This book introduces the reader to a clear and consistent method for in-depth exploration of subjective psychopathological experiences with the aim of helping to restore the ability within psychiatry and clinical psychology to draw qualitative distinctions between mental symptoms that are only apparently similar, thereby promoting a more precise characterization of experiential phenotypes. A wide range of mental disorders are considered in the book, each portrayed by a distinguished clinician. Each chapter begins with the description of a paradigmatic case study in order to introduce the reader directly to the patient’s lived world. The first-person perspective of the patient is the principal focus of attention. The essential, defining features of each psychopathological phenomenon and the meaning that the patient attaches to it are carefully analyzed in order to “make sense” of the patient’s apparently nonsensical experiences. In the second part of each chapter, the case study is discussed within the context of relevant literature and a detailed picture of the state of the art concerning the psychopathological understanding of the phenomenon at issue is provided. An Experiential Approach to Psychopathology, and the method it proposes, may be considered the result of convergence of classic phenomenological psychopathological concepts and updated clinical insights into patients’ lived experiences. It endorses three key principles: subjective phenomena are the quintessential feature of mental disorders; their qualitative study is mandatory; phenomenology has developed a rigorous method to grasp “what it is like” to be a person experiencing psychopathological phenomena. While the book is highly relevant for expert clinical phenomenologists, it is written in a way that will be readily understandable for trainees and young clinicians.

Jane Austen's career as a novelist began in 1811 with the publication of Sense and Sensibility. Her work was finally adapted for the big screen with the 1940 filming of Pride and Prejudice (very successful at the box office). No other film adaptation of an Austen novel was made for theatrical release until 1995. Amazingly, during 1995 and 1996, six film and television adaptations appeared, first Clueless, then Persuasion, followed by Pride and Prejudice, Sense and Sensibility, the Miramax Emma, and the Meridian/A&E Emma. This book traces the history of film and television adaptations (nearly 30 to date) of Jane Austen manuscripts, compares the adaptations to the manuscripts, compares the way different adaptations treat the novels, and analyzes the adaptations as examples of cinematic art. The first of seven chapters explains why the novels of Jane Austen have become a popular source of film and television adaptations. The following six chapters each cover one of Austen's novels: Sense and Sensibility, Pride and Prejudice, Emma, Mansfield Park, Persuasion, and Northanger Abbey. Each chapter begins with a summary of the main events of the novel. Then a history of the adaptations is presented followed by an analysis of the unique qualities of each adaptation, a comparison of these adaptations to each other and to the novels on which they are based, and a reflection of relevant film and literary criticism as it applies to the adaptations.

Campana, a businessman from Rome, formed one of the most important private collections of antiquities of the 19th century yet it has been little studied. This thesis examines Campana's private life, his role as patron of the arts, archaeologist and collector and his trial for fraud, ending in exile.

To a substantial degree cinema has served to define the perceived character of the peoples and nations of the Middle East. This book covers the production and exhibition of the cinema of Morocco, Algeria, Tunisia, Egypt, Palestine, Jordan, Lebanon, Syria, Iraq, the United Arab Emirates, Saudi Arabi, Yemen, Kuwait, and Bahrain, as well as the non-Arab states of Turkey and Iran, and the Jewish state of Israel. This second edition of Historical Dictionary of Middle Eastern Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on individual films, filmmakers, actors, significant historical figures, events, and concepts, and the countries themselves. It also covers the range of cinematic modes from documentary to fiction, representational to animation, generic to experimental, mainstream to avant-garde, and entertainment to propaganda. This book is an excellent resource for students, researchers, and anyone wanting to know more about Middle Eastern cinema.