World Film Locations: London is an exciting visually focused tour of a diverse range of films shot on location in London. This volume will contain concise but knowledgeable reviews of carefully chosen film scenes and evocative essays about key directors, themes, ideas and historical periods that explore London's relationship to cinema. This book will be illustrated throughout with scene-specific screengrabs, stills of filming locations as they appear now and city maps that include location information for those keen to investigate the cinematic landmarks of London. The individual scene reviews, theme specific essays and illustrations will collectively offer up their own wider questions relating to London itself and how cinema shapes our view of the city. Covering the periods of the Victorian era via the swinging 60s through to the post 7/7 atmosphere of modern day London and seen through the eyes of the full range of communities that have been portrayed onscreen World Film Locations: London will illuminate all corners of this richly diverse and cinematically fertile city.

We'll always have Paris, Humphrey Bogart assures Ingrid Bergman in the oft-quoted farewell scene from Casablanca in which Bogart's character, hard-hearted restaurateur Rick Blaine, bids former lover Ilsa Lund goodbye. The backdrop against which they first fell in love, Paris later serves as a reminder of their deep mutual longings. And with a host of different realizations by filmmakers from Philip Kaufman to Julien Leclercq to Woody Allen, there is no question that Paris has likewise endured in the memories of cinephiles worldwide. World Film Locations: Paris takes readers on an unforgettable tour of the City of Lights past and present through the many films that have been set there. Along the way, we revisit iconic tourist sites from the Eiffel Tower — whose stairs and crossbars inspired more than one famous chase scene — to the Moulin Rouge overlooking the famously seedy Place Pigalle. Other films explore lesser-known quartiers usually tucked away from the tourist's admiring gaze. Handsomely illustrated with full-color film stills and contemporary photographs, more than fifty scenes are individually considered with special attention to their use of Paris's topography as it intersects with characters, narrative, and plot. A host of important genres and cinematic movements are featured, including poetic realism, the New Wave, cinema-verite, the literary works of the Left Bank Group, and Luc Besson's slickly stylized cinema du look. Meanwhile, essays foreground contributions from Francophone African directors and emigre filmmakers. For centuries, Paris has reigned over the popular imagination. For those who have visited or those who have only imagined it through art, literature, and film, World Film Locations: Paris presents a wonder-filled cinematic exploration of the mythical city that fans of French cinema — and new initiates — will appreciate.

«From «Tokyo Story» to «Godzilla,» «You Only Live Twice» to «Enter the Void,» «World Film Locations: Tokyo» presents a kaleidoscopic view of one of the world's most exciting cities through the lens of cinema. Illustrated throughout with dynamic screen shots, this volume in Intellect's World Film Locations series spotlights fifty key scenes from classic and contemporary films shot in Tokyo, accompanied by insightful essays that take us from the wooden streets of pre-nineteenth-century Edo to the sprawling «what-if» megalopolis of science fiction and fantasy anime. Important themes and players — among them Akira Kurosawa, Samuel Fuller, and Sofia Coppola — are individually considered. For the film scholar, or for all those who love Japanese cinema and want to learn more, «World Film Locations: Tokyo» will be an essential guide.»

The most honored discussion of American religion in mid-twentieth century times is Will Herberg's Protestant-Catholic-Jew... It spoke precisely to the mid-century condition and speaks in still applicable ways to the American condition and, at its best, the human condition. Martin E. Marty, from the Introduction In Protestant-Catholic-Jew Will Herberg has written the most fascinating essay on the religious sociology of America that has appeared in decades. He has digested all the relevant historical, sociological and other analytical studies, but the product is no mere summary of previous findings. He has made these findings the basis of a new and creative approach to the American scene. It throws as much light on American society as a whole as it does on the peculiarly religious aspects of American life. Mr. Herberg... illumines many facets of the American reality, and each chapter presents surprising, and yet very compelling, theses about the religious life of this country. Of all these perhaps the most telling is his thesis that America is not so much a melting pot as three fairly separate melting pots. Reinhold Niebuhr, New Yorks Times Book Review.

Between the years 1643 and 1649, Princess Elisabeth of Bohemia (1618-80) and Rene Descartes (1596-1650) exchanged fifty-eight letters — thirty-two from Descartes and twenty-six from Elisabeth. Their correspondence contains the only known extant philosophical writings by Elisabeth and reveals her mastery of metaphysics, analytic geometry, and moral philosophy, as well as her keen interest in natural philosophy. The letters are essential reading for anyone interested in Descartes' philosophy, in particular his account of the human being as a union of mind and body, as well as his ethics. They also provide a unique insight into the character of their authors and the way ideas develop through intellectual collaboration. Philosophers have long been familiar with Descartes' side of the correspondence. Now Elisabeth's letters — never before available in translation in their entirety — emerge in this volume, adding much-needed context and depth both to Descartes' ideas and the legacy of the princess. Lisa Shapiro's annotated edition, which also includes Elisabeth's correspondence with the Quakers William Penn and Robert Barclay, will be heralded by students of philosophy, feminist theorists, and historians of the early modern period.

Calypso music is an integral part of Trinidad's national identity. When, for instance, Franklin D. Roosevelt asked the great Trinidadian musician Roaring, Lion where he was from, Lion famously replied the land of calypso. But in a nation as diverse as Trinidad, why is it that calypso has emerged as the emblematic music? In Governing Sound, Jocelyne Guilbault examines the conditions that have enabled calypso to be valorized, contested, and targeted as a field of cultural politics in Trinidad. The prominence of calypso, Guilbault argues, is uniquely enmeshed in projects of governing and in competing imaginations of nation, race, and diaspora. During the colonial regime, the period of national independence, and recent decades of neoliberal transformation, calypso and its musical offshoots have enabled new cultural formations while simultaneously excluding specific social expressions, political articulations, and artistic traditions. Drawing on over a decade of ethnographic work, Guilbault maps the musical journeys of Trinidad's most prominent musicians and arrangers and explains the distinct ways their musical sensibilities became audibly entangled with modes of governing, audience demands, and market incentives. Generously illustrated and complete with an accompanying CD, Governing Sound constitutes the most comprehensive study to date of Trinidad's carnival musics.

The Renaissance was in many ways the beginning of modern and self-conscious authorship, a time when individual genius was celebrated and an author's name could become a book trade commodity. Why, then, did anonymous authorship flourish during the Renaissance rather than disappear? In addressing this puzzle, Marcy L. North reveals the rich history and popularity of anonymity during this period. The book trade, she argues, created many intriguing and paradoxical uses for anonymity, even as the authorial name became more marketable. Among ecclesiastical debaters, for instance, anonymity worked to conceal identity, but it could also be used to identify the moral character of the author being concealed. In court and coterie circles, meanwhile, authors turned name suppression into a tool for the preservation of social boundaries. Finally, in both print and manuscript, anonymity promised to liberate an authentic female voice, yet made it impossible to authenticate the gender of an author, in sum, the writers and book producers who helped to create England's literary culture viewed anonymity as a meaningful and useful practice. Written with precision and grace, The Anonymous Renaissance should fill a prominent gap in the study of authorship and English literary history.

In Dying to Know, eminent critic George Levine makes a landmark contribution to the history and theory of scientific knowledge. This book explores the paradoxes of our modern ideal of objectivity, in particular its emphasis on the impersonality and disinterestedness of truth. How, asks Levine, did this idea of selfless knowledge come to be established and moralized in the 19th century? Levine shows that for 19th-century scientists, novelists, poets and philosophers, access to the truth depended on conditions of such profound self-abnegation that pursuit of it might be taken as tantamount to the pursuit of death. The Victorians, he argues, were dying to know in the sense that they could imagine achieving pure knowledge only in a condition where the body ceases to make its claims: to achieve enlightenment, virtue and salvation, one must die. Dying to Know is ultimately a study of this moral ideal of epistemology. But it is also something much more: a spirited defence of the pursuit of objectivity, the ethical significance of sacrifice and the importance of finding a shareable form of knowledge.

Plants face a daunting array of creatures which eat them, bore into them and use virtually every plant part for food or shelter. However, plants are far from defenceless under attack. Although they cannot flee their attackers, they can produce defences, such as thorns, and can actively alter their chemistry and physiology in response to damage. For instance, young potato leaves being eaten by potato beetles respond by producing chemicals which inhibit beetle digestive enzymes. Research on these induced responses to herbivory has proceeded since the 1980s, and this comprehensive evaluation and synthesis of a rapidly-developing field provides state-of-the-discipline reviews, and highlights areas of research which might be productive. This overview should appeal to a wide variety of theoretical and applied researchers in ecology, evolutionary biology, plant biology, entomology and agriculture.

In this groundbreaking social history, Carol and Peter Stearns trace the two hundred-year development of anger, beginning with premodern colonial America. Drawing on diaries and popular advice literature of key periods, Anger deals with the everyday experiences of the family and workplace in its examination of our attempts to control our domestic lives and lessen social tensions by harnessing emotion. Offering an entirely new approach to the study of emotion, the authors inaugurate a new field of study termed emotionology, which distinguishes collective emotional standards from the experience of emotion itself.