Formal and informal institutions structure our social interactions by giving rise to normative expectations and patterns of collective behaviour. This collection grapples with how affect, imagination, and embodiment can operate to either constrain or enable the justice of institutions and the experiences of specific social identities. This anthology explores the myriad ways institutions work to systematically disadvantage people with particular identities whilst privileging others, and considers the legal, political, and normative interventions that might serve to promote a more just society. Taken together, the chapters represent the scope of existing research within institutional theory, affect theory, race theory, and theories of social imaginaries. Across a range of topics (human rights, racial and sexual violence, transitional justice and democratic movements) this collection critically assesses the extent to which theorists have attended to the conjoined influence of the imagination, embodiment, and affective phenomena on processes of institutional change that aim to achieve social justice. The chapters in this book were originally published as a special issue of the journal, Angelaki.

"Quilombo, bombacha, boludo, un feca, cagar a palos, afanar, trucho..." So you thought you spoke Spanish? Ah, but these words or phrases make no sense? Welcome to Argentina and its unique Spanish. Speaking Argento is the book that will help you understand Argentines. This light-hearted dictionary-style book includes the vocabulary (and some Lunfardo words) you need to know and were never taught in school. Over 1,300 words and phrases are explained in English. The book also includes short sections that list some of the particularities of the Argentine grammar, pronunciation and gestures. There are also quick vocabulary tables that group words and phrases of a common topic. 35 funny cartoon illustrations are included to help explain word meanings. Whether you are visiting Argentina for the first time, an Argentine looking to enjoy the unique vocabulary of your country, or even wanting to get back in touch with your family roots and heritage, Speaking Argento will be a fun book for you. This book follows the light-hearted, humorous style of two bestseller books in the Speaking Latino series: Speaking Boricua and Speaking Chileno that were the result of the experience of a gringo, Jared Romey, living, working and mingling among locals in these countries. IS THIS BOOK FOR ME? This bilingual book contains words that are not appropriate for kids. If you are just starting to learn Spanish, this book is best used as a complementary reference source to any program or class designed to teach you Spanish. This book and the other books of the Speaking Latino series are not designed as stand-alone learning aids, to teach you Spanish. Instead, they expand your country-specific Spanish vocabulary. If you already speak Spanish, this book help you understand local Spanish from Argentina. Be sure to use the Amazon Look Inside function to see what this book will and will not teach.

Commanding a cult following among horror fans, Italian film director Dario Argento is best known for his work in two closely related genres, the crime thriller and supernatural horror, as well as his influence on modern horror and slasher movies. In his four decades of filmmaking, Argento has displayed a commitment to innovation, from his directorial debut with 1970's suspense thriller The Bird with the Crystal Plumage to 2009's Giallo. His films, like the lurid yellow-covered murder-mystery novels they are inspired by, follow the suspense tradition of hard-boiled American detective fiction while incorporating baroque scenes of violence and excess. While considerations of Argento's films often describe them as irrational nightmares, L. Andrew Cooper uses controversies and theories about the films' reflections on sadism, gender, sexuality, psychoanalysis, aestheticism, and genre to declare the anti-rational logic of Argento's oeuvre. Approaching the films as rhetorical statements made through extremes of sound and vision, Cooper places Argento in a tradition of aestheticized horror that includes De Sade, De Quincey, Poe, and Hitchcock. Analyzing individual images and sequences as well as larger narrative structures, he reveals how the director's stylistic excesses, often condemned for glorifying misogyny and other forms of violence, offer productive resistance to the cinema's visual, narrative, and political norms.

When a high security prison fails, a down-on-his luck cop and the governor’s daughter are going to have to team up if they’re going to escape in this "jaw-dropping, authentic, and absolutely gripping" (Harlan Coben, #1 New York Times bestselling author) debut USA Today bestselling thriller from Adam Plantinga, whose first nonfiction book Lee Child praised as “truly excellent.” Kurt Argento, an ex-Detroit street cop who can’t let injustice go—and who has the fighting skills to back up his idealism. If he sees a young girl being dragged into an alley, he's going to rescue her and cause some damage. When he does just that in a small corrupt Missouri town, he’s brutally beaten and thrown into a maximum-security prison. Julie Wakefield, a grad student who happens to be the governor's daughter, is about to take a tour of the prison. But when a malfunction in the security system releases a horde of prisoners, a fierce struggle for survival ensues. Argento must help a small band of staff and civilians, including Julie and her two state trooper handlers, make their way from the bottom floor to the roof to safety. All that stands in their way are six floors of the most dangerous convicts in Missouri.

The stylistic and bloody excesses of the films of Dario Argento are instantly recognizable—his films lock violent deaths in a twisted embrace with an almost sexual beauty. Narrative and logic are often lost in a constant bombardment of atmosphere, technical mastery, and provocative imagery. Setting the tone with earlier gialli films such as The Animal Trilogy and Deep Red, Argento has steadily pushed the boundaries; through his elaborately gothic fairytales Suspiria and Inferno, right up to his more recent contributions to Showtime's Masters of Horror series and the conclusion of his Three Mothers trilogy, Mother of Tears: The Third Mother. Along the way, his prowling camera work, pounding scores, and stylistic bloodshed have only gained in intensity and opulence. Argento continues to create inimitable and feverishly violent films with a level of artistry rarely seen in horror films. His high profile and mastery of the genre is confirmed with his role as producer on celebrated classics such as George A. Romero's Dawn of the Dead and Lamberto Bava's Demons.