Karen Sullivan – författare

Aimed at parents of 9-16 year olds, this A-Z of questions and answers covers every conceivable dilemma – from what age you should give your child a mobile phone, to dealing with internet chat rooms.When can your child legally get a job? When can they baby-sit the kid next door? Tackling the trickiest problems head on, Karen Sullivan explains when it is safe, appropriate, necessary or even normal for children to do certain things. As your children enter their teenage years and want more independence, the questions multiply.You Want to Do What? offers reliable guidance and information instantly. Karen draws on developmental, advisory, legal and statistical information to set out the facts and offer a reasoned solution. Her informed, no-nonsense, common sense approach to parenting allows you to make decisions quickly and with confidence. And if you need to say 'no' to your teenager, You Want to Do What? gives you the best reasons to explain why.

There have been numerous studies in recent decades of the medieval inquisitions, most emphasizing larger social and political circumstances and neglecting the role of the inquisitors themselves. In this volume, Karen Sullivan sheds much-needed light on these individuals and reveals that they had choices - both the choice of whether to play a part in the orthodox repression of heresy and, more frequently, the choice of whether to approach heretics with zeal or with charity. In successive chapters on key figures in the Middle Ages-Bernard of Clairvaux, Dominic Guzman, Conrad of Marburg, Peter of Verona, Bernard Gui, Bernard Delicieux, and Nicholas Eymerich - Sullivan shows that it is possible to discern each inquisitor making personal, moral choices as to what course of action he would take. All medieval clerics recognized that the church should first attempt to correct heretics through repeated admonitions and that, if these admonitions failed, it should then move toward excluding them from society. Yet more charitable clerics preferred to wait for conversion, while zealous clerics preferred not to delay too long before sending heretics to the stake.By considering not the external prosecution of heretics during the Middles Ages, but the internal motivations of the preachers and inquisitors who pursued them, as represented in their writings and in those of their peers, The Inner Lives of Medieval Inquisitors explores how it is that the most idealistic of purposes can lead to the justification of such dark ends.

The curious paradox of romance is that, throughout its history, this genre has been dismissed as trivial and unintellectual, yet people have never ceased to flock to it with enthusiasm and even fervor. In contemporary contexts, we devour popular romance and fantasy novels like The Lord of the Rings, Harry Potter, and Game of Thrones, reference them in conversations, and create online communities to expound, passionately and intelligently, upon their characters and worlds. But romance is “unrealistic,” critics say, doing readers a disservice by not accurately representing human experiences. It is considered by some to be a distraction from real literature, a distraction from real life, and little more.Yet is it possible that romance is expressing a truth—and a truth unrecognized by realist genres? The Arthurian literature of the Middle Ages, Karen Sullivan argues, consistently ventriloquizes in its pages the criticisms that were being made of romance at the time, and implicitly defends itself against those criticisms. The Danger of Romance shows that the conviction that ordinary reality is the only reality is itself an assumption, and one that can blind those who hold it to the extraordinary phenomena that exist around them. It demonstrates that that which is rare, ephemeral, and inexplicable is no less real than that which is commonplace, long-lasting, and easily accounted for. If romance continues to appeal to audiences today, whether in its Arthurian prototype or in its more recent incarnations, it is because it confirms the perception—or even the hope—of a beauty and truth in the world that realist genres deny.

The curious paradox of romance is that, throughout its history, this genre has been dismissed as trivial and unintellectual, yet people have never ceased to flock to it with enthusiasm and even fervor. In contemporary contexts, we devour popular romance and fantasy novels like The Lord of the Rings, Harry Potter, and Game of Thrones, reference them in conversations, and create online communities to expound, passionately and intelligently, upon their characters and worlds. But romance is “unrealistic,” critics say, doing readers a disservice by not accurately representing human experiences. It is considered by some to be a distraction from real literature, a distraction from real life, and little more.Yet is it possible that romance is expressing a truth—and a truth unrecognized by realist genres? The Arthurian literature of the Middle Ages, Karen Sullivan argues, consistently ventriloquizes in its pages the criticisms that were being made of romance at the time, and implicitly defends itself against those criticisms. The Danger of Romance shows that the conviction that ordinary reality is the only reality is itself an assumption, and one that can blind those who hold it to the extraordinary phenomena that exist around them. It demonstrates that that which is rare, ephemeral, and inexplicable is no less real than that which is commonplace, long-lasting, and easily accounted for. If romance continues to appeal to audiences today, whether in its Arthurian prototype or in its more recent incarnations, it is because it confirms the perception—or even the hope—of a beauty and truth in the world that realist genres deny.

There have been numerous studies in recent decades of the medieval inquisitions, most emphasizing larger social and political circumstances and neglecting the role of the inquisitors themselves. In this volume, Karen Sullivan sheds much-needed light on these individuals and reveals that they had choices - both the choice of whether to play a part in the orthodox repression of heresy and, more frequently, the choice of whether to approach heretics with zeal or with charity. In successive chapters on key figures in the Middle Ages - Bernard of Clairvaux, Dominic Guzman, Conrad of Marburg, Peter of Verona, Bernard Gui, Bernard Delicieux, and Nicholas Eymerich - Sullivan shows that it is possible to discern each inquisitor making personal, moral choices as to what course of action he would take. All medieval clerics recognized that the Church should first attempt to correct heretics through repeated admonitions and that, if these admonitions failed, it should then move toward excluding them from society. Yet more charitable clerics preferred to wait for conversion, while zealous clerics preferred not to delay too long before sending heretics to the stake.By considering not the external prosecution of heretics during the Middles Ages, but the internal motivations of the preachers and inquisitors who pursued them, as represented in their writings and in those of their peers, "The Inner Lives of Medieval Inquisitors" explores how it is that the most idealistic of purposes can lead to the justification of such dark ends.

In the Middle Ages, the heretic, more than any other social or religious deviant, was experienced as an imaginary construct. Everyone believed heretics existed, but no one believed himself or herself to be a heretic, even if condemned as such by representatives of the Catholic Church. Those accused of heresy, meanwhile, maintained that they were the good Christians and their accusers were the false ones. Exploring the figure of the heretic in Catholic writings of the twelfth and thirteenth centuries as well as the heretic's characterological counterpart in troubadour lyrics, Arthurian romance, and comic tales, "Truth and the Heretic" seeks to understand why French literature of the period celebrated the very characters who were so persecuted in society at large. Karen Sullivan proposes that such literature allowed medieval culture a means by which to express truths about heretics and the epistemological anxieties they aroused.The first book-length study of the figure of the heretic in medieval French literature, "Truth and the Heretic" explores the relation between orthodoxy and deviance, authority and innovation, and will fascinate historians of ideas and literature as well as scholars of religion, critical theory, and philosophy.

A reparative reading of stories about medieval queen Eleanor of Aquitaine.Much of what we know about Eleanor of Aquitaine, Queen of France and then Queen of England, we know from recorded rumor—gossip often qualified by the curious phrase “it was said,” or the love songs, ballads, and romances that gossip inspired. While we can mine these stories for evidence about the historical Eleanor, Karen Sullivan invites us to consider, instead, what even the most fantastical of these tales reveals about this queen and life as a twelfth-century noblewoman. She reads the Middle Ages, not to impose our current conceptual categories on its culture, but to expose the conceptual categories medieval women used to make sense of their lives. Along the way, Sullivan paints a fresh portrait of this singular medieval queen and the women who shared her world.

Editor's note: there has been an issue with the book's companion site. Focal Press is fixing the issue. In the meanwhile, please visit http://www.routledge.com/cw/sullivan-978024081872/ for all the material promised in the book. From demo reel creation to festival shorts, students and professionals alike are creating animated shorts that are dynamic and eye catching but the time constraints of these shorts are challenging in their own right. The unique format of the animated short of two to five minutes in length presents a practical and aesthetic challenge that is rarely addressed in the classroom. Ideas for the Animated Short is a comprehensive and practical blueprint for creative and unique animated short creation with a focus on the strength of a compelling story. A comprehensive guide to the animated short, this title is an invaluable asset for aspiring animation professionals, students and independent filmmakers. Explore the process of developing a short from conception to final delivery and adapt the industry's best practices in your own workflow. Written by four leading animators, artists and professors, Ideas for the Animated Short is written from the unique perspective of a professional animator adapting creative stories into incredible animated shorts.Follow from start to finish the creation of an animated short from the pre-production thought process to story development and character design. Explore the best practices and avoid the common pitfalls of creating two to five minute shorts. Watch a specially created animated short, demonstrating the core techniques and principles at the companion website! Packed with illustrated examples of idea generation, character and story development, acting, dialogue and storyboarding practice this is your conceptual toolkit proven to meet the challenges of this unique art form. The companion website includes in-depth interviews with industry insiders, short animations (many with accompanying animatics, character designs and environment designs) and an acting workshop to get your animated short off to a flying start! With all NEW content on script writing, acting, sound design and visual storytelling that further enhance your animated shorts and apply the industry best practices to your own projects.

A radical reassessment of the trial of Joan of Arc that gives a new sense of Joan in her time.The transcripts of Joan of Arc’s trial for heresy at Rouen in 1431 and the minutes of her interrogation have long been recognized as our best source of information about the Maid of Orleans. Historians generally view these legal texts as a precise account of Joan’s words and, by extension, her beliefs. Focusing on the minutes recorded by clerics, however, Karen Sullivan challenges the accuracy of the transcript. In The Interrogation of Joan of Arc, she re-reads the record not as a perfect reflection of a historical personality’s words, but as a literary text resulting from the collaboration between Joan and her interrogators.Sullivan provides an illuminating and innovative account of Joan’s trial and interrogation, placing them in historical, social, and religious context. In the fifteenth century, interrogation was a method of truth-gathering identified not with people like Joan, who was uneducated, but with clerics, like those who tried her. When these clerics questioned Joan, they did so as scholastics educated at the University of Paris, as judges and assistants to judges, and as pastors trained in hearing confessions.The Interrogation of Joan of Arc traces Joan’s conflicts with her interrogators not to differing political allegiances, but to fundamental differences between clerical and lay cultures. Sullivan demonstrates that the figure depicted in the transcripts as Joan of Arc is a complex, multifaceted persona that results largely from these cultural differences. Discerning and innovative, this study suggests a powerful new interpretive model and redefines our sense of Joan and her time.

This book reflects on the ways in which metonymy and metaphor are used conceptually and linguistically to mitigate the more difficult dimensions of death and dying, setting out a unique line of research within Conceptual Metaphor Theory. The volume argues that metonymic and metaphoric descriptions of death and dying reflect taboos, concealment, and other considerations not found in figurative descriptions of life, producing distinct forms of euphemism, frames, and mental spaces particular to conceptualizations of death.The first part takes a closer look at metonymy to illuminate the ways in which it allows a person to zoom in on death’s more inoffensive dimensions or zoom out from its more troubling aspects. The second part focuses on the more palatable concepts which metaphorically structure and help to better understand death.A wide range of classical and modern examples from European, Asian, Australian, and African languages and cultures showcase points of overlap and divergence. Opening up new lines of inquiry into research on death and dying and offering a linguistically focused complement to anthropological and religious studies on the topic, this book will be of interest to scholars in cognitive linguistics, sociolinguistics, cross-cultural communication, and cultural studies.

This book reflects on the ways in which metonymy and metaphor are used conceptually and linguistically to mitigate the more difficult dimensions of death and dying, setting out a unique line of research within Conceptual Metaphor Theory. The volume argues that metonymic and metaphoric descriptions of death and dying reflect taboos, concealment, and other considerations not found in figurative descriptions of life, producing distinct forms of euphemism, frames, and mental spaces particular to conceptualizations of death.The first part takes a closer look at metonymy to illuminate the ways in which it allows a person to zoom in on death’s more inoffensive dimensions or zoom out from its more troubling aspects. The second part focuses on the more palatable concepts which metaphorically structure and help to better understand death.A wide range of classical and modern examples from European, Asian, Australian, and African languages and cultures showcase points of overlap and divergence. Opening up new lines of inquiry into research on death and dying and offering a linguistically focused complement to anthropological and religious studies on the topic, this book will be of interest to scholars in cognitive linguistics, sociolinguistics, cross-cultural communication, and cultural studies.

Editor's note: there has been an issue with the book's companion site. Focal Press is fixing the issue. In the meanwhile, please visit http://www.routledge.com/cw/sullivan-978024081872/ for all the material promised in the book. From demo reel creation to festival shorts, students and professionals alike are creating animated shorts that are dynamic and eye catching but the time constraints of these shorts are challenging in their own right. The unique format of the animated short of two to five minutes in length presents a practical and aesthetic challenge that is rarely addressed in the classroom. Ideas for the Animated Short is a comprehensive and practical blueprint for creative and unique animated short creation with a focus on the strength of a compelling story. A comprehensive guide to the animated short, this title is an invaluable asset for aspiring animation professionals, students and independent filmmakers. Explore the process of developing a short from conception to final delivery and adapt the industry's best practices in your own workflow. Written by four leading animators, artists and professors, Ideas for the Animated Short is written from the unique perspective of a professional animator adapting creative stories into incredible animated shorts.Follow from start to finish the creation of an animated short from the pre-production thought process to story development and character design. Explore the best practices and avoid the common pitfalls of creating two to five minute shorts. Watch a specially created animated short, demonstrating the core techniques and principles at the companion website! Packed with illustrated examples of idea generation, character and story development, acting, dialogue and storyboarding practice this is your conceptual toolkit proven to meet the challenges of this unique art form. The companion website includes in-depth interviews with industry insiders, sho

Critics shudder at mixed metaphors like ‘that wet blanket is a loose cannon’, but admire ‘Life’s but a walking shadow, a poor player’, and all the metaphors packed into Macbeth’s ‘Tomorrow, and tomorrow, and tomorrow’ speech. How is it that metaphors are sometimes mixed so badly and other times put together so well?In Mixed Metaphors: Their Use and Abuse, Karen Sullivan employs findings from linguistics and cognitive science to explore how metaphors are combined and why they sometimes mix. Once we understand the ways that metaphoric ideas are put together, we can appreciate why metaphor combinations have such a wide range of effects.Mixed Metaphors: Their Use and Abuse includes analyses of over a hundred metaphors from politicians, sportspeople, writers and other public figures, and identifies the characteristics that make these metaphors annoying, amusing or astounding.

Critics shudder at mixed metaphors like ‘that wet blanket is a loose cannon’, but admire ‘Life’s but a walking shadow, a poor player’, and all the metaphors packed into Macbeth’s ‘Tomorrow, and tomorrow, and tomorrow’ speech. How is it that metaphors are sometimes mixed so badly and other times put together so well?In Mixed Metaphors: Their Use and Abuse, Karen Sullivan employs findings from linguistics and cognitive science to explore how metaphors are combined and why they sometimes mix. Once we understand the ways that metaphoric ideas are put together, we can appreciate why metaphor combinations have such a wide range of effects.Mixed Metaphors: Their Use and Abuse includes analyses of over a hundred metaphors from politicians, sportspeople, writers and other public figures, and identifies the characteristics that make these metaphors annoying, amusing or astounding.

The ultimate guide to baking and decorating creative cakes for any occasion.From mastering the basics of cake decorating and learning how to pipe, emboss, model, and airbrush your cakes and cake pops, discover everything you need to transform a cake into a work of art!Cake and cupcake decorating have never been easier thanks to this handy cake design guide. Here's what's inside:- A dedicated cake decorating techniques chapter provides 100s of ideas for piping, stencilling, painting, and carving- Shows you how to make and use the basic key ingredients, from the perfect recipe for fondant to piping with buttercream icing and making chocolate ganache- A range of showstopping baking projects - many of which are complete with cupcakes or mini cakes variations - A complete guide to cake decorating equipment ensures you have everything you needGet the skills you need to decorate cakes like a pro with this baking book for beginners. Not only will your cakes look fabulous, but they will also taste delicious with the help of Cake Basics - a chapter dedicated to easy cake recipes such as red velvet sponge and chocolate cake. To showcase your new skills, there are 20 unique projects with designs for you to try!Filled with visual inspiration, step-by-step photography and expert advice, this cake decorating book will have you whipping up everything from intricate, filigree-piped wedding cakes to a stunning bouquet of cupcake roses in no time! It's the perfect book for beginners and keen cake decorators alike.

50 fabulous kids' cakes, cupcakes and cake pops.Kids' Birthday Cakes Step by Step is a delicious guide that takes the stress out of baking unforgettable birthday cakes to wow your child, whatever their age. Choose your child's cake from a delectable array of over 50 show-stopping cake designs, from animal cakes to sports cakes and toy cakes. Would your kid go crazy for a circus cake with matching circus animal cake pops, or would they prefer a dinosaur egg cake with miniature egg cupcakes? Whether you are making birthday cakes for girls or boys, there's something for everyone. Every cake design has visual step-by-steps making the birthday cake creating process stress-free, plus you'll be provided with themed cupcake decoration ideas and be shown how to make cake pops. You'll also be able to plan ahead with handy tips on how long the cake will take to make, build, bake and decorate so everything will be ready in time for your child's party. With Kids' Birthday Cakes Step by Step you'll be able to add the perfect finishing touches with cake-decorating techniques such as piping, moulding figures and using fondant icing, taking your child's birthday cake from average to awesome in no time.

Le Lévite d’Ephraïm, Rousseau’s re-imagining of the final chapters of the Book of Judges, contains major themes of Rousseau’s oeuvre and lays forth central concerns of his intellectual projects. Among the themes highlighted in the concentrated narrative are: the nature of signs and symbols and theirrelationship to the individual and society that produce them; the role of hospitality in constituting civil society; the textually-displayed moral disorder as foreshadowing political revolution; and finally, the role of violence in creating a unified polity. In Le Lévite d’Ephraïm, Rousseau explores the psychological and communal implications of violence and, through them, the social and political context of society. The incarnation of violence on the bodies of the women in this story highlights the centrality of women in Rousseau’s thought. Women are systematically dismembered, both literally and figuratively, and this draws the reader’s attention to the significance of these women as they are perennially re-membered inside and outside the text. This study of these themes in Le Lévite d’Ephraïm places it inrelation to the biblical text at its origins and to Rousseau’s own writings and larger cultural concerns as he grapples with the challenges of modernity.

Since the Middle Ages, bears have most frequently been seen as objects. For many centuries, Europeans regarded bears as pests to be eradicated because of the danger they posed to human beings and livestock, whilst in recent decades they have increasingly been seen as victims to be protected from human violence. When a bear attacks, the contemporary response is typically to blame human beings’ failure, either to signal their presence in bears’ habitats or to bear-proof their backyards. For climate change activists, the polar bear has become emblematic of the threat posed by humans to the natural world, even though the polar bear’s population has steadily increased in recent times. At two extremes, bears have been objects of predation or pity. In medieval times, however, bears were not objects but subjects viewed as creatures of God. They were seen as being in possession of something analogous to rationality, which enabled them to display surprising intelligence: as warriors endowed with both strength and courage to which humans could only aspire; as fierce competitors in bear-baiting spectacles, like prize-fighters engaged in a bloody sport; or as lovers, inclined to abduct women and have children with them. People treated bears as they expected to be treated themselves, and expected them to behave as humans would; not as passive victims of human action, but as active subjects.