»Geographies of Love« is the first study to explore the cultural lifeworlds of British, Australian and Indian chick- and ladlit characters. Offering unique case studies including »Bridget Jones's Diary«, »About a Boy« and »Almost Single«, the book explores how women and men search for love and how they commit themselves to romances in specific spaces and places: the home and the office as well as shops, clubs and bars. This cross-disciplinary study provides scholars, students and keen readers with multiple points of access and easily-relatable situations. It applies the complex phenomenon of cultural geographies within the field of literary studies and sheds new light on a most passionate feeling.

An examination of the moral and political aspects of the philosophical work of Jan Patočka, one of the most influential Central European philosophers of the twentieth century.

The Competition Grid: Experimenting With and Within Architecture Competitions is a comprehensive review of architectural competitions. Each section features international research overviews as well as lively discussions with experts that draw on first-hand experience of the competition process.

This book is the result of a research project designed and carried out at the Department of Architecture, University of Florence. This book discusses urban public spaces and, more specifically, run-down, inactive micro-spaces that are barely used due to their location, dimensions, morphology or semantic characteristics. In literature, these spaces are often defined as “residual urban spaces.” A large abandoned industrial area on the outskirts of a town or a small interstitial space in a historical centre can be residual. With respect to such a broad subject matter, the book seeks to radically limit the field, concentrating on public residual spaces found in the oldest parts of cities. The book reflects on this theme and introduces a method for reading and assessment of the residuality of public spaces in historical contexts (Residuality Assessment Process) which was tested in the historical centre of Florence. It is the authors’ view that residual spaces, above all if designed according to a system logic, can go from being problems to potential activators of urban and social regeneration processes, offering a useful contribution to improve city life.

The practical importance of diversity and equality for spatial planning and sustainable development is still not widely understood. Using international examples, this book shows planners and educationalists the benefits of building in a consideration of diversity and equality at each stage and level of planning. Despite being one of the most diverse and gender balanced of the built environment professions, complacency has been widespread in planning. This book shows why a diverse profession is important and drawing on a wide range of good practice, shows how those involved in planning can develop their sensitivity to and expertise in diversity and equality.

The book is about the development of the theory of epistemic fields with the corresponding relational and information fields as a framework for the understanding of strategies and tactics of the theory of knowing as the production of intellectual investment flows and the theory of knowledge accumulation as the production of intellectual capital stocks in systems of factories and departments providing the foundations for the development of open algorithms in the open space of problem-solution dualities. The concepts and the roles of thinking and reasoning with curiosity, creativity, hope, Ill-posed problems, phantom problems, unsolved problems, misinformation, disinformation, fake news, and courage are introduced, defined, and analyzed on the cognitive journeys over the space of ignorance-knowledge dualities, where dualistic-polar conflicts between duals in the space of ignorance-knowledge dualities are resolved with the instruments of fuzzy optimization, the results of which are used to induced the zones of ignorance, the zones of knowledge, and the zones of contentions. A complete development of the set of connecting paths of spaces and sub-spaces is provided, where all varieties, categories, and spaces reside in dualistic-polar structures with knowledge stock viewed as a single tree with the same roots, one trunk, many branches, and a fruit cocktail. The ontological space contains the space of actual-potential dualities as the primary category of knowing, and the epistemological space contains the space of imagination-reality dualities as the derived category of knowing within the space of primary-derived dualities. The space of potentials contains the space of imaginations which contains the sub-spaces of possibility-impossibility, probability-improbability, and possibility-probability dualities with corresponding spaces of necessity-freedom and anticipation-expectation dualities leading to the conception of the possible-world-impossible-world dualities in the space of semantic-non-semantic dualities. This book is also a continuation of the sequence of my works on the theories of paradigms of thought, rationality, info-statics, info-dynamics, entropy, problem-solution dualities in self-contained mathematics and philosophy, and their relational connectivity to information, language, knowing, knowledge, cognitive practices and open maching learning relative to nominalism, and the space of construction-reduction dualities over the spaces of fundamental-applied, production-consumption, input-output, and cost-benefit dualities.

Documentary filmmaking is one of the most vibrant areas of media activity in the Chinese world, with many independent filmmakers producing documentaries that deal with a range of sensitive socio-political problems, bringing to their work a strongly ethical approach. This book identifies notable similarities and crucial differences between new Chinese-language documentaries in mainland China and Taiwan. It outlines how documentary filmmaking has developed, contrasts independent documentaries with dominant official state productions, considers how independent documentary filmmakers go about their work, including the work of exhibiting their films and connecting with audiences, and discusses the content of their documentaries, showing how the filmmakers portray a wide range of subject matter regarding places and people, and how they deal with particular issues including the underprivileged, migrants and women in an ethical way. Throughout the book demonstrates how successful Chinese-language independent documentary filmmaking is, with many appearances at international film festivals and a growing number of award-winning titles.

What does it mean for a cinematic work to be "Chinese"? Does it refer specifically to a work's subject, or does it also reflect considerations of language, ethnicity, nationality, ideology, or political orientation? Such questions make any single approach to a vast field like "Chinese cinema" difficult at best. Accordingly, The Oxford Handbook of Chinese Cinemas situates the term more broadly among various different phases, genres, and distinct national configurations, while taking care to address the consequences of grouping together so many disparate histories under a single banner. Offering both a platform for cross-disciplinary dialogue and a mapping of Chinese cinema as an expanded field, this Handbook presents thirty-three essays by leading researchers and scholars intent on yielding new insights and new analyses using three different methodologies. Chapters in Part I investigate the historical periodizations of the field through changing notions of national and political identity — all the way from the industry's beginnings in the 1920s up to its current forms in contemporary Hong Kong, Taiwan, and the global diaspora. Chapters in Part II feature studies centered on the field's taxonomical formalities, including such topics as the role of the Chinese opera in technological innovation, the political logic of the "Maoist film," and the psychoanalytic formula of the kung fu action film. Finally, in Part III, focus is given to the structural elements that comprise a work's production, distribution, and reception to reveal the broader cinematic apparatuses within which these works are positioned. Taken together, the multipronged approach supports a wider platform beyond the geopolitical and linguistic limitations in existing scholarship. Expertly edited to illustrate a representative set of up to date topics and approaches, The Oxford Handbook of Chinese Cinemas provides a vital addition to a burgeoning field still in its formative stages.