This book presents an interdisciplinary study of the relation between semiotics, law & art. Focusing on Greimasian semiotics, it examines specific works of art (from Giotto to Banksy) that deal with the theme of justice, promoting a more sensitive and humanized perception of the values that surround law. The book offers readers a comprehensive review of the semiotics of law, critically examining the relation between law & art. It covers a variety of topics, including semiotics, law and art; semiotics, art and experience; and society, law and art, as well as semiotics, law and painting; semiotics, law and architecture; semiotics, law and theatre; semiotics, law and literature; and semiotics, law and culture. In doing so, it uses the semiotics of painting to explain the symbology of justice and its significance in history; the semiotics of architecture to explain the setting of justice; the semiotics of theatre to explain the logic of the legal process; and the semiotics of literature to explain the narrative logic of legal decisions. Lastly, drawing on the semiotics of culture, it discusses ways of promoting justice, citizenship and human rights. Written from both philosophical and semiotical perspectives, the book enhances the centrality of visual jurisprudence studies to promote a better understanding of the role of law.

Um romance sobre a nossa dificuldade em julgar os outros e aceitar que nos julguem. "" - Achas que ele e dos bons ou dos maus? - Nao faco a minima ideia, e espero nem vir a saber. - Espero que ele seja bom. - Porque? O que e que isso te interessa? - Nao sei. Mas nao preferes que as pessoas sejam boas em vez de mas? - Acho que ele deve ser bom para as pessoas de quem gosta e mau para as que nao gostam dele. - Es tao racional... E eu sou boa ou ma? - Eu acho-te boa, respondeu com um grande sorriso nos labios. ""

The popular, critically acclaimed text on psychopathology in movies – now including the latest movies and more Explores films according to the diagnostic criteria of DSM-5 and ICD-11 Provides psychological ratings of nearly 1,500 films Includes downloadable teaching materials Films can be a powerful aid to learning about mental illness and psychopathology – for practitioners and students in fields as diverse as psychology, psychiatry, social work, medicine, nursing, counseling, literature, or media studies, and for anyone interested in mental health. Watching films relevant to mental health can actually help you become a more productive therapist and a more astute diagnostician. Movies and Mental Illness, written by an eminent clinical psychologist (who is also a movie aficionado), has established a reputation as a uniquely enjoyable and highly memorable text for learning about psychopathology. This new edition has been completely revised to explore current issues, such as children's screentime and celebrities with mental illness, and to include the numerous films that have been released since the last edition. The core clinical chapters raise provocative questions about differential diagnosis (according to the DSM-5 and ICD-11) for the primary characters portrayed in the films. Included are also a full index of films; sample course syllabus; ratings of close to 1,500 films; fascinating appendices, such as "Top 50 Heroes and Villains," psychotherapists in movies, and misconceptions about mental illness in movies. Accompanying the new edition are downloadable resources for teachers that include critical questions and topics for discussion, as well as fabricated case histories based on movie characters with Mini-Mental State Examinations that help explain, teach, and encourage discussion about important mental health disorders. In addition, the author plans a regular series of online "Spotlights" articles that will critically examine the psychological content of new movies as they are released.

An invaluable reference tool for students and researchers in theoretical linguistics, The Wiley Blackwell Companion to Syntax, Second Edition has been updated to incorporate the last 10 years of syntactic research and expanded to include a wider array of important case studies in the syntax of a broad array of languages. A revised and expanded edition of this invaluable reference tool for students and researchers in linguistics, now incorporating the last 10 years of syntactic research Contains over 120 chapters that explain, analyze, and contextualize important empirical studies within syntax over the last 50 years Charts the development and historiography of syntactic theory with coverage of the most important subdomains of syntax Brings together cutting-edge contributions from a global group of linguists under the editorship of two esteemed syntacticians Provides an essential and unparalleled collection of research within the field of syntax, available both online and across 8 print volumes This work is also available as an online resource at www.companiontosyntax.com

The Moving Form of Film: Historicizing the Medium through Other Media charts the ways in which crossing borders between film and other arts and media can provide an encompassing, inclusive, and non-teleological understanding of film history. Evolutionary narratives of cinema have traditionally adopted the Second World War as a watershed that separates 'classical' Hollywood films from 'modern' European productions, a scheme that subjects the entire world to the cinematic history of two hegemonic centres. In turn, histories of film as a technological medium have focused on the specificity of cinema as it gradually separated from the other art and medial forms - theatre, dance, fairground spectacle, painting, literature, still photography and other pre-cinematic modes. Taking an ambitious step forward with relation to these approaches, this book focuses on the fluid quality of the film form by exploring an array of exciting and often neglected artistic expressions worldwide as they compare and interconnect films across temporal, geographical, and cultural borders. By observing the ebb and flow of film's contours within the bounds of other artistic and medial expressions, the chapters aspire to establish a flexible historical platform for the moving form of film, posited, from production to consumption, as a transforming and transformative medium.

Para Julio Cabrera, grandes diretores como Ingmar Bergman, Alain Resnais, Stanley Kubrick ou mesmo Steven Spielberg não são apenas cineastas, são filósofos. No livro O cinema pensa – uma introdução à filosofia através dos filmes, o autor defende sua teoria de que os longas-metragens, mais do que experiências estéticas ou produtos de lazer para as massas, são conceitos-imagem, ferramentas poderosas para a exposição e a discussão de questões caras à humanidade. Seguindo esse raciocínio, Cabrera discute Roman Polanski com base em Santo Tomás de Aquino, compara Michelangelo Antonioni a Descartes, analisa Wim Wenders sob a ótica de Hegel e estabelece um paralelo entre Nietzsche e Oliver Stone, por exemplo. Kant dialoga com o Peter Weir de Sociedade dos poetas mortos e o Fred Zinnemann de O homem que não vendeu sua alma, quando o assunto é liberdade. Hegel joga luz sobre os conceitos-imagem de Paris, Texas, de Wim Wenders, Império do Sol, de Steven Spielberg, O turista acidental, de Lawrence Kasdan, e Hiroshima meu amor, de Alain Resnais. Cabrera também disseca os filmes de Clint Eastwood, Lindsay Anderson, Ridley Scott, Ingmar Bergman, Frank Darabont, Roman Polanski e tantos outros. O resultado é uma análise apurada da cultura contemporânea sob a luz da filosofia.