The concept of meaning, since Frege initiated the linguistic turn in 1884, has been the subject of numerous theories, hypotheses, methodologies and distinctions. One distinction of considerable strategic value relates to the location of meaning: some aspects of meaning can be found in language and are modelled with semantic values of various kinds; some aspects of meaning can be found in communicative processes and are modelled with pragmatic inferences of one sort or another. One hypothesis of great heuristic utility concerns the relationship that is assumed between the semantic and the pragmatic. This collection of especially commissioned papers examines current thinking on the plausible nature of the semantic, the possible character of the pragmatic and the mechanics of their intersection.

On 29 September 1981, Peter Turner received a phone call that would change his life. His former lover, Hollywood actress Gloria Grahame, had collapsed in a Lancaster hotel and was refusing medical attention. He had no choice but to take her into his chaotic and often eccentric family's home in Liverpool. Liverpool born and bred, Turner had first set eyes on Grahame when he was a young actor, living in London. Best known for her portrayal of irresistible femme fatales in films such as The Big Heat, Oklahoma and The Bad and the Beautiful, for which she won an Oscar, Grahame electrified audiences with her steely expressions and heavy lidded eyes and the heroines she bought to life were often dark and dangerous. Turner and Grahame became firm friends and remained so ever after their love affair had ended. And it was to him she turned in her final hour of need. Film Stars Don't Die in Liverpool is an affectionate, moving and wryly humorous memoir of friendship, love and stardom.

On 29 September 1981, Peter Turner received a phone call that would change his life. His former lover, Hollywood actress Gloria Grahame, had collapsed in a Lancaster hotel and was refusing medical attention. He had no choice but to take her into his chaotic and often eccentric family's home in Liverpool. Liverpool born and bred, Turner had first set eyes on Grahame when he was a young actor, living in London. Best known for her portrayal of irresistible femme fatales in films such as The Big Heat, Oklahoma and The Bad and the Beautiful, for which she won an Oscar, Grahame electrified audiences with her steely expressions and heavy lidded eyes and the heroines she bought to life were often dark and dangerous. Turner and Grahame became firm friends and remained so ever after their love affair had ended. And it was to him she turned in her final hour of need. Film Stars Don't Die in Liverpool is an affectionate, moving and wryly humorous memoir of friendship, love and stardom.

Few films have had the influence and impact of The Blair Witch Project (1999). Its arrival was a horror cinema palette cleanser after a decade of serial killers and postmodern intertextuality, a bare bones 'found footage' trend setter. In this Devil's Advocate, Peter Turner tells the story of the film from his conception and production then provides a unique analysis of the techniques used, their appeal to audiences and the themes that helped make the film such an international hit, including the pionerring internet marketing.

This book adopts a cognitive theoretical framework in order to address the mental processes that are elicited and triggered by found footage horror films. Through analysis of key films, the book explores the effects that the diegetic camera technique used in such films can have on the cognition of viewers. It further examines the way in which mediated realism is constructed in the films in order to attempt to make audiences either (mis)read the footage as non-fiction, or more commonly to imagine that the footage is non-fiction. Films studied include The Blair Witch Project, Rec, Paranormal Activity, Exhibit A, Cloverfield, Man Bites Dog, The Last Horror Movie, Noroi: The Curse, Autohead and Zero Day This book will be of key interest to Film Studies scholars with research interests in horror and genre studies, cognitive studies of the moving image, and those with interests in narration, realism and mimesis. It is an essential read for students undertaking courses with a focus on film theory, particularly those interested specifically in horror films and cognitive film theory.

Were holy men historical figures or figments of the theological imagination? Did the biographies devoted to them reflect facts or only the ideological commitments of their authors? For decades, scholars of late antiquity have wrestled with these questions when analysing such issues as the Christianization of Europe, the decline of paganism, and the 'rise of the holy man' and of the hagiographical genre. In this book Peter Turner suggests a new approach to these problems through an examination of a wide range of spiritual narrative texts from the third to the sixth centuries A.D.: pagan philosophical biographies, Greek and Latin Christian saints' lives, and autobiographical works by authors such as Julian and Augustine. Rather than scrutinizing these works for either historical facts or religious and intellectual attitudes, he argues that a deeper historicity can be found only in the interplay between these types of information. On the textual level, this analysis recognises the genuine commitment of spiritual authors to write truthfully and to record realistically a world felt to be replete with spiritual and symbolic meaning. On the historical level, it argues that holy men, expecting the same symbolism within their own lives, adopted lifestyles which ultimately provoked and confirmed this world view. Such praxis is detectable not only in the holy men who inspired biography but also in the period's scattered autobiographical writings. As much a historical as a textual phenomenon, this spiritually-minded scrutiny of the world created interpretations which were always open and contested. Therefore, this book also associates spiritual narrative texts with only one possible voice of religious experience in a constant dialogue between believers, opponents, and the sceptical undecided.

This book adopts a cognitive theoretical framework in order to address the mental processes that are elicited and triggered by found footage horror films. Through analysis of key films, the book explores the effects that the diegetic camera technique used in such films can have on the cognition of viewers. It further examines the way in which mediated realism is constructed in the films in order to attempt to make audiences either (mis)read the footage as non-fiction, or more commonly to imagine that the footage is non-fiction. Films studied include The Blair Witch Project, Rec, Paranormal Activity, Exhibit A, Cloverfield, Man Bites Dog, The Last Horror Movie, Noroi: The Curse, Autohead and Zero Day This book will be of key interest to Film Studies scholars with research interests in horror and genre studies, cognitive studies of the moving image, and those with interests in narration, realism and mimesis. It is an essential read for students undertaking courses with a focus on film theory, particularly those interested specifically in horror films and cognitive film theory.

This collection combines humour and mystery to present a view of contemporary urban life. It features photographs from many cities including London, New York, Paris, Rome, Auckland and Sydney. Directed by signs, lights, warnings, we are encouraged to conform. But there are signs of dissent - small anarchies for the observant - unexpected intrusions by the untamed world into this controlled and controlling environment. The author sets out to illuminate these intrusions and offer up their mystery and their intrigue. He also maps the ambiguities and tensions in the urban environment of the late 20th-century.

The London Court of Arbitration (LCIA) is one of the world's foremost arbitration institutions, with a growing annual caseload. The LCIA Arbitration Rules are among the most modern and forward-looking of the various sets of institutional arbitration rules but until now have not been the subject of in-depth study. This is the first full length and comprehensive commentary on the rules, written by two well-known and experienced arbitration practitioners. Portable and functional, this book acts as a guide and provides an indispensable resource for all involved in international arbitration under the LCIA rules.
Grouped thematically, the commentary to each rule provides 1) a description of the rule and its intended meaning 2) the provenance and history of the rule 3) the practical effect of the rule with reference to previous case law and jurisprudence and 4) a comparative look at conceptual and practical differences between each rule. Focusing specifically on how the rules of the LCIA differ from those of the ICC and the UNCITRAL, this title emphasizes the international nature of the LCIA and provides the only dedicated reference to the Rules.

Sealy and Hooley's Commercial Law: Text, Cases, and Materials provides students with an extensive and valuable range of extracts from key cases and writings in this most dynamic field of law. The authors' expert commentary and questions enliven each topic while emphasizing the practical application of the law in its business context. Five renowned experts in the field continue the legacy of Richard Hooley and Len Sealy, capturing the essence of this fascinating topic at a time of significant legislative, regulatory, and political change. Digital formats and resources This edition is available for students and institutions to purchase in a variety of formats. The e-book offers a mobile experience and convenient access along with functionality tools, navigation features and links that offer extra learning support: www.oxfordtextbooks.co.uk/ebooks

A collection of dialect words, language and pastimes of a Staffordshire Moorlands Village. Recollections of how the words were used and the environment in which they were spoken form part of the "make up" of a community reflecting how it has changed over the years.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.