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Second-hand smoke, also known as environmental tobacco smoke (ETS), is one of the most harmful indoor pollutants. Exposure to ETS is a worldwide silent cause of mortality and morbidity. Although ETS had been decreased for 20 years, a lot of people who do not smoke still exposed to ETS at home, work, public places, and in vehicles. ETS is a risk factor for many important diseases such as lung cancer, chronic obstructive lung disease, asthma, cardiovascular diseases, upper and lower respiratory tract infections, and sudden infant death. In this article, the harmful effects of ETS and the effects of smoke-free environment regulation on ETS exposure were reviewed.

"This beautifully produced new paperback edition of "Silent Images" explores a puzzling contradiction: Despite the multitude of artifacts and texts that have come to us from ancient Egypt, much still remains obscure regarding the lives of women. Women were, from the historical perspective, silent - but how should this silence be interpreted? What was the reality of women's lives behind the standardized images? We know that their chief role in society as mothers and anchors of the family was honored and respected, although it meant a degree of segregation and, in most periods, excluded them from public office. Nevertheless, in law they were the equals of men and they could, and did, own property, which they administered and disposed of themselves. Zahi Hawass's book searches for a more realistic picture of women's lives in ancient Egypt. As well as reconsidering the evidence from tomb and temple, the author draws on unpublished material from his excavations at the workers' cemetery at Giza, which sheds light on the womenfolk of the workmen who built and maintained the pyramids."--Publisher's description

The present paper argues that the transformation of the relationship between public and private spheres lies at the heart of the process of change in Eastern Europe, and that the exclusion of women and the de-grading of feminine identity currently in train are not contingent to, but rather a fundamentally constitutive feature of, the democratisation of Eastern Europe. This contrasts with existing accounts of social transition which have focused exclusively on the reconstruction of the public sphere. The paper characterises the changing nature of patriarchy in Eastern Europe, and explains why such changes have as yet not met with serious feminist challenge. It does so by highlighting the way in which the formal structures of state socialism acted to foster neo-traditionalism and traditional gender identity, and by showing how traditional gender identity has acted as a vital vehicle for change. Drawing on historical comparisons, it is argued that Eastern Europe's silent revolution may in fact be seen as a dramatic illustration of the masculinism at the heart of Western democracy.

This study attempts to understand, within a global and comparative context and with an emphasis on issues related to class, a number of representative aesthetic approaches and narrative forms to be found in a particular regional cinema – that of Hong Kong – as so many characteristic forms of artistic or cultural responses to the social phenomena that inevitably arise in accompaniment to a society's process of modernization or development. The assumption is that the modernization of a society – when it is open to global trends and currents and follows a Western-led, capitalist direction – brings with it a host of shared, inevitable social transformations that filmmakers, with the formal and stylistic resources that are current and available to them at a given time and place, respond to with the aim of intervention, reflecting changes that are taking place in society even as they play a role in effecting those very changes. The foreground of the study is the postwar development of Hong Kong cinema as a site of multiplicity from the Fifties to the present, but it is seen against the background of the myriad practices – classical Hollywood, European art cinema, various national or Third World cinemas – that make up the system of world cinema as a whole. A number of issues central to the modernization of a society are considered in five thematic chapters – on poverty, social advancement, the lives of women, intellectuals, and youth culture – that explore how filmmakers from different periods and locations have addressed such issues in their work. The method is at once structuralist and historicizing – by situating individual texts within a comparative context that synoptically scans the variety of significant options available in the treatment of a particular subject matter, the formal possibilities and limitations – as well as the social and political implications – of a particular conception of the cinema become much more apparent. This desire to "spatialize" (to borrow Jameson's notion) film history by suggesting a social community of texts or a synchronic set of options is complemented by a temporal or diachronic concern for changes in the zeitgeist, for generational differences and paradigm shifts, that allow for some sense of the relationship of an individual film to the history of cinema to emerge. This study can be considered, then, as an experiment at envisioning one possible way of practicing film history at a macro level and in a comparative and cross-cultural manner, whereby the paradigmatic shifts or epistemic revolutions of world cinema are viewed from a semi-peripheral and unexpected perspective (a location such as Hong Kong), in a way that relates what appear to be representational dilemmas of a purely local nature to more universal concerns, while embedding an account of a particular territorial cinema's evolution within the larger narrative of regional and global cultural developments. ; published_or_final_version ; Comparative Literature ; Doctoral ; Doctor of Philosophy

Examines the history of early cinema in Scotland from its inception in 1896 until the 1930sThe popularity of cinema and cinema-going in Scotland was exceptional. By 1929 Glasgow had 127 cinemas, and by 1939 it claimed more cinema seats per capita than any other city in the world. Focusing on the social experience of cinema and cinema-going, this collection of essays provides a detailed context for the history of early cinema in Scotland, from its inception in 1896 until the arrival of sound in the early 1930s. Tracing the movement from travelling fairground shows to the establishment of permanent cinemas in major cities and small towns across the country, the book examines the attempts to establish a sustainable feature film production sector and the significance of an imaginary version of Scotland in international cinema.With case studies of key productions like Rob Roy (1911), early cinema in small towns like Bo'ness, Lerwick and Oban, as well as of the employment patterns in Scottish cinemas, the collection also includes the most complete account of Scottish-themed films produced in Scotland, England, Europe and the USA from 1896 to 1927.Key FeaturesExplores cinema-going in cities and towns across Scotland, large and smallEngages with international debates on the social history of cinemaIncludes a filmography of Scottish-themed films produced in Scotland, England, Europe and the USA from 1896 to 1927

Beginning first as a case study of Feng Xiaogang, this book explores Chinese film history since the early 1990s in terms of changes of the Communist Party's film policy, industry reforms, the official promotion of Main Melody films and the emergence and growth of popular cinema. The image of Feng that emerges in this book is of a filmmaker working under political and economic pressures in a post-socialist state while still striving to create works with a personal socio-political agenda. In keeping with this reality, this book approaches Feng as a special kind of film auteur whose works must be

This article discusses recent trends in occupational pension policy and identifies the rise of a second policy wave directed towards greater individualisation in occupational pension plans. It is clear that, at a global level, governments and regulatory offices are promoting the so-called third pillar as a valuable pension option and that freedom of choice of the individual is a key element in this process. This individualisation reflects the decreasing involvement of employers in occupational plans and the increasing attentiveness of governments towards individual retirement schemes. We ask whether the so-called first and third pillar are pushing the second pillar away and whether there is a silent pension pillar implosion.In the article, we describe and analyse recent legislative and regulatory initiatives in six European countries to locate the individualisation process. We also propose a new paradigm for pension policy makers in which the so-called pension pillars are abandoned and replaced by an integrated pension vision leading to a balanced target income in retirement. In this integrated vision, there is a legal link between all forms of pension in a given country. This link is reflected in social and fiscal law.

The article studies an issue of the film adaptation of a literary work. The issue posed is considered on the example of N.V. Gogol work. In particular, on the example of his drama. These are such works as "The Inspector General", "The Marriage", "The Players". In their time those works were translated by the authors from literary into cinematic language: the screen version of "The Inspector General" by V.M. Petrov (1952), "Incognito from Petersburg" by L.I. Gaidai (1977), "The Marriage" by V.V. Melnikov (1977), "The Inspector General" by S.I. Gazarov (1996), "The Case of the 'Dead Souls' " by P.S. Lungin (2005), "The Russian Game" by P.G. Chukhrai (2007). As a result it was found that when translated into the cinema language, Gogol's interpretations reveal new meanings that are expressed at the level of genre (the elements of a western in "The Russian Game" or a detective genre in Lungin's film), plot (referring to the plots of several works at once), images (character replacement), details (garlands on the windows in Petrov's "The Inspector General"), as well as stylistics, symbols, metaphors (apples and red in "Marriage", for example). The above is emphasized by the authors through the use of specific film-language techniques. These are eccentrics, shooting at an angle, subjectivity, panoramas, etc. Postmodern techniques, used by interpreters to recreate the space of grotesque, intertextuality, and absurdity, also become interesting.

Global Cinema takes a new approach to world cinema through critical theory. Instead of taking a world tour of national cinemas or displaying their transnational exchanges, Seung-hoon Jeong here sheds light on contemporary films' reflections of global phenomena related to conflicting biopolitical and ethical facets of globalization.

Cover -- Hlaf Title -- Title -- Copyright -- Contents -- Introduction -- Chronology -- Chapter 1: Background on Rachel Carson -- 1. The Life of Rachel Carson -- 2. Rachel Carson Was a Hero -- Chapter 2: The Environment in Silent Spring -- 1. Silent Spring Advocates a Balanced View of Nature -- 2. Silent Spring Calls for a New Way of Thinking About the Environment -- 3. Silent Spring's Success Stems from Its Mix of Science and Storytelling -- 4. Silent Spring Is a Subversive Book -- 5. Carson Used War Metaphors to Make Her Point About Pesticides -- 6. Attacks on Silent Spring Were Gender Based -- 7. Silent Spring Does Not Begin or End the Battle over Pesticide Policy -- 8. Silent Spring Challenges Our Commitment to Environmental Safety -- 9. Silent Spring Exaggerated the Case Against Pesticides -- 10. Silent Spring's Critics Distort Carson's Case -- 11. Carson Won a Battle but Lost the War over Environmental Policy -- Chapter 3: Contemporary Perspectives on the Environment -- 1. Modern Capitalism Causes Needless Waste of Natural Resources -- 2. Pesticides Are Still Poisoning the Planet -- 3. Environmentalists Devalue Human Life -- 4. The 2010 Gulf Oil Spill Provides Lessons About Preventing Future Disasters -- 5. Environmentalists Are the Enemy of Progress and Happiness -- 6. DDT Should Be a Last Resort in Fighting Malaria -- 7. National Security and Environmentalism Must Work Collaboratively -- For Further Discussion -- For Further Reading -- Bibliography -- Index -- Back Cover

Cities experienced profound changes in the early 20th century, mainly as a result of industrialization. Along with architects and urban planners, fiction writers played a part in shedding light on some perverse or still unknown consequences of technology on society. Cinema is probably the first industrial art form and was from its beginning deeply involved in the creative portrayal of these changes. This ever-present urban imagery, rooted in concrete aspects of a changing reality and supported by existing and fictional technological systems, forms what we call urban phantasmagorias. This article develops this theoretical approach through a brief analytical review of some of the emblematic films that have anticipated shifts in our cities and lifestyle, influenced by the emerging technologies of their time, focusing on Metropolis (1927), Blade Runner (1982), Alphaville (1965), and The Matrix (1999).