Jean Renoir (1894-1979) is widely regarded as one of the most distinguished directors in the history of world cinema. In the 1930s he directed a string of films which stretched the formal, intellectual, political and aesthetic boundaries of the art form, including works such as Le Crime de Monsieur Lange, La Grande Illusion, La Bete humaine and La Regle du jeu. However, the great director's early work from the 1920s remains almost completely unknown, even to film specialists. If it is discussed at all, it is often seen to be of interest only insofar as it anticipates themes and techniques perfected in the later masterpieces. Renoir's films of the 1920s were sometimes unfinished, commercially unsuccessful, or unreleased at the time of their production. This book argues that to regard them merely as prefigurations of later achievements entails a failure to view them on their own terms, as searching, unsettled experiments in the meaning and potential of film art.

This text explores the concept of major and serious crime investigations as it takes the reader through the fundamental elements of investigative theory and practice that are relevant to this area of criminality. Unlike other texts that concentrate on either bespoke areas of criminality such as homicide, terrorism or tends in concepts such as county lines, this book recognises that the reader will be new to investigative study with little practitioner experience to anchor their learning. By using the latest evidence-based policing knowledge and critical thinking, it explores the concepts of major and serious crime, detailing key areas of legislation and how investigative strategies and decision making can influence successful outcomes. Other topics examined in this text is the key areas of risk for major and serious crime investigations, the impact of investigators, the concept of disclosure, investigative interviewing and how civil orders, designed to tackle this type of criminality can provide a successful alternative to prosecution. Both students and practitioners can find this book useful with this book's contemporary approach of using case studies and contemporary investigative examples relevant to the topic. This book brings together academic theory and operational understanding of major and serious crime that provides learners with an easy to follow guide that they can keep returning to throughout their career.

In recent years there has been a huge amount of both popular and academic interest in storytelling as something that is an essential part of not only literature and art but also our everyday lives as well as our dreams, fantasies, aspirations, historical self-understanding, and political actions. The question of the ethics of storytelling always, inevitably, lurks behind these discussions, though most frequently it remains implicit rather than explicit. This volume explores the ethical potential and risks of storytelling from an interdisciplinary perspective. It stages a dialogue between contemporary literature and visual arts across media (film, photography, performative arts), interdisciplinary theoretical perspectives (debates in narrative studies, trauma studies, cultural memory studies, ethical criticism), and history (traumatic histories of violence, cultural history). The collection analyses ethical issues involved in different strategies employed in literature and art to narrate experiences that resist telling and imagining, such as traumatic historical events, including war and political conflicts. The chapters explore the multiple ways in which the ethics of storytelling relates to the contemporary arts as they work with, draw on, and contribute to historical imagination. The book foregrounds the connection between remembering and imagining and explores the ambiguous role of narrative in the configuration of selves, communities, and the relation to the non-human. While discussing the ethical aspects of storytelling, it also reflects on the relevance of artistic storytelling practices for our understanding of ethics. Making an original contribution to interdisciplinary narrative studies and narrative ethics, this book both articulates a complex understanding of how artistic storytelling practices enable critical distance from culturally dominant narrative practices, and analyzes the limitations and potential pitfalls of storytelling.

This book address the relationship between utopian and radical thought, particularly in the early modern period, and puts forward alternatives approaches to imagined 'realities'. Alternative Worlds Imagined, 1500-1700 explores the nature and meaning of radicalism in a traditional society; the necessity of fiction both in rejecting and constructing the status quo; and the circumstances in which radical and utopian fictions appear to become imperative. In particular, it closely examines non-violence in Gerrard Winstanley's thought; millennialism and utopianism as mutual critiques; form and substance in early modern utopianism/radicalism; Thomas More's utopian theatre of interests; and James Harrington and the political necessity of narrative fiction. This detailed analysis underpins observations about the longer term historical significance and meaning of both radicalism and utopianism.

This book re-assesses director Jean Renoir's work between his departure from France in 1940 and his death in 1979, and contributes to the debate over how the medium of film registers the impact of trauma. The 1930s ended in catastrophe for both for Renoir and for France: La Regle du jeu was a critical and commercial disaster on its release in July 1939 and in 1940 France was occupied by Germany. Even so, Renoir continued to innovate and experiment with his post-war work, yet the thirteen films he made between 1941 and 1969, constituting nearly half of his work in sound cinema, have been sorely neglected in the study of his work. With detailed readings of the these films and four novels produced by Renoir in his last four decades, Davis explores the direct and indirect ways in which film, and Renoir's films in particular, depict the aftermath of violence.

This book re-assesses director Jean Renoir's work between his departure from France in 1940 and his death in 1979, and contributes to the debate over how the medium of film registers the impact of trauma.

The 1930s ended in catastrophe for both for Renoir and for France: La Regle du jeu was a critical and commercial disaster on its release in July 1939 and in 1940 France was occupied by Germany. Even so, Renoir continued to innovate and experiment with his post-war work, yet the thirteen films he made between 1941 and 1969, constituting nearly half of his work in sound cinema, have been sorely neglected in the study of his work.

With detailed readings of the these films and four novels produced by Renoir in his last four decades, Davis explores the direct and indirect ways in which film, and Renoir's films in particular, depict the aftermath of violence.

The book contains twenty-two essays on Sibelius, written by scholars from seven countries across the Atlantic. Most of the articles were originally papers read at the Fourth International Jean Sibelius Conference, held in January 2005 at the University of North Texas, in Denton. The book is divided into four sections: Historical and Cultural Studies, Analytical Studies, Source Studies, Reception and Interpretation. The chapters in this book reflect, in their contents and standpoints, the different musicological and music analytical trends current in Europe and the North America; they thereby offer a compelling cross-section of the manifold approaches to Sibelius studies.

In the 1980s and 1990s French fiction has rediscovered its mission to entertain and tell stories, as well as to negotiate a path through traumatic experiences such as the legacy of France's colonial and wartime past, the Holocaust, the spectre of Aids, the labyrinths of desire and personal identity. Colin Davis and Elizabeth Fallaize examine some of the most popular and some of the most challenging of texts which emerged during François Mitterrand's presidency of France (1981-1995) and relate them to the dominant literary and cultural trends of the period.

In the last decades of the twentieth century, French poststructuralist 'theory' transformed the humanities. Yet it also met with resistance, and today we frequently hear that theory is 'dead'.
Brilliantly argued and clearly written, this is an account of the past and present fortunes of theory, suitable for anyone researching, teaching, or studying in the field. It also maps out a way forward for the humanities in which theory will play a crucial part.
Colin Davis:
*reconsiders key arguments for and against theory, identifying significant misreadings
*reassesses the contribution of poststructuralist thought to the issues of knowledge, ethics, hope and identity*sheds new light on the work of Lyotard, Levinas, Althusser and Kristeva
*offers a fresh perspective on recent debates on the death of theory.
In closing, he argues forcefully that theory may change, but it will not go away.

In the last decades of the twentieth century, French poststructuralist 'theory' transformed the humanities; it also met with resistance and today we frequently hear that theory is 'dead'.
In this brilliantly argued volume, Colin Davis:
*reconsiders key arguments for and against theory, identifying significant misreadings
*reassesses the contribution of poststructuralist thought to the critical issues of knowledge, ethics, hope and identity
*sheds new light on the work of Jean-François Lyotard, Emmanuel Levinas, Louis Althusser and Julia Kristeva in a stunning series of readings
*offers a fresh perspective on recent debates around the death of theory.
In closing he argues that theory may change, but it will not go away. After poststructuralism, then, comes the afterlife of poststructuralism.
Wonderfully accessible, this is an account of the past and present fortunes of theory, suitable for anyone researching, teaching, or studying in the field. And yet it is much more than this. Colin Davis provides a way forward for the humanities - a way forward in which theory will play a crucial part.

In recent years there has been a huge amount of both popular and academic interest in storytelling as something that is an essential part of not only literature and art but also our everyday lives as well as our dreams, fantasies, aspirations, historical self-understanding, and political actions. The question of the ethics of storytelling always, inevitably, lurks behind these discussions, though most frequently it remains implicit rather than explicit. This volume explores the ethical potential and risks of storytelling from an interdisciplinary perspective. It stages a dialogue between contemporary literature and visual arts across media (film, photography, performative arts), interdisciplinary theoretical perspectives (debates in narrative studies, trauma studies, cultural memory studies, ethical criticism), and history (traumatic histories of violence, cultural history). The collection analyses ethical issues involved in different strategies employed in literature and art to narrate experiences that resist telling and imagining, such as traumatic historical events, including war and political conflicts. The chapters explore the multiple ways in which the ethics of storytelling relates to the contemporary arts as they work with, draw on, and contribute to historical imagination. The book foregrounds the connection between remembering and imagining and explores the ambiguous role of narrative in the configuration of selves, communities, and the relation to the non-human. While discussing the ethical aspects of storytelling, it also reflects on the relevance of artistic storytelling practices for our understanding of ethics. Making an original contribution to interdisciplinary narrative studies and narrative ethics, this book both articulates a complex understanding of how artistic storytelling practices enable critical distance from culturally dominant narrative practices, and analyzes the limitations and potential pitfalls of storytelling.

Combining a fascinating, thought-provoking and - above all - readable text with over 800 photographs, plans, and sections, this exciting new reading of modern architecture is a must for students and architecture enthusiasts alike. Organized largely as a chronology, chapters necessarily overlap to allow for the discrete examination of key themes including typologies, movements, and biographical studies, as well as the impact of evolving technology and country-specific influences.

Endometriosis affects women in the reproductive years, is associated with pelvic pain and infertility, and - although not life threatening - can seriously impair health, with huge economic and social consequences. It is arguably the most frequent problem encountered in contemporary More...gynecology and is the subject of much ongoing research and innovation in management. This beautifully and comprehensively illustrated Atlas, now in its third edition, provides a useful educational tool for trainees and general obstetricians and gynecologists who may not be up-to-date with the most important recent research on the diagnosis and management of the condition; particularly expanded for this edition are the chapters on ultrasound imaging and the nutritional aspects of the subject.

The "ancient quarrel" between philosophy and literature seems to have been resolved once and for all with the recognition that philosophy and the arts may be allies instead of enemies. "Critical Excess" examines in detail the work of five thinkers who have had a huge, ongoing impact on the study of literature and film: Jacques Derrida, Gilles Deleuze, Emmanuel Levinas, Slavoj Zižek, and Stanley Cavell. Their approaches are very different from one another, but they each make unexpected interpretive leaps that render their readings exhilarating and unnerving.
But do they go too far? Does a scribbled note left behind by Nietzsche really tell us about the nature of textuality? Can Hitchcock truly tell you "everything you always wanted to know about Lacan"? Does the blanket hung up in a motel room invoke the Kantian divide between the knowable phenomenal world and the unknowable things in themselves? Contextualizing the work of the five thinkers in the intellectual debates to which they contribute, this book analyzes the stakes and advantages of "overreading."

This book address the relationship between utopian and radical thought, particularly in the early modern period, and puts forward alternatives approaches to imagined 'realities'. Alternative Worlds Imagined, 1500-1700 explores the nature and meaning of radicalism in a traditional society; the necessity of fiction both in rejecting and constructing the status quo; and the circumstances in which radical and utopian fictions appear to become imperative. In particular, it closely examines non-violence in Gerrard Winstanley's thought; millennialism and utopianism as mutual critiques; form and substance in early modern utopianism/radicalism; Thomas More's utopian theatre of interests; and James Harrington and the political necessity of narrative fiction. This detailed analysis underpins observations about the longer term historical significance and meaning of both radicalism and utopianism.

An Open Access edition of this book is available on the Liverpool University Press website and the OAPEN library. The legacy of the Second World War remains unsettled; no consensus has been achieved about its meaning and its lasting impact. This is pre-eminently the case in France, where the experience of defeat and occupation created the grounds for a deeply ambiguous mixture of resistance and collaboration, pride and humiliation, heroism and abjection, which writers and politicians have been trying to disentangle ever since. This book develops a theoretical approach which draws on trauma studies and hermeneutics; and it then focuses on some of the intellectuals who lived through the war and on how their experience and troubled memories of it continue to echo through their later writing, even and especially when it is not the explicit topic. This was an astonishing generation of writers who would go on to play a pivotal role on a global scale in post-war aesthetic and philosophical endeavours. The book proposes close readings of works by some of the most brilliant amongst them: Jean-Paul Sartre, Simone de Beauvoir, Albert Camus, Charlotte Delbo, Paul Ricoeur, Emmanuel Levinas, Louis Althusser, Jorge Semprun, Elie Wiesel, and Sarah Kofman.

The "ancient quarrel" between philosophy and literature seems to have been resolved once and for all with the recognition that philosophy and the arts may be allies instead of enemies. "Critical Excess" examines in detail the work of five thinkers who have had a huge, ongoing impact on the study of literature and film: Jacques Derrida, Gilles Deleuze, Emmanuel Levinas, Slavoj Zižek, and Stanley Cavell. Their approaches are very different from one another, but they each make unexpected interpretive leaps that render their readings exhilarating and unnerving.
But do they go too far? Does a scribbled note left behind by Nietzsche really tell us about the nature of textuality? Can Hitchcock truly tell you "everything you always wanted to know about Lacan"? Does the blanket hung up in a motel room invoke the Kantian divide between the knowable phenomenal world and the unknowable things in themselves? Contextualizing the work of the five thinkers in the intellectual debates to which they contribute, this book analyzes the stakes and advantages of "overreading."

Literary trauma studies is a rapidly developing field which examines how literature deals with the personal and cultural aspects of trauma and engages with such historical and current phenomena as the Holocaust and other genocides, 9/11, climate catastrophe or the still unsettled legacy of colonialism. The Routledge Companion to Literature and Trauma is a comprehensive guide to the history and theory of trauma studies, including key concepts, consideration of critical perspectives and discussion of future developments. It also explores different genres and media, such as poetry, life-writing, graphic narratives, photography and post-apocalyptic fiction, and analyses how literature engages with particular traumatic situations and events, such as the Holocaust, the Occupation of France, the Rwandan genocide, Hurricane Katrina and transgenerational nuclear trauma. Forty essays from top thinkers in the field demonstrate the range and vitality of trauma studies as it has been used to further the understanding of literature and other cultural forms across the world.

The architecture of Michael Hopkins' (b.1935) formative years has evolved into something that defies easy stylistic categorization. In buildings such as Glyndebourne Opera House, the Inland Revenue Centre and the New Parliamentary Building, a new individuality has emerged. These works have the uncompromising quality of certain nineteenth-century industrial buildings, yet they have gained acceptance among some of Britain's most ancient institutions. They are often hybrid creations, juxtaposing strongly contrasting elements, while remaining loyal to a strict code of truth to materials and honesty of expression. Traditional and new forms of construction are combined in unconventional ways, often using innovative prefabrication techniques, but without sacrificing traditional craft virtues. Detailed presentations of 26 buildings and projects analyse the genesis and logic of a unique - and now instantly recognizable - architectural scope. This book's publication coincided with Hopkins' most important commission to date - the New Parliamentary Building in London - which enjoys an extensive presentation and detailed discussion by Patrick Hodgkinson. An essay by respected architecture critic Charles Jencks examines themes and historical precedent in the buildings, whereas an interview with Michael Hopkins himself gives a personal perspective to the momentous work and office of Michael Hopkins and Partners.

Jean Renoir (1894-1979) is one of cinema history's greatest directors. La Grande illusion (1937) and La Regle du jeu (1939) rank among the masterpieces of film. Turning to thinkers such as Aristotle, Wittgenstein, Girard, Derrida, and Cavell, Colin Davis examines Renoir's films and illustrates how his work engages with some of the great philosophical questions. In particular, Renoir's films reflect on the nature of murder and its link to desire, community, ethics, and the mystery of other minds. As his films strive, and often fail, to avoid the impasse of violence, they find creative ways of reinventing what it means to be human.

Jean Renoir (1894-1979) is widely regarded as one of the most distinguished directors in the history of world cinema. In the 1930s he directed a string of films which stretched the formal, intellectual, political and aesthetic boundaries of the art form, including works such as Le Crime de Monsieur Lange, La Grande Illusion, La Bete humaine and La Regle du jeu. However, the great director's early work from the 1920s remains almost completely unknown, even to film specialists. If it is discussed at all, it is often seen to be of interest only insofar as it anticipates themes and techniques perfected in the later masterpieces. Renoir's films of the 1920s were sometimes unfinished, commercially unsuccessful, or unreleased at the time of their production. This book argues that to regard them merely as prefigurations of later achievements entails a failure to view them on their own terms, as searching, unsettled experiments in the meaning and potential of film art.

In the 1980s and 1990s French fiction has rediscovered its mission to entertain and tell stories, as well as to negotiate a path through traumatic experiences such as the legacy of France's colonial and wartime past, the Holocaust, the spectre of Aids, the labyrinths of desire and personal identity. Colin Davis and Elizabeth Fallaize examine some of the most popular and some of the most challenging of texts which emerged during François Mitterrand's presidency of France (1981-1995) and relate them to the dominant literary and cultural trends of the period.

Jean Renoir (1894-1979) is one of cinema history's greatest directors. La Grande illusion (1937) and La Regle du jeu (1939) rank among the masterpieces of film. Turning to thinkers such as Aristotle, Wittgenstein, Girard, Derrida, and Cavell, Colin Davis examines Renoir's films and illustrates how his work engages with some of the great philosophical questions. In particular, Renoir's films reflect on the nature of murder and its link to desire, community, ethics, and the mystery of other minds. As his films strive, and often fail, to avoid the impasse of violence, they find creative ways of reinventing what it means to be human.