Others and Outcasts in Early Modern Europe is the first book to focus directly on the visual representation of marginal and outcast people in early modern Europe. The volume offers a comprehensive and groundbreaking analysis of a wide range of images featuring Jews and Turks, roguish beggars, syphilitics and plague victims, the 'deserving poor', toothpullers, beggar philosophers, black slaves, itinerant actors and street hawkers. Its broad geographical and chronological scope allows the reader to build a wider picture of visual strategies and conventions for the depiction of the poor and the marginal as they developed in countries such as Germany, the Netherlands, Italy, Spain, Britain and Ireland. While such types had often been depicted in earlier centuries, the essays show that they came to play a newly significant and formative role in European art between 1500 and 1750. Marking a clear departure from much previous scholarship on the subject - which has tended to view representations of poverty as passive by-products of non-visual forces - these essays place the image itself at the centre of the investigation. The studies show that many depictions of socially marginal people operated in essentially hegemonic fashion, as a way of controlling or fixing the social and moral identity of those living on the edge. At the same time, they also reveal the inventiveness and originality of many early modern artists in dealing with this subject matter, showing how the sophisticated visuality of their representations could render meaning ambiguous in relation to such controlling discourses.

Managing in the Media has been devised for a broad audience. It is based upon the perceived need for a text that amalgamates cultural theories, film and television analysis, management theories and media production practice into one volume. There are many books on film and cultural studies. Similarly, there are copious numbers of texts written on management. To date little has been written that analyses the management of the audiovisual industry set against the backdrop of the cultural and economic environment within which the media manager operates. Managing in the Media is divided into three sections that take the reader from the global to the specific, from the strategic to the tactical. Each chapter discusses specific topics that can be read in isolation yet contribute to the theme within each part. Taken as a whole, the book provides the potential professional media manager and current practising media manager with a framework of issues that will give them an awareness of the range of knowledge needed by the successful media manager. This book does not try to be a manual to success. The media industry is awash with successful individuals none of whom needed textbooks to set them on their chosen career paths. Yet these exceptional people prove the rule; that in the main, most media practitioners would benefit from some additional support and guidance. The aim of this book is to present to them some of the management issues that have, or will have, an impact upon their working careers. The accompanying website www.mediaops.net (which can also be accessed via www.focalpress.com) features: - Tutor notes and reader activities - Updated list of further reading - Additional support material such as production templates - Interviews with the authors - A discussion forum - Industry and education links - Media News

A contrarian yet highly engaging account of the spread of illiberal and anti-democratic sentiment throughout our culture that places responsibility on the citizens themselves. Over the past three decades, citizens of democracies who claim to value freedom, tolerance, and the rule of law have increasingly embraced illiberal politicians and platforms. Democracy is in trouble-but who is really to blame? In Our Own Worst Enemy, Tom Nichols challenges the current depictions of the rise of illiberal and anti-democratic movements in the United States and elsewhere as the result of the deprivations of globalization or the malign decisions of elites. Rather, he places the blame for the rise of illiberalism on the people themselves. Nichols traces the illiberalism of the 21st century to the growth of unchecked narcissism, rising standards of living, global peace, and a resistance to change. Ordinary citizens, laden with grievances, have joined forces with political entrepreneurs who thrive on the creation of rage rather than on the encouragement of civic virtue and democratic cooperation. While it will be difficult, Nichols argues that we need to defend democracy by resurrecting the virtues of altruism, compromise, stoicism, and cooperation-and by recognizing how good we've actually had it in the modern world. Trenchant, contrarian, and highly engaging, Our Own Worst Enemy reframes the debate about how democracies have ended up in this dire state of affairs and what to do about it.

Others and Outcasts in Early Modern Europe is the first book to focus directly on the visual representation of marginal and outcast people in early modern Europe. The volume offers a comprehensive and groundbreaking analysis of a wide range of images featuring Jews and Turks, roguish beggars, syphilitics and plague victims, the 'deserving poor', toothpullers, beggar philosophers, black slaves, itinerant actors and street hawkers. Its broad geographical and chronological scope allows the reader to build a wider picture of visual strategies and conventions for the depiction of the poor and the marginal as they developed in countries such as Germany, the Netherlands, Italy, Spain, Britain and Ireland. While such types had often been depicted in earlier centuries, the essays show that they came to play a newly significant and formative role in European art between 1500 and 1750. Marking a clear departure from much previous scholarship on the subject - which has tended to view representations of poverty as passive by-products of non-visual forces - these essays place the image itself at the centre of the investigation. The studies show that many depictions of socially marginal people operated in essentially hegemonic fashion, as a way of controlling or fixing the social and moral identity of those living on the edge. At the same time, they also reveal the inventiveness and originality of many early modern artists in dealing with this subject matter, showing how the sophisticated visuality of their representations could render meaning ambiguous in relation to such controlling discourses.

A contrarian yet highly engaging account of the spread of illiberal and anti-democratic sentiment throughout our culture that places responsibility on the citizens themselves. Over the past three decades, citizens of democracies who claim to value freedom, tolerance, and the rule of law have increasingly embraced illiberal politicians and platforms. Democracy is in trouble—but who is really to blame? In Our Own Worst Enemy, Tom Nichols challenges the current depictions of the rise of illiberal and anti-democratic movements in the United States and elsewhere as the result of the deprivations of globalization or the malign decisions of elites. Rather, he places the blame for the rise of illiberalism on the people themselves. Nichols traces the illiberalism of the 21st century to the growth of unchecked narcissism, rising standards of living, global peace, and a resistance to change. Ordinary citizens, laden with grievances, have joined forces with political entrepreneurs who thrive on the creation of rage rather than on the encouragement of civic virtue and democratic cooperation. While it will be difficult, Nichols argues that we need to defend democracy by resurrecting the virtues of altruism, compromise, stoicism, and cooperation—and by recognizing how good we've actually had it in the modern world. Trenchant, contrarian, and highly engaging, Our Own Worst Enemy reframes the debate about how democracies have ended up in this dire state of affairs and what to do about it.

Managing in the Media has been devised for a broad audience. It is based upon the perceived need for a text that amalgamates cultural theories, film and television analysis, management theories and media production practice into one volume.
There are many books on film and cultural studies. Similarly, there are copious numbers of texts written on management. To date little has been written that analyses the management of the audiovisual industry set against the backdrop of the cultural and economic environment within which the media manager operates.

Managing in the Media is divided into three sections that take the reader from the global to the specific, from the strategic to the tactical. Each chapter discusses specific topics that can be read in isolation yet contribute to the theme within each part. Taken as a whole, the book provides the potential professional media manager and current practising media manager with a framework of issues that will give them an awareness of the range of knowledge needed by the successful media manager.
This book does not try to be a manual to success. The media industry is awash with successful individuals none of whom needed textbooks to set them on their chosen career paths. Yet these exceptional people prove the rule; that in the main, most media practitioners would benefit from some additional support and guidance. The aim of this book is to present to them some of the management issues that have, or will have, an impact upon their working careers.
The accompanying website www.mediaops.net (which can also be accessed via www.focalpress.com) features:
- Tutor notes and reader activities
- Updated list of further reading
-Additional support material such as production templates
- Interviews with the authors
- A discussion forum
- Industry and education links
- Media News
Devised by a practising media manager
Contributing authors are experienced media practitioners and lecturers on undergraduate and post-graduate programmes
Addresses all essential issues of managing media

The fifteenth century saw the evolution of a distinct and powerfully influential European artistic culture. But what does the familiar phrase Renaissance Art actually refer to? Through engaging discussion of timeless works by artists such as Jan van Eyck, Leonardo da Vinci, and Michelangelo, and supported by illustrations including colour plates, Tom Nichols offers a masterpiece of his own as he explores the truly original and diverse character of the art of the Renaissance.

The Venetian painter known as Giorgione or "big George" died at a young age in the dreadful plague of 1510, possibly having painted fewer than twenty-five works. But many of these are among the most mysterious and alluring in the history of art. Paintings such as The Three Philosophers and The Tempest remain compellingly elusive, seeming to deny the viewer the possibility of interpreting their meaning. Tom Nichols argues that this visual elusiveness was essential to Giorgione's sensual approach and that ambiguity is the defining quality of his art. Through detailed discussions of all Giorgione's works, Nichols shows that by abandoning the more intellectual tendencies of much Renaissance art, Giorgione made the world and its meanings appear always more inscrutable.

People are now exposed to more information than ever before, provided both by technology and by increasing access to every level of education. These societal gains, however, have also helped fuel a surge in narcissistic and misguided intellectual egalitarianism that has crippled informed debates on any number of issues. Today, everyone knows everything: with only a quick trip through WebMD or Wikipedia, average citizens believe themselves to be on an equal intellectual footing with doctors and diplomats. All voices, even the most ridiculous, demand to be taken with equal seriousness, and any claim to the contrary is dismissed as undemocratic elitism. As Tom Nichols shows in The Death of Expertise, this rejection of experts has occurred for many reasons, including the openness of the internet, the emergence of a customer satisfaction model in higher education, and the transformation of the news industry into a 24-hour entertainment machine. Paradoxically, the increasingly democratic dissemination of information, rather than producing an educated public, has instead created an army of ill-informed and angry citizens who denounce intellectual achievement. Nichols has deeper concerns than the current rejection of expertise and learning, noting that when ordinary citizens believe that no one knows more than anyone else, democratic institutions themselves are in danger of falling either to populism or to technocracy-or in the worst case, a combination of both. The Death of Expertise is not only an exploration of a dangerous phenomenon but also a warning about the stability and survival of modern democracy in the Information Age.

The Venetian painter Jacopo Tintoretto (1518-1594) is an ambiguous figure in the history of art. Critics and writers such as Vasari, Ruskin and Sartre all placed him in opposition to the established artistic practice of his time, noting that he had abandoned the values that typified the venerable Venetian Renaissance tradition. He was even expelled as an apprentice from the workshop of Titian. This informative and generously illustrated book offers a long-overdue re-evaluation of Tintoretto's unique work and entertaining life.

People are now exposed to more information than ever before, provided both by technology and by increasing access to every level education. These societal gains, however, have also helped fuel a surge in narcissistic and misguided intellectual egalitarianism that has crippled informed debates on any number of issues. Today, everyone knows everything; with only a quick trip through WebMD or Wikipedia, average citizens believe themselves to be on an equal intellectual footing with doctors and diplomats. All voices, even the most ridiculous, demand to be taken with equal seriousness, and any claim to the contrary is dismissed as undemocratic elitism. As Tom Nichols shows in The Death of Expertise, this rejection of experts has occurred for many reasons, including the openness of the internet, the emergence of a customer satisfaction model in higher education, and the transformation of the news industry into a 24-hour entertainment machine. Paradoxically, the increasingly democratic dissemination of information, rather than producing an educated public, has instead created an army of ill-informed and angry citizens who denounce intellectual achievement. Nichols has deeper concerns than the current rejection of expertise and learning, noting that when ordinary citizens believe that no one knows more than anyone else, democratic institutions themselves are in danger of falling either to populism or to technocracy-or, in the worst case, a combination of both. The Death of Expertise is not only an exploration of a dangerous phenomenon but also a warning about the stability and survival of modern democracy in the Information Age.

The art of poverty is the first book in English to analyse depictions of beggars in sixteenth-century European art. Featuring works from Germany, the Low Countries, Britain, France and Italy, it discusses a diverse body of imagery in many different media, from crude woodcuts to monumental church altarpieces. It develops a striking thesis, arguing that these works largely conformed to two paradoxical, though mutually supportive, representational approaches. The earlier chapters follow the emergence of a trenchantly negative approach in Northern art, in which beggars are shown as vagabonds, whose idleness and thievery threatened the values of sixteenth-century society (especially its growing emphasis on the need to work). In the other predominant visual mode, beggars are exalted as examples of sacred purity. In many Italian religious paintings, beggars are morally exalted with reference to sacred texts, and made formally beautiful with reference to revered artistic models. Though these approaches reflect the impact of religious reform, it is shown that, by the end of the century, they happily co-existed within Protestant and Catholic cultures. The final part of the book is concerned with the issue of artistic style and with the growing tendency of the beggar image to mediate and dissolve the didactic traditions through which it had originally been defined. The art of poverty will be of special interest to scholars and students of Renaissance art history, and its progressive approach and cross-disciplinary theme and perspective will also make it vital reading for those concerned with the development of early modern European culture. -- .

Titian's works are often seen as embodying the famous tradition of Venetian Renaissance painting. But how 'Venetian' was Titian, and can his unique works be taken as truly representative of his adoptive city? This comprehensive new study, covering Titian's long career and varied output, highlights the tensions between the individualism of his work and the conservative mores of Venice. Titian and the End of the Venetian Renaissance argues that Titian's works were self-consciously original, freely and intentionally undermining the traditional, more modest approach to painting in Venice - a position that frequently caused disputes with local artists and patrons. This book charts Titian's early stylistic independence from his master Giovanni Bellini, his radical innovations to the classical altarpiece and his meteoric break from the normal confines of Venice's artistic culture. Titian competitively cultivated a professional identity and his dynamic career was epitomized by the development of his 'late style', which set him apart from all predecessors and was intended to defy emulation by any followers. It was through this final individualistic departure that Titian effectively brought the Renaissance tradition of painting to an end. This ground-breaking interpretation will be of interest to all scholars and students of Renaissance and Venetian art history.

he role and future of tactical nuclear weapons in Europe are subjects that sometimes surprise even experts in international security, primarily because it is so often disconcerting to remember that these weapons still exist. Many years ago, an American journalist wryly noted that the future of the North Atlantic Treaty Organization (NATO) was "a subject that drives the dagger of boredom deep, deep into the heart"- a dismissive quip which would have remained true right up until the moment World War III broke out. The same goes for tactical nuclear weapons: compared to the momentous issues that the East and West have tackled since the end of the Cold War, the scattering of hundreds (or in the Russian case, thousands) of battlefield weapons throughout Europe seems to be almost an afterthought, a detail left behind that should be easy to tidy up. Such complacency is unwise. Tactical nuclear weapons (or NSNWs, "non-strategic nuclear weapons") still exist because NATO and Russia have not fully resolved their fears about how a nuclear war might arise, or how it might be fought. They represent, as Russian analyst Nikolai Sokov once wrote, "the longest deadlock" in the history of arms control. Washington and Moscow, despite the challenges to the "reset" of their relations, point to reductions in strategic arms as a great achievement, but strategic agreements also reveal the deep ambiguity toward nuclear weapons as felt by the former superpower rivals. The numbers in the 2010 New Strategic Arms Reduction Treaty (New START) are lower than at any point in history, but they are based on leaving each side a reliable ability to destroy up to 300 urban targets each. Inflicting this incredible amount of destruction is, on its face, a step no sane national leader would take. But it is here that tactical weapons were meant to play their dangerous role, for they would be the arms that provided the indispensable bridge from peace to nuclear war. Thus, the structures of Cold War nuclear doctrines on both sides remain in place, only on a smaller scale.

What is the role that tactical or non-strategic nuclear weapons (NSNWs) play in NATO defense policy and strategy? This book examines the key issues surrounding this question as the Alliance seeks to redefine itself in the 21st century and meet the requirements in the Defense and Deterrence Policy Review.

The role and future of tactical nuclear weapons in Europe are subjects that sometimes surprise even experts in international security, primarily because it is so often disconcerting to remember that these weapons still exist. Many years ago, an American journalist wryly noted that the future of the North Atlantic Treaty Organization (NATO) was "a subject that drives the dagger of boredom deep, deep into the heart"- a dismissive quip which would have remained true right up until the moment World War III broke out. The same goes for tactical nuclear weapons: compared to the momentous issues that the East and West have tackled since the end of the Cold War, the scattering of hundreds (or in the Russian case, thousands) of battlefield weapons throughout Europe seems to be almost an afterthought, a detail left behind that should be easy to tidy up.

NATO has been a "nuclear" alliance since its inception. Nuclear weapons have served the dual purpose of being part of NATO military planning as well as being central to the Alliance's deterrence strategy. For over 4 decades, NATO allies sought to find conventional and nuclear forces, doctrines, and agreed strategies that linked the defense of Europe to that of the United States. Still, in light of the evolving security situation, the Alliance must now consider the role and future of tactical or non-strategic nuclear weapons (NSNWs). Two clear conclusions emerge from this analysis. First, in the more than 2 decades since the end of the Cold War, the problem itself-that is, the question of what to do with weapons designed in a previous century for the possibility of a World War III against a military alliance that no longer exists-is understudied, both inside and outside of government. Tactical weapons, although less awesome than their strategic siblings, carry significant security and political risks, and they have not received the attention that is commensurate to their importance. Second, it is clear that whatever the future of these arms, the status quo is unacceptable. It is past the time for NATO to make more resolute decisions, find a coherent strategy, and formulate more definite plans about its nuclear status. Consequently, decisions about the role of nuclear weapons within the Alliance and the associated supporting analysis are fundamental to the future identity of NATO. At the Lisbon Summit in Portugal in November 2010, the Alliance agreed to conduct the Deterrence and Defense Posture Review (DDPR). This effort is designed to answer these difficult questions prior to the upcoming NATO Summit in May 2012. The United States and its closest allies must define future threats and, in doing so, clarify NATO's identity, purpose, and corresponding force requirements. So far, NATO remains a "nuclear alliance," but it is increasingly hard to define what that means.

What does the game of golf tell us about life?
The game of golf is as much about character as it is about skill. The same is true about life. These thirty devotional stories from the life of the author offer a glimpse of the ways in which the game of golf reflects the life and character of those who play this marvelous sport.

Titian's works are often seen as embodying the famous tradition of Venetian Renaissance painting. But how 'Venetian' was Titian, and can his unique works be taken as truly representative of his adoptive city? This comprehensive new study, covering Titian's long career and varied output, highlights the tensions between the individualism of his work and the conservative mores of Venice. Titian and the End of the Venetian Renaissance argues that Titian's works were self-consciously original, freely and intentionally undermining the traditional, more modest approach to painting in Venice - a position that frequently caused disputes with local artists and patrons. This book charts Titian's early stylistic independence from his master Giovanni Bellini, his radical innovations to the classical altarpiece and his meteoric break from the normal confines of Venice's artistic culture. Titian competitively cultivated a professional identity and his dynamic career was epitomized by the development of his 'late style', which set him apart from all predecessors and was intended to defy emulation by any followers. It was through this final individualistic departure that Titian effectively brought the Renaissance tradition of painting to an end. This ground-breaking interpretation will be of interest to all scholars and students of Renaissance and Venetian art history.