Bøger udgivet af Vernon Press

This book contributes to an emerging field of research, looking at the significance of marital status to debates about identity and gender. It examines representations and experiences of single men and women between 1960 and 1990, using a wide variety of sources, including digitized British newspapers, social research, films, and lifestyle literature. Whilst much-existing work focuses on the early-to-mid 20th centuries (such as Katherine Holden’s ground-breaking work, The Shadow of Marriage: Singleness in England, 1914-1960), this book alternatively examines the impact of the 1960s and the aftermath of changing attitudes to singleness. While Holden and others, such as Virginia Nicholson in Singled Out, focus largely on social status and lived experience (often through oral testimony), the author is just as interested in finding new ways of looking at gender and sexuality. This work starts from the premise that a distinct double standard existed in attitudes towards single men and women, which continued even after the wave of legislation to improve women’s status during the 1960s. Examining these often vastly different expectations reveals a complex web of progress, continuity, and contradictions, highlighting the uneven pace of social change and its frequent compromises and limitations. Using theoretical approaches such as feminism and queer theory, this work explores the impact of changing gender norms on issues including single fatherhood, old maid stereotypes, and experiences of homelessness. It can be used as a study aid for 20th-century British history and gender studies courses, and might also interest both established academics and intellectually curious non-academic readers. The author has made efforts, where possible, to clearly explain her theoretical approaches and interventions for those who might be unfamiliar with them. 

Training institutions offering specialized translation and interpreting programs need to keep up with the rapid development of digitalization and the increasingly sophisticated requirements of the language industry. This book addresses digital trends and employability in the market from the aspect of training: how have the latest digital trends shaped the language industry, and what competencies will translators, interpreters and T/I trainers need so as to meet current market requirements? Four major subjects of high relevance are discussed in 12 chapters: (1) collaborative partnership in the field of fit-for-market practices with a focus on e-learning materials; (2) competence development in translator and interpreter training; (3) the implications of neural machine translation and the increasing significance of post-editing practices, as well as (4) the role of new technologies and new methods in the work and training of interpreters and translators. With an introduction written by Juanjo Arevalillo, managing director of Hermes Traducciones and former vice-president of the European Union of Associations of Translation Companies, the book creates a fresh momentum for researchers, academics, professionals and trainees to be engaged in a constructive dialogue.

This volume explores the complex horizon of landscapes in horror film culture to better understand the use that the genre makes of settings, locations, spaces, and places, be they physical, imagined, or altogether imaginary. In The Philosophy of Horror, Noël Carroll discusses the "geography" of horror as often situating the filmic genre in liminal spaces as a means to displace the narrative away from commonly accepted social structures: this use of space is meant to trigger the audience's innate fear of the unknown. This notion recalls Freud's theorization of the uncanny, as it is centered on recognizable locations outside of the Lacanian symbolic order. In some instances, a location may act as one of the describing characteristics of evil itself: In A Nightmare on Elm Street teenagers fall asleep only to be dragged from their bedrooms into Freddy Krueger's labyrinthine lair, an inescapable boiler room that enhances Freddie's powers and makes him invincible. In other scenarios, the action may take place in a distant, little-known country to isolate characters (Roth's Hostel films), or as a way to mythicize the very origin of evil (Bava's Black Sunday). Finally, anxieties related to the encroaching presence of technology in our lives may give rise to postmodern narratives of loneliness and disconnect at the crossing between virtual and real places: in Kurosawa's Pulse, the internet acts as a gateway between the living and spirit worlds, creating an oneiric realm where the living vanish and ghosts move to replace them. This suggestive topic begs to be further investigated; this volume represents a crucial addition to the scholarship on horror film culture by adopting a transnational, comparative approach to the analysis of formal and narrative concerns specific to the genre by considering some of the most popular titles in horror film culture alongside lesser-known works for which this anthology represents the first piece of relevant scholarship.

The volume provides a critical assessment of the concept of authenticity and gauges its role, significance and shortcomings in a variety of disciplinary contexts. Many of the contributions communicate with each other and thus acknowledge the enormous significance of this politically, morally, philosophically and economically-charged concept that at the same time harbors dangerous implications and has been critically deconstructed. The volume shows that the alleged need or desire for authenticity is alive and kicking but oftentimes comes at a high price, connected to a culture of experts, authority and exclusionary strategies.

In the past century the borders have blurred between art and design. Designers, artists, aestheticians, curators, art and design critics, historians and students all seem confused about these borders. Figurative painting was reduced to graphic design while still being called 'art'. Figurative sculpture was reduced to nonfunctional industrial design while being called 'sculpture'. This fundamental blunder resulted from total misunderstanding of the concept of "abstraction" by the founders of modern art. Comprehensive analysis shows that so-called "abstract art" is neither abstract nor art, but a very simple, even trivial, kind of design. In this book the prehistoric, philosophical, logical, historic and religious sources of the confusion between art and design are analyzed.A new and coherent conceptual framework is proposed, to distinguish between art and design. Nearly one hundred distinctions, contradistinctions and comparisons between art and design are presented, showing clearly that they are totally independent domains. Philosophy of art books are written by philosophers for philosophers, not for artists and designers; therefore they are irrelevant for the latter, especially for students who normally lack the necessary conceptual training. This book is not only for theoreticians but for art and design practitioners at all levels. This is a new kind of book: an illustrated philosophical book for the art and design world, which can make philosophical knowledge accessible and useful for solving real problems for designers and artists who are mostly visual rather than conceptual thinkers. The book contains over two hundred images; thus art and design people can easily follow the arguments and reasoning presented in this book in their own language; images. Lack of distinction between art and design harms both. Design is contaminated by the ills of modern art, while modern art cannot recover from its current stagnation whilst under the illusion that it is actually art rather than design.

We know all kinds of monsters. Vampires who suck human blood, werewolves who harass tourists in London or Paris, zombies who long to feast on our brains, or Godzilla, who is famous in and outside of Japan for destroying whole cities at once. Regardless of their monstrosity, all of these creatures are figments of the human mind and as real as they may seem, monsters are and always have been constructed by human beings. In other words, they are imagined. How they are imagined, however, depends on many different aspects and changes throughout history. The present volume provides an insight into the construction of monstrosity in different kinds of media, including literature, film, and TV series. It will show how and by whom monsters are really created, how time changes the perception of monsters and what characterizes specific monstrosities in their specific historical contexts. The book will provide valuable insights for scholars in different fields, whose interest focuses on either media studies or history.

This book argues that the mainstream definitions of corruption, and the key expectations they embed concerning the relationship between corruption, democracy, and the process of democratization, require reexamination. Even critics who did not consider stable institutions and legal clarity of veteran democracies as a cure-all, assumed that the process of widening the influence on government decision making and implementation allows non-elites to defend their interests, define the acceptable sources and uses of wealth, and demand government accountability. This had proved correct, especially insofar as 'petty corruption' is involved. But the assumption that corruption necessarily involves the evasion of democratic principles and a 'market approach' in which the corrupt seek to maximize profit does not exhaust the possible incentives for corruption, the types of behaviors involved (for obvious reasons, the tendency in the literature is to focus on bribery), or the range of situations that 'permit' corruption in democracies. In the effort to identify some of the problems that require recognition, and to offer a more exhaustive alternative, the chapters in this book focus on corruption in democratic settings (including NGOs and the United Nations which were largely so far ignored), while focusing mainly on behaviors other than bribery.

This book brings together researchers from a variety of fields to jointly present and discuss some of the most relevant problems around the conscious mind. This academic plurality perfectly characterizes the complexity with which a current researcher is confronted to discuss and work on this topic. The volume is organized as follows: Part I introduces the general problems of Philosophy of Mind and some historical perspectives. Part II focuses on understanding the input that the empirical sciences can offer to the theoretical problems. Part III discusses some of the core concepts of the field, namely, perception, memory and experience. Part IV debates human and artificial intelligence and, finally, Part V deliberates about the computation and the ethics of big data and artificial intelligence.The book contains valuable material for researchers in several fields such as Cognitive Science and Neuroscience, Psychology and Artificial Intelligence, and Philosophy. It can also be used as a guide to some courses at various levels, from BAs to MAs and PhD courses of several fields. It is our belief, as it is claimed in the preface by Georg Northoff, that there is an urgent need for a truly transdisciplinary exchange between philosophy and the sciences in order to stimulate some real progress. We hope that this book will become a sound step for such an interdisciplinary enterprise.

Maximizing Mental Health Services: Evidence-Based Practices that Promote Emotional Well-Being examines best therapeutic practices for patients, therapists, graduate professors, family members and all who struggle to find the most effective treatment modalities for those dealing with mental health challenges. Mental health issues are rising at an alarming rate, while positive therapeutic outcomes have not kept pace and remain low for many conditions, making an investigation of evidence-based treatment options critically important to the helping profession. While certain types of therapy bring success to specific clients, these modalities cannot be easily applied to all client profiles. Understanding the strengths of each modality and how to match them to the respective needs of the client will be emphasized. Furthermore, the impact of counselors' own traits on the client-therapist relationship is an important and often overlooked topic that will be explored. Therapy practices have changed over the past decade to include non-traditional options; therefore, the authors investigate the ways in which these practices have either helped or hindered patient success. Lastly, the book offers readers information on resources for further information on the evidence-based practices presented within.

This book is a compilation of papers derived from talks, presented at TransCultural Exchange's 2018 International Conference on Opportunities in the Arts. The aim of these talks was to inspire artists to think across disciplines and cultures and to suggest other career models beyond the typical studio to gallery/museum model. Much of this content is unique in that it not only addresses the practical needs of artists but, even more importantly, it does so in the context of today's global reality. As artists have noted on post-Conference surveys, this information is "the missing link in the art world; the bridge between academic and real-world practice; between a local and international career in the arts." By making this information available long-after the Conference's end and to those who could not directly participate in the Conference, many more artists will have access to where to find jobs/residency programs and funding for their work, information on how to put together successful residency applications, how to market their work, and other professional development programming. In addition, they (and interested members of the public) will have access to the Conference talks on what leading artists are doing across disciplines, with new technologies, and in the public sphere.

This book is a compilation of papers derived from talks, presented at TransCultural Exchange's 2018 International Conference on Opportunities in the Arts. The aim of these talks was to inspire artists to think across disciplines and cultures and to suggest other career models beyond the typical studio to gallery/museum model. Much of this content is unique in that it not only addresses the practical needs of artists but, even more importantly, it does so in the context of today's global reality. As artists have noted on post-Conference surveys, this information is "the missing link in the art world; the bridge between academic and real-world practice; between a local and international career in the arts." By making this information available long-after the Conference's end and to those who could not directly participate in the Conference, many more artists will have access to where to find jobs/residency programs and funding for their work, information on how to put together successful residency applications, how to market their work, and other professional development programming. In addition, they (and interested members of the public) will have access to the Conference talks on what leading artists are doing across disciplines, with new technologies, and in the public sphere.

This volume speaks to the use of poetry in critical qualitative research and practice focused on social justice. In this collection, poetry is a response, a call to action, agitation, and a frame for future social justice work. The authors engage with poetry's potential for connectivity, political power, and evocation through methodological, theoretical, performative, and empirical work. The poet-researchers consider questions of how poetry and Poetic Inquiry can be a response to political and social events, be used as a pedagogical tool to critique inequitable social structures, and how Poetic Inquiry speaks to our local identities and politics. The authors answer the question: "What spaces can poetry create for dialogue about critical awareness, social justice, and re-visioning of social, cultural, and political worlds?" This volume adds to the growing body of Poetic Inquiry through the demonstration of poetry as political action, response, and reflective practice. We hope this collection inspires you to write and engage with political poetry to realize the power of poetry as political action, response, and reflective practice.