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The trusted landmark cardiology resource—thoroughly updated to reflect the latest clinical perspectives

Includes DVD with image bank

A Doody''s Core Title ESSENTIAL PURCHASE for 2011!

5 STAR DOODY''S REVIEW!"This is an outstanding choice for those who strive for a firm foundation in cardiovascular medicine, as well as an up-to-date and user-friendly source that addresses every discipline in the field. The updates and enhancements to this edition have made the book easier to use."--Doody''s Review Service

Through thirteen editions, Hurst’s the Heart has always represented the cornerstone of current scholarship in the discipline. Cardiologists, cardiology fellows, and internists from across the globe have relied on its unmatched authority, breadth of coverage, and clinical relevance to help optimize patient outcomes. The thirteenth edition of Hurst’s the Heart continues this standard-setting tradition with 19 new chapters and 59 new authors, each of whom are internationally recognized as experts in their respective content areas.

Featuring an enhanced, reader-friendly design, the new edition covers need-to-know clinical advances, as well as issues that are becoming increasingly vital to cardiologists worldwide. As in previous editions, you will find the most complete overview of cardiology topics available—plus a timely new focus on evidence-based medicine, health outcomes, and health quality.

New Features

1548 full-color illustrations and 578 tablesCompanion DVD with image bank includes key figures and tables from the textThe Cardiovascular Disease: Past, Present, and Future section includes a new chapter on assessing and improving quality of care in cardiovascular medicineThe section on the scientific foundations of cardiovascular medicine has been thoroughly revised2 new chapters in the section on the evaluation of the patient detail the process of effective diagnostic decision making based on technology, clinical trials, and practice guidelinesA new chapter in the section on heart failure details cardiac transplantationThe sections on primary heart disease include new chapters on topics such as preventive strategies for coronary artery disease and updated pharmacologic strategies for acute coronary syndromesThe section on cardiopulmonary disease features new chapters on chronic cor pulmonale and sleep disorder breathing and its relationship to cardiovascular diseaseThe section on valvular heart disease has four of the six chapter completely rewritten by new authors who are authorities in the fieldThe final six sections feature new chapters on the environment and heart disease, surgical treatment of carotid and peripheral vascular disease and cost effective strategies in cardiology

Novel Arguments argues that innovative fiction - by which is meant writing that has been variously labelled as postmodern, metafictional, experimental - extends our ways of thinking about the world, rejecting the critical consensus that, under the rubrics of postmodernism and metafiction, homogenises this fiction as autonomous and self-absorbed. Play, self-consciousness and immanence - supposed symptoms of innovative fiction's autonomy - are here reconsidered as integral to its means of engagement. The 1995 book advances a concept of the 'argument' of fiction as a construct wedding structure and content into a highly evolved and expressive form. The argument, not the content, is established as the site of a fiction's 'aboutness' and thus the usual emphasis upon the generalities of innovative form is replaced by a concern for the logic of specific literary effects. Walsh deftly argues for an understanding of fictional cognition at the theoretical level and in an act of unmatched critical creativity, discards altogether the flattening totalities of received postmodern formulations.

Novel Arguments argues that innovative fiction - by which is meant writing that has been variously labelled as postmodern, metafictional, experimental - extends our ways of thinking about the world, rejecting the critical consensus that, under the rubrics of postmodernism and metafiction, homogenises this fiction as autonomous and self-absorbed. Play, self-consciousness and immanence - supposed symptoms of innovative fiction's autonomy - are here reconsidered as integral to its means of engagement. The 1995 book advances a concept of the 'argument' of fiction as a construct wedding structure and content into a highly evolved and expressive form. The argument, not the content, is established as the site of a fiction's 'aboutness' and thus the usual emphasis upon the generalities of innovative form is replaced by a concern for the logic of specific literary effects. Walsh deftly argues for an understanding of fictional cognition at the theoretical level and in an act of unmatched critical creativity, discards altogether the flattening totalities of received postmodern formulations.

Institutions and ideologies lay down parameters of accepted reading for those who wish to maintain acceptable status in their guilds. This is equally true in the church and in the academy. However, interpretation can refuse and transgress such boundaries. The Greek god, Hermes was both a thief and a conveyor of messages, and "hermeneutics," the practice of interpretation, shares in this joint heritage of Hermes. Indeed, interpretative thieves constantly transgress the boundaries of both the permitted and the decorous. Readings of the canonical gospels have a particular place in this history. Indeed, the gospels are the pride and joy of the church(es), as they are of an academy that scarcely separates itself from the church. The following essays, however, all share a desire to read Herme(s)tically, in heterodox or even heretical directions. In this volume, and against the traditional readings and their keepers, the contributors practice interpretative thefts or, put differently, they pursue "lines of flight" (Deleuze and Guattari 1987), not movements of escape but rather creative ways of contesting prevailing ideologies (cf. also Cohen and Taylor).This pursuit results in marginal readings, readings excluded by dominant Christian and academic ideologies. These readings trace the contours and the effects of the canonical and creedal, as well as the academic, captivity of the gospels. Every ideology has inherent points of weakness, fractures in its assemblage where resistance and deviation become possible - not escape to some ideology-free zone, but sufficient disturbance to open up a space for thoughts and new understandings. The keepers of the various guilds/myths inevitably see this disturbance as, at best, noxious and, at worst, as demonic, but we para-critics see our lines of flight as opening space for human living (Smith 1978: 291). Parabolic interpretations create a living space by negotiating and exploiting difference, not by acquiescing to the deadly sameness of any imperial (political, ecclesiastical, or academic) system (cf. Serres 1982).Many of the contributors read "from outside" by playing the gospels off a wide variety of secular texts, including recent film and literature.Thus, in "Jesus's Two Fathers," Aichele views the Lukan Christmas story eccentrically by reading it with China Mieville's urban fantasy novel, "King Rat". The result is a rather unorthodox understanding of the incarnation. In "Tempting Jesuses," Pippin views askew the identities (God and Satan, gender), ethics, and power of the temptation narratives. She does so by joining those gospel narratives with literary works by Saramago, Kazantzakas, Morrow, McNally, Langguth, and others. In "Matthew 11:28 and Release From the Burden of Sin," Kreitzer traces a peculiar afterlife of one Christian image of salvation by moving from Matthew through Bunyan to Joffee's "The Mission". Staley's target is the liberation of the story of the woman taken in adultery. To do so, he lumps that (already suspicious) "Johannine" story with "Liar, Liar" and moves from a rhetorical to an intertextual reading. Each of these juxtapositions render their respective gospel (texts) newly seen precursors.

Unlike Jesus, Paul has not appeared often in the movies, either as a leading man or as a part of the supporting cast. "In Finding Saint Paul in the Movies", Walsh finds a Paul who is a stranger to our questions and ideologies. As Paul does not appear often in film, the films that the book brings into dialogue with Paul have only metaphorical connections with the Paul of Christian and academic discourse. The films relate to Paul only as Walsh's interpretations of the films and of Paul render Paul the films' precursor. Walsh's book works more abstractly. It has four major topics distributed in an equal number of chapters: Paul's concept of grace (the inclusion of the Gentiles); Paul's apocalyptic visions and worldview; Paul's struggles with theodicy and community formation; and Paul's "apostolic" or "canonical" status. He examines movies such as "Tender Mercies", "Star Trek II: The Wrath of Khan", "Places in the Heart", "Donnie Darko", "Witness", "The Truman Show", "Strange Days", "Being John Malkovich", "Fargo", "Crimes and Misdemeanours", and "The Apostle".

The first decades of the twenty-first century saw a resurgence of the biblical epic film, such as Noah and Exodus: Gods and Kings, which was in turn accompanied by a growth of biblical film criticism. This companion surveys that field of study by framing it in light of significant and recent biblical films as well as the voices of key biblical film critics. Non-Hollywood and seemingly “non-biblical” films also come under investigation.The contributors concentrate on three points: “context”, focusing on the ‘Bible in’ specific film genres and cultural situations; “theory”, applying theory from both religion and film studies, with an eye to their possible intersections; and “recent and significant texts”, reflecting on which texts and themes have been most important in ‘biblical film’ and which are currently at the fore. Exploring cinema across the globe, and accompanied by extended introductory essays for each of the three sections, this companion is an important resource for scholars in both film and biblical reception.

The first decades of the twenty-first century saw a resurgence of the biblical epic film, such as Noah and Exodus: Gods and Kings, which was in turn accompanied by a growth of biblical film criticism. This companion surveys that field of study by framing it in light of significant and recent biblical films as well as the voices of key biblical film critics. Non-Hollywood and seemingly “non-biblical” films also come under investigation.The contributors concentrate on three points: “context”, focusing on the ''Bible in'' specific film genres and cultural situations; “theory”, applying theory from both religion and film studies, with an eye to their possible intersections; and “recent and significant texts”, reflecting on which texts and themes have been most important in ''biblical film'' and which are currently at the fore. Exploring cinema across the globe, and accompanied by extended introductory essays for each of the three sections, this companion is an important resource for scholars in both film and biblical reception.

The first decades of the twenty-first century saw a resurgence of the biblical epic film, such as Noah and Exodus: Gods and Kings, which was in turn accompanied by a growth of biblical film criticism. This companion surveys that field of study by framing it in light of significant and recent biblical films as well as the voices of key biblical film critics. Non-Hollywood and seemingly “non-biblical” films also come under investigation.The contributors concentrate on three points: “context”, focusing on the ''Bible in'' specific film genres and cultural situations; “theory”, applying theory from both religion and film studies, with an eye to their possible intersections; and “recent and significant texts”, reflecting on which texts and themes have been most important in ''biblical film'' and which are currently at the fore. Exploring cinema across the globe, and accompanied by extended introductory essays for each of the three sections, this companion is an important resource for scholars in both film and biblical reception.

The T&T Clark Handbook of Jesus and Film introduces postgraduate readers to the critical field of Jesus and/on film. The bulk of biblical films feature Jesus, as protagonist, in cameo, or as a looming background presence or pattern. The handbook assesses the field in light of the work of important biblical film critics including chapters from the leading voices in the field and showcasing the diversity of work done by scholars in the field. Movies discussed include The Passion of the Christ, The King of Kings, Jesus of Nazareth, Monty Python's Life of Brian, Son of Man, and Mary Magdalene.The chapters range across two broad areas: 1) Jesus films, understood broadly as filmed passion plays, other relocations of Jesus, historical Jesus treatments, and Jesus adjacent cinema (privileging invented characters or “minor” gospel characters); and 2) other cinematic Jesuses, including followers who imitate Jesus devotionally or aesthetically, (Christian) Christ figures, antichrists, yet other messiahs, and competing Jesuses in a pluralist world. As one leaves the confines of Christian theology, the question of what a film or interpreter is doing with Jesus or Christ becomes something to be determined, not necessarily something traditional.

The T&T Clark Handbook of Jesus and Film introduces postgraduate readers to the critical field of Jesus and/on film. The bulk of biblical films feature Jesus, as protagonist, in cameo, or as a looming background presence or pattern. The handbook assesses the field in light of the work of important biblical film critics including chapters from the leading voices in the field and showcasing the diversity of work done by scholars in the field. Movies discussed include The Passion of the Christ, The King of Kings, Jesus of Nazareth, Monty Python''s Life of Brian, Son of Man, and Mary Magdalene. The chapters range across two broad areas: 1) Jesus films, understood broadly as filmed passion plays, other relocations of Jesus, historical Jesus treatments, and Jesus adjacent cinema (privileging invented characters or “minor” gospel characters); and 2) other cinematic Jesuses, including followers who imitate Jesus devotionally or aesthetically, (Christian) Christ figures, antichrists, yet other messiahs, and competing Jesuses in a pluralist world. As one leaves the confines of Christian theology, the question of what a film or interpreter is doing with Jesus or Christ becomes something to be determined, not necessarily something traditional.

The T&T Clark Handbook of Jesus and Film introduces postgraduate readers to the critical field of Jesus and/on film. The bulk of biblical films feature Jesus, as protagonist, in cameo, or as a looming background presence or pattern. The handbook assesses the field in light of the work of important biblical film critics including chapters from the leading voices in the field and showcasing the diversity of work done by scholars in the field. Movies discussed include The Passion of the Christ, The King of Kings, Jesus of Nazareth, Monty Python''s Life of Brian, Son of Man, and Mary Magdalene. The chapters range across two broad areas: 1) Jesus films, understood broadly as filmed passion plays, other relocations of Jesus, historical Jesus treatments, and Jesus adjacent cinema (privileging invented characters or “minor” gospel characters); and 2) other cinematic Jesuses, including followers who imitate Jesus devotionally or aesthetically, (Christian) Christ figures, antichrists, yet other messiahs, and competing Jesuses in a pluralist world. As one leaves the confines of Christian theology, the question of what a film or interpreter is doing with Jesus or Christ becomes something to be determined, not necessarily something traditional.

Jesus films arose with cinema itself. Richard Walsh and Jeffrey L. Staley introduce students to these films with a general overview of the Jesus film tradition and with specific analyses of 22 of its most influential exemplars, stretching from La vie du Christ (1906) to Mary Magdalene (2018). The introduction to each film includes discussion of plot, characters, visuals, appeal to authority, and cultural location as well as consideration of the director’s (and/or other filmmakers’) achievements and style. Several film chapters end with reflections on problematic issues bedeviling the tradition, such as cultural imperialism and patriarchy. To assist teachers and researchers, each chapter includes a listing of DVD chapters and the approximate “time” (for both DVDs and streaming platforms) at which key film moments occur. The book also includes a Gospels Harmony cataloging the time at which key gospel incidents appear in these films. Extensive endnotes point readers to other important work on the tradition and specific films. While the authors strive to set the Jesus film tradition within cinema and its interpretation, the DVD/streaming listing and the Gospels Harmony facilitate the comparison of these films to gospel interpretation and the Jesus tradition.

Jesus films arose with cinema itself. Richard Walsh and Jeffrey L. Staley introduce students to these films with a general overview of the Jesus film tradition and with specific analyses of 22 of its most influential exemplars, stretching from La vie du Christ (1906) to Mary Magdalene (2018). The introduction to each film includes discussion of plot, characters, visuals, appeal to authority, and cultural location as well as consideration of the director’s (and/or other filmmakers’) achievements and style. Several film chapters end with reflections on problematic issues bedeviling the tradition, such as cultural imperialism and patriarchy. To assist teachers and researchers, each chapter includes a listing of DVD chapters and the approximate “time” (for both DVDs and streaming platforms) at which key film moments occur. The book also includes a Gospels Harmony cataloging the time at which key gospel incidents appear in these films. Extensive endnotes point readers to other important work on the tradition and specific films. While the authors strive to set the Jesus film tradition within cinema and its interpretation, the DVD/streaming listing and the Gospels Harmony facilitate the comparison of these films to gospel interpretation and the Jesus tradition.

Jesus films arose with cinema itself. Richard Walsh and Jeffrey L. Staley introduce students to these films with a general overview of the Jesus film tradition and with specific analyses of 22 of its most influential exemplars, stretching from La vie du Christ (1906) to Mary Magdalene (2018). The introduction to each film includes discussion of plot, characters, visuals, appeal to authority, and cultural location as well as consideration of the director''s (and/or other filmmakers'') achievements and style. Several film chapters end with reflections on problematic issues bedeviling the tradition, such as cultural imperialism and patriarchy. To assist teachers and researchers, each chapter includes a listing of DVD chapters and the approximate “time” (for both DVDs and streaming platforms) at which key film moments occur. The book also includes a Gospels Harmony cataloging the time at which key gospel incidents appear in these films. Extensive endnotes point readers to other important work on the tradition and specific films. While the authors strive to set the Jesus film tradition within cinema and its interpretation, the DVD/streaming listing and the Gospels Harmony facilitate the comparison of these films to gospel interpretation and the Jesus tradition.

Jesus films arose with cinema itself. Richard Walsh and Jeffrey L. Staley introduce students to these films with a general overview of the Jesus film tradition and with specific analyses of 22 of its most influential exemplars, stretching from La vie du Christ (1906) to Mary Magdalene (2018). The introduction to each film includes discussion of plot, characters, visuals, appeal to authority, and cultural location as well as consideration of the director''s (and/or other filmmakers'') achievements and style. Several film chapters end with reflections on problematic issues bedeviling the tradition, such as cultural imperialism and patriarchy. To assist teachers and researchers, each chapter includes a listing of DVD chapters and the approximate “time” (for both DVDs and streaming platforms) at which key film moments occur. The book also includes a Gospels Harmony cataloging the time at which key gospel incidents appear in these films. Extensive endnotes point readers to other important work on the tradition and specific films. While the authors strive to set the Jesus film tradition within cinema and its interpretation, the DVD/streaming listing and the Gospels Harmony facilitate the comparison of these films to gospel interpretation and the Jesus tradition.

The T&T Clark Handbook of Jesus and Film introduces postgraduate readers to the critical field of Jesus and/on film. The bulk of biblical films feature Jesus, as protagonist, in cameo, or as a looming background presence or pattern. The handbook assesses the field in light of the work of important biblical film critics including chapters from the leading voices in the field and showcasing the diversity of work done by scholars in the field. Movies discussed include The Passion of the Christ, The King of Kings, Jesus of Nazareth, Monty Python's Life of Brian, Son of Man, and Mary Magdalene.The chapters range across two broad areas: 1) Jesus films, understood broadly as filmed passion plays, other relocations of Jesus, historical Jesus treatments, and Jesus adjacent cinema (privileging invented characters or “minor” gospel characters); and 2) other cinematic Jesuses, including followers who imitate Jesus devotionally or aesthetically, (Christian) Christ figures, antichrists, yet other messiahs, and competing Jesuses in a pluralist world. As one leaves the confines of Christian theology, the question of what a film or interpreter is doing with Jesus or Christ becomes something to be determined, not necessarily something traditional.

The first decades of the twenty-first century saw a resurgence of the biblical epic film, such as Noah and Exodus: Gods and Kings, which was in turn accompanied by a growth of biblical film criticism. This companion surveys that field of study by framing it in light of significant and recent biblical films as well as the voices of key biblical film critics. Non-Hollywood and seemingly “non-biblical” films also come under investigation.The contributors concentrate on three points: “context”, focusing on the ‘Bible in’ specific film genres and cultural situations; “theory”, applying theory from both religion and film studies, with an eye to their possible intersections; and “recent and significant texts”, reflecting on which texts and themes have been most important in ‘biblical film’ and which are currently at the fore. Exploring cinema across the globe, and accompanied by extended introductory essays for each of the three sections, this companion is an important resource for scholars in both film and biblical reception.

Are you a slave to your to-do list? At the end of the day, is your list longer than when you started? Are you awash in a sea of sticky notes and memos? Stop! Instead of listing your important tasks, schedule them with a start time and end time. This will help you create a mini-plan for each task, and a workable, productive agenda for your day.This is just one tip from Time Management, Second Edition. And there''s more-a lot more. You''ll learn how to:Distinguish between the important and the urgentSay "No" and avoid time-wasting tasksDelegate for greater productivityCommunicate more effectivelyUnderstand the many time-management software programs availableCope with stressThis book provides both a framework for building a personal time philosophy and the real-world tips and techniques for becoming more efficient and productive.You have more time than you think. Time Management, Second Edition will help you find it.Richard Walsh is a publishing professional who specializes in career books. He edits the annual National JobBank. He lives in Boston.

Millions of Americans are out of work. Their savings accounts have shrunk, and they’re taking out second mortgages and cashing in their retirement accounts to pay off overdue credit card bills. But the entrepreneurial spirit is alive and well in America, as clear in initiatives like Small Business Saturday and Entrepreneur.com. And hundreds of thousands of courageous innovators have decided to start their own businesses. The question is—how much money will it take to do it successfully? Here are innovative, exciting ideas for businesses based on what the reader can afford. For each venture author Richard Walsh outlines start up expenses, probable earnings, qualifications, and gives the low down on what the business is really all about. This is the essential down-and-dirty guide for every aspiring entrepreneur who wants to select a business, get a business plan together, and join the small business revolution.

Millions of Americans are out of work. Their savings accounts have shrunk, and they’re taking out second mortgages and cashing in their retirement accounts to pay off overdue credit card bills. But the entrepreneurial spirit is alive and well in America, as clear in initiatives like Small Business Saturday and Entrepreneur.com. And hundreds of thousands of courageous innovators have decided to start their own businesses. The question is—how much money will it take to do it successfully? Here are innovative, exciting ideas for businesses based on what the reader can afford. For each venture author Richard Walsh outlines start up expenses, probable earnings, qualifications, and gives the low down on what the business is really all about. This is the essential down-and-dirty guide for every aspiring entrepreneur who wants to select a business, get a business plan together, and join the small business revolution.

Millions of Americans are out of work. Their savings accounts have shrunk, and they’re taking out second mortgages and cashing in their retirement accounts to pay off overdue credit card bills. But the entrepreneurial spirit is alive and well in America, as clear in initiatives like Small Business Saturday and Entrepreneur.com. And hundreds of thousands of courageous innovators have decided to start their own businesses. The question is—how much money will it take to do it successfully? Here are innovative, exciting ideas for businesses based on what the reader can afford. For each venture author Richard Walsh outlines start up expenses, probable earnings, qualifications, and gives the low down on what the business is really all about. This is the essential down-and-dirty guide for every aspiring entrepreneur who wants to select a business, get a business plan together, and join the small business revolution.

This collection of essays is a Festschrift for Naymond Keathley, honoring his many contributions to Baylor as Associate Dean of the College of Arts and Sciences, as Senior Vice-Provost, as Interim Director of the Center for International Education, as Interim Chair of the Religion Department, as Professor, and as Director of Undergraduate Studies. He also served as president of the Southwest Region of the NABPR and was a long-time member of the Society of Biblical Literature. The authors of the essays include Naymond's friends, colleagues, and students. All of the essays are (broadly) in biblical studies and biblical reception, including essays exploring the intersection between biblical studies and popular culture. Most of the essays take up various New Testament texts.