Since the original, prewar translation there has been no completely new rendering of the French original into English. This translation brings to the fore a more sharply engaged, comic and lucid Proust. IN SEARCH OF LOST TIME is one of the greatest, most entertaining reading experiences in any language. As the great story unfolds from its magical opening scenes to its devastating end, it is the Penguin Proust that makes Proust accessible to a new generation. Each book is translated by a different, superb translator working under the general editorship of Professor Christopher Prendergast, University of Cambridge.

Now that the Floral Crucible is complete and the next Grand Saintess has been chosen, Chelsea wraps up her time in the Holy Kingdom of Celesark. She sets out for home with her maids and Lord Glen, but along the way, a landslide forces them to take an unexpected detour to the village of Ilnato. The tiny town doesn’t have room to house their whole entourage, but that’s not a problem thanks to Chelsea’s [Seed Creation] Skill! After making an inn-sized Treehouse Seed and enjoying some local soufflé cheesecake, the group settles in for the night, ready to continue in the morning... But wait! Chelsea isn’t waking up! She’s trapped in a dream, where she meets a young boy named Cyril who asks to play. Soon after, Glen and Micah find themselves trapped in the dream too! Then the truth comes out—Cyril is a Nightmare!

We are taught to believe in originals. In art and architecture in particular, original objects vouch for authenticity, value, and truth, and require our protection and preservation. The nineteenth century, however, saw this issue differently. In a culture of reproduction, plaster casts of building fragments and architectural features were sold throughout Europe and America and proudly displayed in leading museums. The first comprehensive history of these full-scale replicas, Plaster Monuments examines how they were produced, marketed, sold, and displayed, and how their significance can be understood today. Plaster Monuments unsettles conventional thinking about copies and originals. As Mari Lending shows, the casts were used to restore wholeness to buildings that in reality lay in ruin, or to isolate specific features of monuments to illustrate what was typical of a particular building, style, or era. Arranged in galleries and published in exhibition catalogues, these often enormous objects were staged to suggest the sweep of history, synthesizing structures from vastly different regions and time periods into coherent narratives. While architectural plaster casts fell out of fashion after World War I, Lending brings the story into the twentieth century, showing how Paul Rudolph incorporated historical casts into the design for the Yale Art and Architecture building, completed in 1963. Drawing from a broad archive of models, exhibitions, catalogues, and writings from architects, explorers, archaeologists, curators, novelists, and artists, Plaster Monuments tells the fascinating story of a premodernist aesthetic and presents a new way of thinking about history’s artifacts.

Few institutions are warier of copies than museums. Few fields of knowledge are more prone to denounce copies as fake than the heritage field. Few discourses are as concerned with authenticity, aura, originals and provenance as those concerning exhibiting and collecting. So why is it that these are institutions, fields and discourses where copies proliferate and copying techniques have thrived for hundreds of years? Museums as Cultures of Copies aims to make the copying practices of museums visible and to discuss, from a range of interrelated perspectives, precisely what function copies fulfil in the heritage field and in museums today. With contributions from Europe and Canada, the book interrogates the meaning of copies and presents copying as a fully integrated part of museum work. Including chapters on ethnographic mannequins, digitalized photos, death masks, museum documentation and mechanical models, contributors consider how copying as a cultural form changes according to time and place and how new forms of copying and copy technologies challenge and expand museum work today. Arguing that copying is at the basis of museum practice and that new technologies and practices have been taken up and developed in museums since their inception, the book presents both heritage work and copies in a new light. Museums as Cultures of Copies should be of great interest to academics, scholars and postgraduate students working in the fields of museum and heritage studies, as well as visual studies, cultural history and archaeology. It should also be essential reading for museum practitioners.

Chardin and Rembrandt is an unfinished essay written around 1895 by Marcel Proust. Oft overlooked in Prousts illustrious writing career, this book is a newly translated version by David Zwirner Books as one of the first two entries in its ekphrasis series. This essay is a literary experiment in which an unnamed narrator gives advice to a young man suffering from melancholy, taking him on an imaginary tour through the Louvre where his readings of Chardin imbue the everyday world with new meaning, and his ruminations on Rembrandt take his melancholic pupil beyond the realm of mere objects.

This work brings together key texts drawn from the history of suffrage advocacy and agitation. The whole issue of voting rights and representation is shown to be anchored firmly in the wider political culture of Britain and Ireland as well as the Empire as a whole. Volume 6 covers texts from 1860 to 1873.

As suggested in the title, Slicing Spaces: Performance of Architecture in Cinema, this project slices through the multifaceted layers of film space. The text investigates how architecture performs as an altruist, proving that environed space is not merely a backdrop in film scenes, but an active performing character. The performance of architecture varies depending on what the filmmakers wish the viewer to feel, whether it is fear, compassion or joy. Considerations take an interdisciplinary approach, not solely observing film and architecture but also studying the likes of urbanism, politics, philosophy, history, psychology, art and design. The substantial spectrum of opinions from contributing authors allows the reader to absorb the diverse relationships of architecture in cinema, inviting the reader to form their own opinions on the topic and inspiring a new way of thinking. Slicing Spaces explores the interconnected relationship between architecture and film via distinct approaches to spaces of the city, confinement, actuality, the psyche and the imagination. Diverse views on cinematic architecture are probed, such as the psychological ramifications of film architecture, the portrayals of the city as a character and the potentials of exploring fantastic places in film. Overall, the book focuses on the authoritative contribution of architecture to the realm of filmmaking. It uncovers a path to look at lived spaces of architectural design from an alternative perspective, be it interiors, buildings or cities. Utilising the architectural ingenuity of drawings and graphics, the collection takes the reader on a visual journey as well as one through narratives.

In the last decades, information modelling and knowledge bases have become hot topics not only in academic communities related to information systems and computer science, but also in business areas where information technology is applied. This book aims to exchange scientific results and experiences achieved in computer science and other related disciplines using innovative methods and progressive approaches. A platform has been established drawing together researchers as well as practitioners dealing with information modelling and knowledge bases. The main topics of this publication target the variety of themes in the domain of information modelling, conceptual analysis, design and specification of information systems, ontologies, software engineering, knowledge and process management, data and knowledge bases. The editors also aim at applying new progressive theories.

“... a wide-ranging, historically and comparatively very deep and comprehensive commentary, but which is also very contemporary and forward-looking on many or most of the issues relevant in modern transnational commercial, contract and financial transactions” (International and Comparative Law Quarterly) Volume 6 of this new edition deals with financial regulation of banks and banking activities and products. It critically reviews micro-prudential regulation, the need for macro-prudential supervision and an independent macro-prudential supervisor, the role of resolution authorities, the operation of the shadow banking system, and the extraterritorial reach and international recognition of financial regulation. The volume considers in particular the fallout from the 2008 financial crisis and the subsequent regulatory responses in the US and Europe. The complete set in this magisterial work is made up of 6 volumes. Used independently, each volume allows the reader to delve into a particular topic. Alternatively, all volumes can be read together for a comprehensive overview of transnational comparative commercial, financial and trade law.