Books published by Cambridge Scholars Publishing

To what extent is there really a universal structure, whether innate or not, of language for learning? Or conversely, is language learning mainly context-based?

This book spells out exactly what happens within the personality when psychotherapy is successful. Much of the answer has long been written between the lines of Freud's seminal works, awaiting their coming together and integration. The book considers what changes within various psychic systems and how these are functions of the underlying disorders are spelled out for neurotic, borderline and psychotic illnesses. The result is the identification of another vein of ore in Freud's ideas that clarifies the healing aspects of his model, and adds a new level of precision to the therapeutic process.Freud's writings on the nature of healing and growth take second place to his ideas on the structure of the personality and pathology. His well-defined ideas on the mechanism of healing and growth are scattered across his writings and rarely, if ever, drawn together into a unified presentation. His following has deeply explored the meanings of his seminal ideas when it comes to theory and practice, but is short in the area of what actually takes place within successful psychotherapy. This text's effort to gather up and unify his thoughts in this area results in both theoretical and therapeutic gains, the former for clarifications of how various psychic systems function within healing and growth, and the latter because of a more exact identification of the signs of it.

This book explores the legacy of colonial heritage on Nigerian political activities and journalistic practices. It asserts that journalism and multi-party politics were introduced into the country during British colonial rule, and, while they have become domesticated and indigenised, they still exhibit traces of their roots because they emerged in a different socio-cultural and political environment. Taking as its point of departure the view that, without the colonial intervention, the Nigerian state may not have come into being or survived in its present form, this book offers fresh insight into the impact of British colonial rule on contemporary journalistic practices and political activities more than 100 years after the 'creation' of Nigeria.It draws attention to the enduring effect of colonial inheritance on Nigeria and how the 'creation' process of the country produced unintended consequences that remain problematic. Using press coverage of the politics of transition-to-civil-rule programmes during periods of military dictatorship as a case study, the book identifies trends and patterns of influence from the past that have been interlaced into the present.

This book brings together several major essays on foundational topics of narrative studies and the theory of fictionality by one of the preeminent figures of postclassical narrative theory. It reexamines and reconceives the role of the author, the status of implied authors, the model for unnatural narrative theory, the nature of narrative, and the ideological implications of narrative forms. It also explores the status of historical characters in fictional texts, the paradoxes of realism, the presence of multiple implied readers, the role of actual readers, and the question of fictionality. In addition, an appendix offers a useful approach for teaching narrative theory. The book includes analyses of works by Conrad, Joyce, Woolf, Nabokov, Beckett, Jeanette Winterson, Deborah Eisenberg, and others. Throughout, it argues for a more expansive conception of narrative theory and keen attention to the nature and difference of fiction. This provocative book makes crucial interventions in ongoing critical debates about narrative theory, literary theory, and the theory of fictionality, and is essential reading for all students of narrative.

This book is a passionate rendezvous with cinema, the most collaborative of art forms. The essays here explore the possibilities offered by a close reading of cinema that keeps cultural contexts and their socio-historical roots firmly in sight. This collection does not consider the "e;frame"e;, that oft-referenced basic unit of vision in films, as a limiting structure. Rather, it brings into purview what is left out. Divided into three sections, the essays look firstly at Indian cinema, both Bollywood and regional films, tracing the journey of Indian cinema from the periphery to the center.The second section focuses on Adaptation Studies and takes an unorthodox look at classic adaptations of literature. The final section is a reappraisal of directors like Alfred Hitchcock and Stanley Kubrick. The essays propose that, even though the film as an artwork does not change fundamentally over time, it still strikes a contemporary critical gaze differently.

Echo and Narcissus: Echolocating the Spectator in the Age of Audience Research came about as a response to the recent shift of focus in the studies of cinema. While the seventies and the eighties were marked by increasingly complex theorisations of spectatorship, the last two decades have witnessed a turn towards ethnographic research into film reception. However, this long overdue turn towards the empirical viewer has not produced a genuinely broader scope of analysis. It has rather, all too hastily, consigned the spectator, a textually constructed viewing position, to oblivion, thanks to the concept's perceived hegemonic and totalising premise. Echo and Narcissus intervenes into this state of affairs by arguing for a productive nexus between theorisations of spectatorship and the currently more fashionable audience research. Petek maintains that an informed mapping of contemporary (and past) filmviewing practices still requires a spectatorial model and she offers such a model through a re-reading of Ovid's tale of Echo and Narcissus. She demonstrates that the myth's central role in traditional theorisations of spectatorship has not yet been properly reflected upon. Her critical recuperation of the Ovidian myth provides a revised model of the spectator-one with discursive access to all types of cinema, yet, flexible enough to accommodate a range of viewers' responses and their cultural diversity.

Mistress, Mother, Muse: An Exploration of the Female in Modern and Contemporary Mediterranean Literature fills a vacuum in comparative literary studies in that it lays the foundations for Mediterraneanism to develop as an area in literary studies.The book is an exploration of aspects of female liminality, including motherhood, sexuality and creativity, in three distinctive Mediterranean cultures, namely Spanish, Greek and Arabic. It adopts myth as an approach to literary analysis, and, thus, introduces a new, ground-breaking method of analysis in literary studies.Mistress, Mother, Muse: An Exploration of the Female in Modern and Contemporary Mediterranean Literature represents a useful reference to students, scholars and academics in the fields of comparative literature, modern Greek literature, Spanish literature, Arabic literature, myth studies, classical Greek literature, and women's studies.

On September 9th, 2012, the Abruzzo National Park - now Abruzzo, Latium and Molise National Park - celebrated its ninetieth birthday. It is - along with the Gran Paradiso National Park - the oldest protected area in Italy and one of the oldest in Europe.

Popular anthologies hold that the Romantic Era in Great Britain ended promptly in 1832 and that the early Twentieth Century was the time of Modernism and the rejection of the Romantic in British letters. However, in Wales, just the opposite was true. This study traces the work of poets and novelists in Wales in the early- to mid-Twentieth Century who all found their poetic master to be William Wordsworth.In the early part of the century, W. H. Davies, John Cowper Powys and Huw Menai - a tramp, a mystic novelist and a coal miner - produce novels and poetry with Wordsworth as their acknowledged master. By mid-century, Idris Davies, a coal miner turned teacher, R. S. Thomas, an Anglican priest, and Leslie Norris, another teacher, are writing in the "e;mountainous shadow of William Wordsworth."e;While the literary lights of London are leading the Modernist revolution, in Wales, the inspiration is still the English poet, Wordsworth. This study will illuminate this flare up of Romanticism, and show the way in which Romanticism re-emerges from unexpected quarters.

Daniel-Francois-Esprit Auber (1782-1871) was long considered one of the most typically French as well as one of the most successful of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opera-comique La Bergere Chateleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber's life was his meeting with the librettist Eugene Scribe (1791-1861), with whom he developed a long and illustrious working partnership that only ended with Scribe's death. Success followed success; works such as Le Macon (1825) and La Muette de Portici (1828) brought Auber public fame and official recognition. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Legion d'Honneur.Auber seems to have been fated to live in revolutionary times; during his long life no less than four revolutions took place in France (1789, 1830, 1848, 1870). Auber's famous historical grand opera La Muette de Portici (also known by its hero's name as Masaniello) is perhaps unsurprisingly based on revolution, depicting the 1647 Neapolitan uprising against Spanish rule. It is a key work in operatic history, and has a revolutionary history itself: it was a performance of this work in Brussels in 1830 that helped spark the revolution that led to the separation of Belgium from Holland. It was a revolution that hastened Auber's death at the old age of 89. He died on 12 May 1871 as a result of a long illness aggravated by the privations and dangers of the Siege of Paris. He had refused to leave the city he had always loved, even after his house had been set on fire by the petroleurs et petroleuses. In a twist of fate, a mark had been placed on the house of the composer of Masaniello, the very voice of Romantic liberty!Auber's overtures were once instantly recognizable, favourites of the light Classical repertoire. His gracious melodies and dance rhythms had a huge influence, both on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. Musical tastes and fashions have changed, and contemporary audiences are more accustomed to the heavier fare of verismo, Wagnerian transcendentalism, and twentieth-century experimentalism. The operas themselves, apart from Fra Diavolo (1830), are seldom performed, yet Auber's elegant, delicate and restrained art remains as appealing to the discerning listener as ever it was.Zerline, an opera in three acts with libretto by Eugene Scribe, was first performed at the Academie nationale de musique (Salle de la rue Le Peletier) on 16 May 1851. The scene is set in Palermo, during the Restoration. The Prince of Roccanera, married to the sister of the King, has a supposed niece, Gemma. She is really his daughter by Zerline, an orange-seller. The latter was abducted by pirates, and having returned to Palermo after many trials, now meets her daughter, assuming the role of her aunt. She learns that Gemma loves a young naval officer, Rodolphe, but that the Prince's wife wishes Gemma to marry the King's cousin, much against the girl's wishes. In the third act, Zerline, already alerted to an intrigue compromising to the two young lovers, is able to safeguard their integrity and bring about their union.The action is better suited to a vaudeville than an opera, and the scenario has little innate interest. The role of Zerline was devised especially for the great contralto Marietta Alboni (1823-94), the first role she created. The B-flat major overture immediately establishes the family nature of the drama, with its parable of past sins, social disparity and all-conquering maternal love.There is allusion to the Sicilian setting in the two opening choruses of act 1 which are dominated by barcarolle rhythms in establishing the couleur locale. Alboni's magnificent talent added great value to the light music written by Auber for this slight canvas. The work consequently contains many pieces of a purely virtuoso nature. Among them are the grand air d'entree "e;A"e; Palerme! o Sicile!"e;, the thematically central canzonetta "e;Achetez mes belles oranges"e;, and the duet for soprano and contralto "e;Quel trouble en mon ame"e; in act 1. It is as though the Italian setting of the story and the Italian origins of the prima donna caused Auber to look to his early love for Rossini, and his enduring attachment to Italian musical forms and local colour (as in Fiorella, La Muette de Portici, Fra Diavolo, Acteon, La Sirene, Zanetta and Haydee).The vocal part of Zerline is a conscious re-creation of the old Rossini mode, and her various solos are written in the style of the virtuoso contralto of the opera seria, obviously with a contemporary Gallic fleetness all Auber's own. The Grand Air demonstrates all the features.The original cast was: Merly (Roccanera); Mlle Marietta Alboni (Zerline); Mlle Maria-Dolores-Benedicta-Josephine Nau (Gemma); Aimes (Rodolphe); Mlle Dameron (the Princess of Roccanera); and Lyons (the Marquis of Bettura). The work was only performed 14 times in Paris, with no reprise. It was translated into Italian, and produced in Brussels (in French) and London (in Italian).

Byron at the Theatre is a collection of essays by a wide spectrum of European scholars, dealing with Byron's dramas in a variety of ways.

Researching the Self originated in a conference held at the University of Amsterdam in 2005, where scholars from various academic backgrounds presented their current theories and research. One central theme that emerged from the conference is the need for interdisciplinarity in the study of self.

The benefits of the digital age are huge. Our lives have been transformed, both in the developed and the undeveloped world. However, this transformation has its dark side.

Introduction written by Professor Benjamin B FerenczThis challenging volume examines the jurisprudence of international criminal justice from various points of view. The philosophy of justice may vary from time to time and from nation to nation, depending on prevailing attitudes towards the substantive rules which deal, in one way or another, with cultural norms. In the national and international area, the principles of criminal justice have a key role in examining the scope of the most serious violations of international criminal law. It is on the basis of appropriate judgment that these principles may be accumulated and achieved for the future conduct of man. This volume, therefore, examines the principles and dimensions of the constitutions of various international criminal tribunals/courts, with particular focus on the Statute of the International Criminal Court (ICC). As such, the volume offers a comprehensive evaluation of the rule of law and criminal justice and their legal tasks within the complementarity system of international criminal jurisprudence.The volume emphasises the prosecution and punishment of all those who may successfully escape from the proceedings of national and international criminal courts because of their juridical, political, religious, economic or military power. It demands the implementation of international law of jus cogens. The provisions of the Statute should not be deduced in contradiction to the norms from which no derogation is possible, such as prohibitions governing crimes against humanity, torture, apartheid, rape, war crimes, genocide and aggression. If the value of the task of the Court is to be realised by the majority of states in the international community, the cycle of impunity has to be abolished in the case of all states, including the five permanent members of the Security Council of the United Nations.

This second decade of the millennium finds the world changing at a once unimaginable pace.

Truth, Dare or Promise: Art and Documentary Revisited reflects on the ways that artists and filmmakers address the innovations and limitations of producing and exhibiting their work. Ranging from community collaboration to individual interpretation, and from gallery installation to cinematic screening, exploring the differences and overlaps between definitions and methodologies. With an international reach, including contributors who are both practitioners and theorists, this book maps out developments in art and documentary, covering themes that include explorations of personal experience and representations of the past, while examining interactive galleries and the cinematic space.

Yesterday's Words: Contemporary, Current and Future Lexicography reflects the main issues of scholarly discussion in the fields of historical lexicography and lexicology including the historiography of lexicography. The state-of-the-art volume offers a wide range of contributions in five chapters.

At this moment in time, when the world is only just beginning to recover from the global impact of the COVID-19 pandemic, the research in this book makes for essential reading.

Why write a book about the stars? Of what use is their study? This book covers this ground with a number of anecdotes arising from the author's almost 60 years' experience as a research scientist who has worked with some of the largest telescopes in the world. The text exposes much of what is glossed over in the canned information that the public get and holds nothing back with respect to uncertainties within the subject. People want answers, want somehow to be reassured that someone out there has a handle on things. This book details the basis for our knowledge of the universe, warts and all, and offers important insights as to where the science is going.

This book considers melancholy language in representative works by several British women writers in late Stuart England. To understand how these women writers understood and reframed the discussion about melancholy and women's experience of suffering in their art, it turns to the twentieth-century French feminist theorist Julia Kristeva, whose radical work on melancholy in Black Sun: Depression and Melancholia (1989) provides an alternative psychoanalytic perspective for considering melancholy discourse created by women experiencing alienation, depression, and anguish in earlier periods. Kristeva offers a theoretical lens for understanding loss as a significant and ongoing perspective on life experience that finds expression through art and language. This text argues that early women writers created a new expressive mode, revising existing models to account for their own losses during a time of cultural and political transitioning in England. These writers provide a melancholy aesthetic in their works or depict depressed female figures reflecting artistic angst and a new discourse within language for articulating pain.

This volume offers a critical yet empathic exploration of the ancient myth of Medea as immortalized by early Greek and Roman dramatists to showcase the tragic forces afoot when relational suffering remains unresolved in the lives of individuals, families and communities. Medea as a tragic figure, whose sense of isolation and betrayal interferes with her ability to form healthy attachments, reveals the human propensity for violence when the agony of unresolved grief turns to vengeance against those we hold most dear. However, metaphorically, her life story as an emblem for existential crisis serves as a psychological touchstone in the lives of early twentieth-century female authors, who struggled to find their rightful place in the world, to resolve the sorrow of unrequited love and devotion, and to reconcile experiences of societal abandonment and neglect as self-discovery.

This book explains, in a simple and practical way, how and when the diabetic patient should conduct self-management activities. These include healthy eating, physical activity, the consumption of medication, the monitoring of blood glucose level, the cessation of smoking, and foot care, among others. Such activities can help the patient to establish a level of control over their condition, and thus reduce the risk of developing serious complications. As such, this book will be of particular interest to diabetic patients and their family members, as it will provide them with further information in their fight against diabetes. Additionally, it will also appeal to physicians, pharmacists and nurses as a guide for their work in educating diabetic patients.

Both collectively and individually we have a deep and abiding fascination with angels. This book explores depictions of angels in the visual arts and in scripture and associated apocryphal and mystical writings, specifically in the Hebrew and Christian Bibles and Islamic, Zoroastrian and other ancient and latter-day accounts. It examines the visual clues, artistic conventions and attributes that have been set down to help us to recognise angels in their particular roles and functions. Certain writings have had a particularly influential bearing on our understanding of angels. This text focuses on the hierarchies and orders proposed by the likes of Pseudo-Dionysius, St. Thomas Aquinas and others. In a new age of fascination with the metaphysical and supernatural (in film, television, popular mythology and literature), are we cementing or losing our connection with the authentic meaning and purpose that such vibrant and energised beings bring to our table? This book contains more than 30 illustrations in a central colour plates section. It also includes a useful glossary of terms and will prove a rich and enduring reference resource for libraries, as well as a stimulating go-to source for those interested in the world of angels and how human sensibilities and imaginative reasoning have enriched the subject, as a starting point for interreligious dialogue.

There has been a significant growth in autobiographical documentary films in recent years. This innovative book proposes that the filmmaker in her dual role as maker and subject may act as a cultural guide in an exploration of the social world. It argues that, in the cinematic mediation of memory, the mimetic approach in the construction of documentary films may not be feasible, and memory may instead be evoked elliptically through hybrid strategies such as critical realism and fictional enactment. Recognizing that identity is formed by history and what 'goes on' in the world, the book charts the historical trajectory of the British independent filmmaking movement from the mid-1970s to the present growth of new online distribution outlets and new media through digital technologies and social media.

As chaste women devoted to God, nuns are viewed as the purest of the pure. Yet, as females who reject courtship, sex, marriage, child bearing, and materialism, they have been the anathema of how society has proscribed, expected, and regulated women: sex object, wife, mother, and capitalist consumer. They are perceived as otherworldly beings, yet revered for their salt-of-the-earth demeanor. This book illustrates how both English and Spanish Renaissance-era authors latched onto the figure of the nun as a way to evaluate the social construction of womanhood. This analysis of the nun's role in the popular imagination via literature explores how writers on both sides of the Catholic-Protestant divide employed the role of the nun to showcase the powerful potential these women possessed in acting out as sanctified subversives. The texts under consideration include William Shakespeare's Measure for Measure, Margaret Cavendish's The Convent of Pleasure, Maria de Zayas's The Disenchantments of Love, Aphra Behn's The History of the Nun, Catalina de Erauso's The Lieutenant Nun, and Sor Juana Ines de la Cruz's autobiographical and literary works. No other book addresses these issues through a concentrated study of these authors and their literary works, much less by offering an in-depth discussion of the literature and culture of seventeenth-century England, Spain, and Mexico.

Can Henry Kissinger be described as a serious statesman who altered the course of relations between states? Or was he a shallow impersonator of those whom he admired, and a geopolitical engineer who treated people as collateral fodder, reducing morality to the status of a strategic and tactical tool? Using the story of Kissinger's behaviour over Cyprus, backed up by recently revealed government documents, many critical, William Mallinson, former diplomat and leading authority on Cyprus' history, provides an incisive analysis and evaluation of Kissinger's approach, revealing a man who appears to have considered political strategy more important than law and ethics.

Proverbs have been described as "e;the wisdom of many and the wit of one"e;. Apart from being pleasurable to read, these gems of folklore contain keen observations of everyday life and provide an insight into human behaviour and character. Proverbs constitute a particular culture's popular philosophy of life. One can tell a people's character from that people's proverbs. As Francis Bacon said, "e;The genius, wit, and spirit of a nation are discovered in its proverbs"e;. This collection contains over one thousand Greek and over one thousand English proverbs accompanied by their translations. The bilingual introduction relates the history, the origin, and the importance of proverbs. The book also includes a short chapter on the use of proverbs in English, French, German, Italian, Spanish and Modern Greek literature.

This volume allows 13 besieged languages to tell their own stories by way of their consummate battles with languages that dominate their traditional spaces and ways of thinking.