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The first book to adapt business ethics theory to the practice of
law to explore real-life ethical dilemmas faced by lawyers beyond
legal ethics There has been a recent increase in law schools
offering business ethics classes and this book is ideally suited
for use in the classroom, as well as for legal practitioners
Provides clear, real-life scenarios
Eukaryotic DNA Damage Surveillance and Repair contains chapters
from experts in the field of DNA damage detection, repair, and cell
cycle control. The work reviews current understanding of how
different types of DNA damage are detected and focuses on how these
surveillance mechanisms are coupled to processes of DNA repair,
cell cycle control, and apoptosis.
The title will be of interest to undergraduate/postgraduate
students and academics alike.
The first book to adapt business ethics theory to the practice of
law to explore real-life ethical dilemmas faced by lawyers beyond
legal ethics There has been a recent increase in law schools
offering business ethics classes and this book is ideally suited
for use in the classroom, as well as for legal practitioners
Provides clear, real-life scenarios
"Rewriting the Thirties" questions the myth of the
'anti-modernist' decade. Conversely, the editors argue it is a
symptomatic, transitional phase between modern and post-modern
writing and politics, at a time of cultural and technological
change.
The text reconsiders some of the leading writers of the period in
the light of recent theoretical developments, through essays on the
ambivalent assimilation of Modernist influences, among proletarian
and canonical novelists including James Barke and George Orwell,
and among poets including Auden, MacNeice, Swingler and Bunting,
and in the work of feminist writers Vera Brittain and Winifred
Holtby. In this substantial remapping, the complexity and scope of
literary-critical debate at the time is discussed in relation to
theatrical innovation, audience attitudes to the mass medium of
modernity - cinema - the poetics of suburbia, consumerism and
national ideology, as well as the discursive strategies of British
and American documentarism.
Rewriting the Thirties questions the myth of the 'anti-modernist'
decade. Conversely, the editors argue it is a symptomatic,
transitional phase between modern and post-modern writing and
politics, at a time of cultural and technological change.The text
reconsiders some of the leading writers of the period in the light
of recent theoretical developments, through essays on the
ambivalent assimilation of Modernist influences, among proletarian
and canonical novelists including James Barke and George Orwell,
and among poets including Auden, MacNeice, Swingler and Bunting,
and in the work of feminist writers Vera Brittain and Winifred
Holtby. In this substantial remapping, the complexity and scope of
literary-critical debate at the time is discussed in relation to
theatrical innovation, audience attitudes to the mass medium of
modernity - cinema - the poetics of suburbia, consumerism and
national ideology, as well as the discursive strategies of British
and American documentarism.
This book investigates Wells's interest in cinema and related media
technologies, by placing it back into the contemporary cultural and
scientific contexts giving rise to them. It plugs a gap in
understanding Wells's contribution to exploring and advancing the
possibilities of cinematic narrative and its social and ideological
impacts in the modern period. Previous studies concentrate on
adaptations: this book accounts for the specifically
(proto)cinematic techniques and concerns of Wells's texts. It also
focuses on contemporary film-making 'in dialogue' with his ideas.
Alongside Hollywood's later transactions, it gives equal weight to
neglected British and continental European dimensions. Chapter 1
shows how early writings (The Time Machine and short stories)
feature many kinds of radically defamiliarised vision. These
constitute imaginative speculations about the forms and potentials
of moving image and electronic media. Chapter 2 discusses the power
of voyeurism, 'absent presence' and the disjunction of sound-image
reproduction implied in The Invisible Man and its topical politics,
updated in notable screen versions. Chapter 3 extends this to
dystopian warnings of systematic surveillance, broadcasting of
celebrity personae and 'post-literate' video culture in When the
Sleeper Wakes, a crucial template for urban futures on film.
Chapter 4 analyses Wells's belated return to screenwriting in the
1930s. It accounts for his 'broadbrow' ambition of mediating
between popular and avant-garde tendencies to promote his cause and
its mixed results in Things to Come, The Man Who Could Work
Miracles, etc. Chapter 5 finally surveys Wells's legacy on both
small and large screens. It considers whether, as well as being
raided for scenarios for spectacular effects, his subtexts still
nourish an evolving tradition of alternative SF, which duly
critiques the innovations and applications of its host media.
Investigates how the cinematic tendency of Joyce's writing
developed from media predating film In this book, Keith Williams
explores Victorian culture's emergent 'cinematicity' as a key
creative driver of Joyce's experimental fiction, showing how
Joyce's style and themes share the cinematograph's roots in
Victorian optical entertainment and science. The book reveals
Joyce's references to optical toys, shadowgraphs, magic lanterns,
panoramas, photographic analysis and film peepshows. Close analyses
of his works show how his techniques elaborated and critiqued their
effects on modernity's 'media-cultural imaginary'.
Examining writers from Auden to Priestley, this study argues that the 1930s, remembered usually for uncomplicated political engagement, can rather be seen as initiating the key elements of post-modernism, developing the individuals's sense of "elsewhere" through new technology of representation and propaganda. The book analyzes the relationship between the leftist writers of the decade and the mass-media, showing how newspapers, radio and film were treated in their writing, and how they reshaped its forms, assumptions and imagery.
In this book, Keith Williams explores Victorian culture's emergent
'cinematicity' as a key creative driver of Joyce's experimental
fiction, showing how Joyce's style and themes share the
cinematograph's roots in Victorian optical entertainment and
science.
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No. No. No. (Paperback)
Michael K Keith Williams
bundle available
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R233
Discovery Miles 2 330
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Ships in 10 - 15 working days
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