Sam Halliday - Böcker

Technology has come to dominate the modern experience of pregnancy and childbirth, but instead of empowering pregnant women, technology has been used to identify the foetus as a second patient characterised as a distinct entity with its own needs and interests. Often, foetal and the woman’s interests will be aligned, though in legal and medical discourses the two ‘patients’ are frequently framed as antagonists with conflicting interests. This book focuses upon the permissibility of encroachment on the pregnant woman’s autonomy in the interests of the foetus. Drawing on the law in England & Wales, the United States of America and Germany, Samantha Halliday focuses on the tension between a pregnant woman’s autonomy and medical actions taken to protect the foetus, addressing circumstances in which courts have declared medical treatment lawful in the face of the pregnant woman’s refusal of consent.As a work which calls into question the understanding of autonomy in prenatal medical care, this book will be of great use and interest to students, researchers and practitioners in medical law, comparative law, bioethics, and human rights.

In this thoughtful and engaging study, Sam Halliday reveals the many roles and forms of sound in modernism. Drawing on a wealth of texts and thinkers, the book shows the distinctive nature of sonic cultures in modernity. Arguing that these cultures are not reducible to sound alone, the book further shows that these encompass representations of sound in 'other' media: especially literature; but also, cinema and painting. Figures discussed include canonical writers such as Joyce, Richardson, and Woolf; relatively neglected writers such as Henry Roth and Bryher; and a whole host of musicians, artists, and other commentators, including Wagner, Schoenberg, Kandinsky, Adorno, and Benjamin. Conceptually as well as topically diverse, the book engages issues such as city noise and 'foreign' accents, representations of sound in 'silent' cinema, the relationship of music to language, and the effects of technology on sonic production and reception.

Ralph Ellison and Cinema reveals the crucial role of cinema throughout Ellison’s career. In his most famous work, Invisible Man (1952), cinema is part of a cultural and institutional landscape; as such, it is integral to the way the novel’s protagonist feels and thinks. In Ellison’s critical essays, cinema is simultaneously a crystallization of racial prejudice, a vehicle of ideas about history, and an index of the variously illusory and the revelatory character of dreams. But it is in his monumental, unfinished second novel, posthumously published as Three Days Before the Shooting . . . (2010), that Ellison’s thinking about cinema is brought to its imaginative and theoretical peak. Here, Ellison gives full rein to a sensibility that is both cinephile and cine-sceptical; in the book, Ellison is as much concerned with cinematic form as he is with cinematic content. To chart the breadth and depth of Ellison’s cinematic interests, Ralph Ellison and Cinema discusses the author’s major works alongside private correspondence, Hollywood films in which Ellison took particular interest, and marginalia in the author’s personal library. Ralph Ellison and Cinema also provides a detailed account of the intellectual and social contexts in which Ellison’s works took shape.