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Author: Andrew Klevan

This book provides an in-depth, holistic examination of evaluative aesthetics and criticism as they apply to film. Organised around the explanation of key concepts, it illuminates connections between the work of philosophers, theorists and critics, and demonstrates the evaluation of form through the close analysis of film sequences. The book advocates that aesthetic evaluation should be flexibly informed by a cluster of concerns including medium, convention, prominence, pattern and relation; and rather than privileging a particular theory or film style, it models a type of approach, attention, process and discourse. Suitable for students of film studies and philosophical aesthetics at both undergraduate and postgraduate levels, Aesthetic evaluation and film also provides a framework for academics researching or teaching in the area. At the same time, the crisp and lucid style will make the book accessible to a wider readership.

Lessons Learned for Engagement in Fragile and Conflict-Affected States
Logan Cochrane

’s Human Development Index were missing as of 2018. On the latter, as far as we are aware, no documents have brought together lessons from multiple donors and NGOs, and thus learning has remained donor-specific or project-based. A further challenge, as evidenced in the evaluations analysed in this study, is that actors have yet to act upon lessons they have learned, suggesting that other barriers need to be overcome in implementation. As of 2018, there were 194 organisations registered with the United Nations Office for the Coordination of Humanitarian Affairs (UN OCHA

Journal of Humanitarian Affairs
Abstract only
Jonathan Bignell

, obviously, but this fact has not always been recognised, since the discursive forms of theoretical writing set up the analyst as an other, both to the programmes he or she discusses and to the empirical ‘ordinary’ audience. The issue of why academic television criticism does not refer to Beckett’s work requires an evaluation of the ways that television drama is cited in academic writing, and on how a particular identity for ‘Beckett’ would be produced by Television Studies if it were to cite him as an example. If Beckett’s work is separated by television theory from the

in Beckett on screen
Affordable threats?

On the afternoon of September 11 2001 the Irish Prime Minister (Taoiseach), Bertie Ahern ordered the ‘heads of the security services of key government departments’ to undertake a complete re-evaluation of measures to protect the state from attack. Hence, underway within hours of the 9/11 outrage in the United States was potentially the most far-reaching review of Irish national security in decades. This book, an academic investigation of Irish national security policy as it has operated since 9/11, provides a theoretically informed analysis of that re-evaluation and the decisions that were taken as a consequence of it up until September 2008. In so doing, it draws on unprecedented access to Ireland's police, security and intelligence agencies; over twenty senior personnel agreed to be interviewed. Questions are raised over the effectiveness of the Irish agencies, the relative absence of naval and airborne defence and the impact on national security of the policy imperative to transform the Defence Forces, particularly the army, for more robust missions overseas. The book also considers the securitisation of Irish immigration policy and the apparent absence of a coherent integration policy despite international evidence suggesting the potential for radicalisation in socially marginalised western communities. Theoretically, the book demonstrates the utility to the analysis of national security policy of three conceptual models of historical institutionalism, governmental politics and threat evaluation.

An exercise in pluralist political theory
Author: Allyn Fives

This is a book about parents, power, and children and, in particular, the legitimacy of parents' power over their children. It takes seriously the challenge posed by moral pluralism, and considers the role of both theoretical rationality and practical judgement in resolving moral dilemmas associated with parental power. The book first examines the prevailing view about parental power: a certain form of paternalism, justified treatment of those who lack the qualities of an agent, and one that does not generate moral conflicts. It proposes an alternative, pluralist view of paternalism before showing that even paternalism properly understood is of limited application when we evaluate parental power. According to the caretaker thesis, parental power makes up for the deficits in children's agency, and for that reason children should be subjected to standard institutional paternalism. The liberation thesis stands at the other end of the spectrum concerning children's rights. The book then addresses the counter-argument that issues of legitimacy arise in the political domain and not in respect of parent-child relations. It also examines the 'right to parent' and whether parents should be licensed, monitored, or trained children's voluntariness and competence, and the right to provide informed consent for medical treatment and research participation. Finally, the book talks about parents' efforts to share a way of life with their children and the State's efforts to shape the values of future citizens through civic education. The overall approach taken has much more in common with the problem-driven political philosophy.

Jean-Marc Fontan and Denis Bussière

7 Evaluating the partnership research process Jean-Marc Fontan and Denis Bussières Translation by Elizabeth Carlyse As part of the project Strengthening Knowledge Strategies for Poverty Alleviation and Sustainable Development: A Global Study on Community–University Partnerships, the team at l’Université du Québec à Montréal (UQAM, www. was given the task of developing an evaluation process for research partnerships. First, a definition of partnership research was developed. Second, the concept of evaluation is discussed and an attempt made to

in Knowledge, democracy and action
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A conclusion
Lindsey Dodd

Evaluating bombing: a conclusion Édith Denhez: And then, well, they buried my brother. My father came back too. They buried my brother. They’d been looking for his body for several days. After that, they buried him. Time passed, and the bombs continued, and we were still in the village. Then my mother said: ‘Well, we should really go and get some of our clothes from home, shouldn’t we.’ So my father, he told me afterwards, he went all the way down the rue de Solesmes [back in Cambrai], and when he arrived at the bottom, he said, “Well I never! What on Earth? I

in French children under the Allied bombs, 1940–45
A Midsummer Night’s Dream and the iconography of marriage
Annaliese Connolly

that is personally and politically inimical to Elizabeth. 33 In A Midsummer Night’s Dream I suggest that Shakespeare deliberately employs so many of the images associated with Elizabeth’s personae as Virgin Queen in order to signal a re-evaluation of them. In those plays which dramatise the story of Dido

in Goddesses and Queens
Andrew Klevan

PART III The aesthetic evaluation of film The aesthetic evaluation of film 119 3.1  Medium A medium is a means or agency for communicating something. As Eran Guter describes, ‘Literally meaning something that stands between two other things, the notion of medium implies the possibility of transference of something from one side to the other, or mediation between the two sides. Hence the idea of medium patently gives rise to the idea of content, i.e. that which is transferred by the medium’ (Guter 2010: 126). The medium of film is all the elements that

in Aesthetic evaluation and film
Andrew Klevan

PART I What is evaluative aesthetics? What is evaluative aesthetics? 17 1.1  The origin and definition of aesthetics The concept of the ‘aesthetic’ is best considered as a cluster of interrelated meanings, and Part I will attempt to elaborate its multifaceted nature. Its Greek origin is aisthesis, meaning perception by sense, or feeling; more precisely it derives ‘from the Greek nominal aisthetikos, sensitive or sentient, derived in turn from the verb aisthanesthai, meaning to perceive, feel, or sense’ (Costelloe 2013: 1). Aesthetki is ‘the science of how

in Aesthetic evaluation and film