or establish new ways of conceptualizing women and men. It demonstrates that while revenge is frequently conceptualized as a quintessential masculine activity, it is simultaneously seen to unleash the female Furies and the violent, ‘feminine’ emotions that threaten a man’s reason and self-control. It surveys scholarly debate about female avengers, asking whether they should be interpreted as honorary men, heroes in their own right, monstrous inversions of gender norms, or conduits through which male subjectivity is formed. The chapter also examines grief, demonstrating how women use lamentation in ancient Greek literature and medieval Icelandic sagas to express grievances, directing revenge action and, at times, influencing wider political events. It argues, however, that female lamentation becomes discredited in later periods and detached from the revenge process. In early modern literature, for example, the revenger is typically also the mourner, whose grief inhibits the revenge process. The change in lamentation’s status and function has wider implications for women’s roles and for the gendering of the male revenger.
The Avenging Daughter in King Lear
Authors: Tassi Marguerite A.
Published: May 2020

This chapter addresses the scarcity of avenging daughters in early modern texts, arguing that Shakespeare’s Cordelia in King Lear provides an exception to this paradigm. In scripting such an unexpected part for a female character, Shakespeare subverts the traditionally male gendered role of the avenger son and reconfigures earlier versions of the legend (such as those found in accounts by Geoffrey of Monmouth, Holinshed, and John Higgins and the anonymous King Leir). The chapter demonstrates the play’s structural affinities with the revenge genre, arguing that King Lear offers ethically contrasting forms of requital that are also gendered: while Goneril and Regan correspond to negative stereotypes about vengeful women, Shakespeare’s Cordelia (particularly in the 1623 folio), resembles the ‘male-like’ Cordelia depicted in the historical chronicles. Finally, the chapter asks what commentary on injustice, filial duty, and revenge Shakespeare’s harrowing, unsentimental dramatization of the Lear legend offered its early seventeenth-century audiences.
‘She’s Turned Fury’: Women Transmogrified in Revenge Plays
Authors: Clare Janet
Published: May 2020

This chapter explores early modern responses to Hecuba, arguing that whereas Euripides’ Hecuba is a sympathetic tragic heroine and successful avenger, this model was not replicated in early modern plays. Instead the two aspects of Hecuba’s role, that of lamenting mother and ruthless avenger, bifurcate in English revenge tragedy. Pitiful, mourning mothers such as Isabella from Thomas Kyd’s The Spanish Tragedy are unsuccessful, while savage ones, such as Tamora from Shakespeare’s Titus Andronicus and Queen Margaret in Shakespeare’s Henry VI trilogy, are abhorrent and aberrant, inflicting violence from a position of power. In contrast to Germany and France – where artistic treatments of the Biblical Judith decapitating General Holofernes offer a heroic, political image of female vengeance – the chapter argues that in early modern England revenge was definitively not a woman’s business.
Lament and Vengeance in the Alliterative Morte Arthure
Authors: Baden-Daintree Anne
Published: May 2020

This chapter explores the complex relationship between lamentation, masculinity, and heroic action in the Alliterative Morte Arthure. It demonstrates how the fourteenth-century poem’s earlier episodes distinguish between the contained grief that prompts heroic action and the debilitating grief which shocks and overwhelms: the fighting men’s laments for their fallen comrades are qualitatively different from the grief displayed by the widow after the Duchess, her foster-daughter, is raped and killed. However, this gendered model of male, moderate grief, and female, overwhelming grief, breaks down when Gawain, Arthur’s beloved nephew, is killed in battle. Arthur himself becomes the grief-stricken lamenter, displaying feminised behaviour that his knights view as both ineffectual and unseemly. The chapter argues that Arthur’s lament is not only a catalyst for revenge, but also marks a move away from indiscriminate conquest towards heroic action focused on justice and the restoration of order.
What’s Hecuba to Shakespeare?1
Authors: Pollard Tanya
Published: May 2020

When Hamlet reflects on the charged power of the tragic theater, the figure who haunts his imagination is Hecuba, Queen of Troy, whose tragedy came to define the genre in sixteenth-century Europe. As a bereaved mourner who seeks revenge, Hecuba offers a female version of Hamlet. Yet even while underscoring her tragic power, Shakespeare simultaneously establishes a new model of tragic protagonist, challenging the period’s longstanding identification of tragedy with women. In exploring why both Hamlet and Shakespeare are preoccupied with Hecuba, this chapter argues that ignoring the impact of Greek plays in sixteenth-century England has left a gap in our understanding of early modern tragedy. Attending to Hecuba highlights Shakespeare’s innovations to a genre conventionally centered on female grief. In invoking Hecuba as an icon of tragedy, Shakespeare both reflects on and transforms women’s place in the genre.
Minorities in the Contemporary Egyptian Novel
Authors: Youssef Mary
Published: May 2020

This book examines questions of identity, nationalism, and marginalization in the contemporary Egyptian novel from a postcolonial lens. Under colonial rule, the Egyptian novel invoked a sovereign nation-state by basking in its perceived unity. After independence, the novel professed disenchantment with state practices and unequal class and gender relations, without disrupting the nation’s imagined racial and ethno-religious homogeneity. This book identifies a trend in the twenty-first-century Egyptian novel that shatters this singular view, with the rise of a new consciousness that presents Egypt as fundamentally heterogeneous. Through a robust analysis of “new-consciousness” novels by authors like Idris ᶜAli, Bahaᵓ Tahir, Miral al-Tahawi, and Yusuf Zaydan, the author argues that this new consciousness does not only respond to predominant discourses of difference and practices of differentiation along the axes of race, ethno-religion, class, and gender by bringing the experiences of Nubian, Amazigh, Bedouin, Coptic, Jewish, and women minorities to the fore of Egypt’s literary imaginary, but also heralds the cacophony of voices that collectively cried for social justice from Tahrir Square in Egypt’s 2011-uprising.
This study responds to the changing iconographic, semiotic, and formal features of the Egyptian novel. It fulfills the critical task of identifying an emergent novelistic genre and develops historically reflexive methodologies that interpret new-consciousness novels and their mediatory role in formalizing and articulating their historical moment. By adopting this context-specific approach to studying novelistic evolution, this book locates some of the strands that have been missing from the complex whole of Egypt’s culture and literary history.