This book is the first comprehensive study of debts and credit system at Emar. It focuses on the socio-economic aspects of credit access and indebtedness as well as on the motivations behind debts and debt settlement in the city of Emar. The credit system is analyzed through several factors: the purpose of debts, i.e., productive or consumptive; the procedures for granting loans; the strategies put in place to meet an obligation and to cope with economic difficulties; the consequences of non-fulfillment, which may lead to servitude or slavery; the different types of slavery; slave prices; the mechanisms of enslavement; and termination of slavery. Moneylending practices and the formation of servile conditions at Emar are studied in the context of the Syrian economy aiming to understand whether the Emar evidence conforms with a socio political and economic crisis that is generally acknowledged to have struck Syria, Anatolia and Northern Mesopotamia at the end of the Late Bronze Age. This work is of sure relevance for scholars interested in socio-economic history, not only of the pertinent historical-geographical area.

Pier Paolo Pasolini (1922-1975) was arguably the most complex director of postwar Italian cinema. His films--"Accattone," "The Canterbury Tales," "Medea," "Salo"--continue to challenge and entertain new generations of moviegoers. A leftist, a homosexual, and a distinguished writer of fiction, poetry, and criticism, Pasolini once claimed that "a certain realism" informed his filmmaking.
Masterfully combining analyses of Pasolini's literary and theoretical writings and of all his films, Maurizio Viano offers the first thorough study of Pasolini's cinematic realism, in theory and in practice. He finds that Pasolini's cinematic career exemplifies an "expressionistic realism" that acknowledges its subjective foundation instead of striving for an impossible objectivity.
Focusing on the personal and expressionistic dimensions of Pasolini's cinema, Viano also argues that homosexuality is present in the films in ways that critics have thus far failed to acknowledge. Sure to generate controversy among film scholars, Italianists, and fans of the director's work, this accessible film-by-film treatment is an ideal companion for anyone watching Pasolini's films on video.

Pier Paolo Pasolini (1922-1975) was arguably the most complex director of postwar Italian cinema. His films--"Accattone," "The Canterbury Tales," "Medea," "Salo"--continue to challenge and entertain new generations of moviegoers. A leftist, a homosexual, and a distinguished writer of fiction, poetry, and criticism, Pasolini once claimed that "a certain realism" informed his filmmaking.
Masterfully combining analyses of Pasolini's literary and theoretical writings and of all his films, Maurizio Viano offers the first thorough study of Pasolini's cinematic realism, in theory and in practice. He finds that Pasolini's cinematic career exemplifies an "expressionistic realism" that acknowledges its subjective foundation instead of striving for an impossible objectivity.
Focusing on the personal and expressionistic dimensions of Pasolini's cinema, Viano also argues that homosexuality is present in the films in ways that critics have thus far failed to acknowledge. Sure to generate controversy among film scholars, Italianists, and fans of the director's work, this accessible film-by-film treatment is an ideal companion for anyone watching Pasolini's films on video.