Böcker utgivna av Liverpool University Press

Although Jews were at the centre of commercial activity in medieval Europe, a talmudic ban on any wine touched by a Gentile prevented them from engaging in the lucrative wine trade. Wine was consumed in vast quantities in the Middle Ages, and the banks of the Rhineland hosted some of the finest vineyards in northern Europe. German Jews were, until the thirteenth century, a merchant class. How could they abstain from trading in one of the region's major commodities? In time, they ruled that it was permissible to accept wine in payment of debt, but forbade trading in it, and they maintained that ban throughout the Middle Ages. Further study in the twelfth century, however, led Talmudists to discover that Jews were only forbidden to profit from trading in Gentile wine if they dealt with idolaters, but that trade with Christians and Muslims was permitted. Nevertheless, the German community refused to take advantage of this clear licence. Using Jewish and Gentile sources, this study probes the sources of this powerful taboo. In describing the complex ways in which deeply held cultural values affect Jews' engagement in the economy of the surrounding society, this book also illustrates the law of unintended consequence show the ban on Gentile wine led both to a major Jewish contribution to German viticulture and to the involvement of Jews in moneylending, with all its tragic consequences.

This volume explores the challenges as well as the opportunities for radical progress in the post-war period, with the election of the Attlee Labour government. Although much remained to be achieved by 1960, the T&G had become a more democratic, powerful, progressive force by the end of this period.

This is the first sustained exploration of therelationship between post-colonial science fiction, Indian techno-scientificpolicies, and the non-aligned movement. It shows the critical role played bythe science fiction genre in imagining alternative pathways for scientific and geo-politicaldevelopments to those that dominate our lives now.

The psychologist may appear in science fiction as the herald of utopia or dystopia; literary studies have used psychoanalytic theories to interpret science fiction; and psychology has employed science fiction as an educational medium. Science Fiction and Psychology goes beyond such incidental observations and engagements to offer an in-depth exploration of science fiction literature's varied use of psychological discourses, beginning at the birth of modern psychology in the late nineteenth century and concluding with the ascendance of neuroscience in the late twentieth century. Rather than dwelling on psychoanalytic readings, this literary investigation combines with history of psychology to offer attentive textual readings that explore five key psychological schools: evolutionary psychology, psychoanalysis, behaviourism, existential-humanism, and cognitivism. The varied functions of psychological discourses in science fiction are explored, whether to popularise and prophesy, to imagine utopia or dystopia, to estrange our everyday reality, to comment on science fiction itself, or to abet (or resist) the spread of psychological wisdom. Science Fiction and Psychology also considers how psychology itself has made use of science fiction in order to teach, to secure legitimacy as a discipline, and to comment on the present.

For students and lovers of Conrad's works, this is an indispensable guide to the history of their composition and production in England, America, and on the European continent. Supino's book not only details the bibliographical and print-historical aspects of each of Conrad's major works, but also includes his plays, the pamphlets he created with Wise and Shorter, minor works, early collected editions, and the editions published by Tauchnitz on the continent.

The Cabin in the Woods (2012), directed by Drew Goddard and co-authored by Goddard and Joss Whedon of Buffy-fame, was famously described by co-author Whedon as his 'loving hate letter' to horror. Interviews with Whedon reveal that his struggles with modern cinematic horror are not merely emotional, but intensely philosophical. This book is the first to read Cabin as a philosophical metatext that asks what horror offers audiences and why audiences accept. Like any good philosophy, the film offers no answers but raises questions: what 'choices' are possible in a pre-determined universe? How do we, the audience, see the victims of violence, and with what ethical consequences? And finally, the most fraught question of all: why do we keep looking?

Cahiers du Cinema: Interviews with Film Directors, 19531970 brings together eighteen directorsOtto Preminger, Roberto Rossellini, John Ford, Howard Hawks, Max Ophuls, Nicholas Ray, Orson Welles, Fritz Lang, Alain Resnais, Jean-Luc Godard, Francois Truffaut, Michelangelo Antonioni, Carl-Theodor Dreyer, Federico Fellini, Robert Bresson, Joseph L.

This study sets out to explain and understand the worldview of students at Female madrasas (FeM) in Pakistan. However, one focusing on women's madrasas exclusively was needed, because currently the number of female students enrolled in madrasas is higher than the male students.

This study seeks to explore Brian Patten's position in relation to his fellow "Liverpool Poets" and to contemporary poetry more widely.

The aims and actions of the three main protagonists the Armed Forces, the political parties and mass social organizations are linked in myriad ways: the political role of the Armed Forces; Attention is paid to the immediate post-revolution period, and the national, political and military choices made as this unexpected path to democracy took hold.

An Earthy Entanglement with Spirituality offers compelling perspectives on the human spirit as represented in literature and art. Authors approach the inquiry using distinct critical approaches to varied primary sources-poetry of various genres and periods, Shakespearean drama, contemporary theater, Renaissance sculpture, and the novel, short story, sketch, and dialogue.