This is the second volume of a pioneering two-volume comparative history of the capital cities of Britain, France and Germany during the Great War. Leading historians explore these wartime cities, from the railway stations where newcomers took on new identities to the streets they surveyed and the pubs, cafes and theatres they frequented, and examine notions of identity, the sites and rituals of city life, and wartime civic and popular culture. This volume, first published in 2007, offers a comparative cultural history of London, Paris and Berlin and reveals the great affinities and similarities between cities on both sides of the line. It shows the transnational character of metropolitan life and the different cultural resources which the men and women of these cities drew upon during 1500 days of war. The practices of metropolitan life go well beyond national histories and this volume suggests the outlines of a fully European history of the Great War.
Embedding the theoretical discussion on the framework of evolutionary regional innovation systems (RIS), this book reveals the informal nature of the emerging RIS in China, within which interactive learning is organized on the basis of social networks. Furthermore, in a comparative study in the Pearl River Delta, China demonstrates that dirigiste governance in the initial industrialization phase leads to a more mature and developed RIS than does grassroots governance. The theoretical developments and empirical investigation presented in this book will grant readers a deeper understanding of the specific features of RIS within the transitional context of emerging economies.
Towards a Feminist Cinematic Ethics develops an account of non-normative ethics that can be used to think about filmmaking and viewing, using two philosophers-Emmanuel Levinas and Jean-Luc Nancy, and the work of filmmaker Claire Denis. In an accessible and engaging manner, it offers new readings of Denis' films, situating them within larger feminist, postcolonial and queer debates about identity and difference. Using a generative methodology, the book works towards a mutually challenging and productive relationship between cinematic ideas and philosophical concepts.
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