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William Blake as Natural Philosopher, 1788-1795 takes seriously William Blake's wish to be read as a natural philosopher, particularly in his early works, and illuminates the way that poetry and visual art were for Blake an imaginative way of philosophizing. Blake's poetry and designs reveal a consistent preoccupation with eighteenth-century natural philosophical debates concerning the properties of the physical world, the nature of the soul, and God's relationship to the material universe. This book traces the history of these debates, and examines images and ideas in Blake's illuminated books that mark the development of the monist pantheism in his early works, which contend that every material thing is in its essence God, to the idealism of his later period, which casts the natural world as degenerate and illusory. The book argues that Blake's philosophical thought was not as monolithic as has been previously characterized, and that his deepening engagement with late eighteenth-century vitalist life sciences, including studies of the asexual propagation of the marine polyp, marks his metaphysical turn. In contrast to the vast body of scholarship that emphasizes Blake's early religious and political positions, William Blake as Natural Philosopher draws out the metaphysics underlying his commitments. In so doing, the book demonstrates that pantheism is important because it entails an ethics that respects the interconnected divinity of all material objects - not just humans - which in turn spurns hierarchical power structures. If everything is alive and essentially divine, Blake's early work implies, then everything is worthy of respect and capable of giving and receiving infinite delight. Therefore, one should imaginatively and joyfully immerse oneself in the community of other beings in which one is already enmeshed. Often in the works discussed in this book, Blake offers negative examples to suggest his moral philosophy; he dramatizes the disastrous individual and social consequences of humans behaving as if God were a transcendent, immaterial, nonhuman demiurge, and as if they were separate from and ontologically superior to the degraded material universe that they see as composed of inert, lifeless atoms.William Blake as Natural Philosopher traces the evolution of eighteenth-century debates over the vitalist qualities of life and the nature of the soul both in the United Kingdom and on the continent, devoting significant attention to the natural philosophy of Newton, Locke, Berkeley, Leibniz, Buffon, La Mettrie, Hume, Joseph Priestley, Erasmus Darwin, and many others.

Artificial Intelligence, or AI, is a technological breakthrough that will revolutionize human life. Advancements in the area of AI are happening all across the globe and this technology is not only reshaping business and government and also being applied in the daily lives of individuals. AI has been integrated in many industries such as manufacturing, healthcare, financial services, retail and consumer, technology, communication and entertainment, energy, transportation and logistics. The application of AI in these industries has helped in not only making processes more efficient but also reducing cost. There are many applications of Ai which are yet to be researched and put into practice. A lot needs to be done to capitalize the full potential of this technology. Companies are, therefore, investing a plenty of funds in R&D activities to harness its maximum benefit. International Perspectives on Artificial Intelligence is an effort to engage the practitioners, researchers and users in a discussion on AI and also to provide snapshots of the status of AI in different parts of the world.

This book focuses on two significant architectural elements in traditional Chinese buildings, that is, dougong and zaojing. Dougong is a bracket set often sitting above columns and beams as a key component in the great buildings and tombs of imperial China. Variously translated as "caisson," "cupola," and "lantern ceiling," zaojing is a specially constructed coffered ceiling, often profusely decorated with carvings and colourful paintings in various motifs. As sumptuary laws from imperial China stipulated, dougong (in its multiple form) and zaojing used to be constructed only in the great halls of royal palaces and major religious temples. There is ceaseless research on dougong and zaojing by modern architectural scholars. This is also facilitated by the heated architectural heritage conservation movement in contemporary China. As unique features that define the characteristics of Chinese traditional architecture, dougong and zaojing not only widely appear in numerous counterfeit historic structures, but are also creatively revived in many cultural and commercial buildings. This book inquiries about the origin of dougong and zaojing in the Chinese Bronze Age, and their heavenly interpretation in the Han dynasty (206 BCE-220). Compared to their later technically oriented development during the Tang to the Qing dynasties (c. 618-1912), and their modern preservation and innovative reinterpretation, the rich cultural meanings originally embodied in dougong and zaojing have almost disappeared. If the important architectural elements dougong and zaojing are taken for granted as a defining identity of Chinese traditional architecture, then they are feebly reflected in modern architecture practice as a mere visual element. Considering the transcendental quality that dougong and zaojing had in the Han dynasty in effectively expressing a mystical and magical world-view, there is a tangible loss of Chinese architectural heritage today.

Seattle is one of the most politically progressive and economically dynamic cities in the contemporary United States, popularly known as the 'Emerald City' for its natural setting and environmental politics. This book explores a range of political, policy, and project efforts in Seattle and the wider region to mitigate and adapt to the formidable reality of global climate change. Developing a framework suggested originally by the Urban Climate Change Research Network, the book's core analysis considers both tantalizing progress and tangible problems in Seattle's climate action initiatives so far. The narrative explores how Seattle is integrating carbon mitigation with adaptation; advancing climate action networks; co-generating risk information; coordinating disaster risk reduction with climate change adaptation; and, most importantly, focusing on historically and geographically disadvantaged populations. Linking together past, present, and future, Climate Change and the Future of Seattle argues that Seattle in the 2020s is less an 'Emerald City' than an 'Elite Emerald'. Income inequalities have grown while gentrification pressures have increased. Class structures have steadily shifted upwards, leaving the working poor and homeless especially vulnerable to climate change. Profoundly uncomfortable with this contradiction, local climate change efforts are shaped by mounting political concerns not only with mitigation-adaptation commitments and risk aversion policies to manage rising sea levels, warmer temperatures and more variable rainfall patterns, but also with reshaping a metropolitan space-economy that too often favors and consistently rewards the high-tech "e;cognitariat"e; over middle- and low-income households and communities of color.Ultimately, Seattle cannot become post-carbon if it is not also post-polarized, resilient if not also just. The lessons that Seattle learns in pursuit of more inclusive climate action will thus be of abiding interest to cities and metropolitan regions across the United States and all around the world.

As this book shows, different British responses to the material conditions of the Arab region and its inhabitants were mapped onto some British debates about the viability of modern commercial societies and the apparently intractable problem of securing a more benign relationship between material advance and virtue, modernity and traditions, improvement and backwardness. These debates reflected some significant transformations of the period: fears of French invasion during the Seven Years Wars, Enclosure Acts and the Jacobite Rebellion, the corruption of East India Company, the crisis of the American colonies and French Revolution, and the debate over slavery of the 1790s. En route, Britons raised concerns about a host of religious, political and ethical questions that troubled eighteenth-century Britain: Is moral corruption a necessary price a society has to pay in return for living in a materially advanced state? Do people need to honour traditions and religion in modern commercial society in which people have never been freer? Can one find virtue and morality in commercial society? Can an advanced and enlightened society tolerate religion? How can it be that a wealthy society also has poor and dispossessed people who live in workhouses? How is it possible that a society which respects Enlightenment values of freedom and liberty also practices slavery and colonises other societies? European travellers in the Levant often found themselves confronting these questions, especially in a region known for being grand and great in the past but barren and full of ruins in the present.

The Theory and Practice of Creative Coaching is the result of ten years of research and experimentation into the place and role of creativity in learning about and undertaking the skills of coaching in the workplace. The contents outline a wide variety of approaches and ideas to enhance and develop effective coaching relationship

This collection of essays approaches the American Horror Story cult television series through a rich variety of critical perspectives within the broader field of television studies and its transections with other disciplines.

The Christian Culture of Islamic Spain is an enquiry into how and why Christian culture survived in medieval Spain in areas under Islamic rule, why it eventually disappeared there and how knowledge of it was recovered from the sixteenth century onwards.

The papers in this volume can be roughly divided between 'the philosophy of mind' and 'the philosophy of language'. They are, however, united by the idea that this standard philosophical classification stands in the way of clear thinking about many of the core issues. With this, they are united by the idea that the notion of a human being must be central to any philosophical discussion of issues in this area, and by an insistence on an inescapably ethical dimension of any adequate discussion of these issues. None of the papers is well described as 'exegetical', but most of them are, in one way or another, papers about Wittgenstein, and all of them are discussions of themes central to his later work and strongly influenced by it. While the debt to Wittgenstein is enormous, many of the papers involve significant criticisms of ideas widely drawn from him, and some of these criticisms may have application to Wittgenstein himself.The discussions of 'the philosophy of mind' are marked by an emphasis on the individual's relations with others and, with that, by a detailed attention given to the human bodily form. Within the bodily form, the face is, both visually and through the voice, the locus of expression of our thoughts and feelings, and so central to our recognition of each other as beings who have thoughts and feelings. With this, it is central to the 'attitude towards a soul' of which Wittgenstein speaks: a phrase that highlights the centrality of an ethical dimension to any adequate philosophical treatment of our understanding of others. My relation to other creatures - both human and non-human - is distorted by the idea of an underpinning of the kind proposed in 'the argument from analogy'; but it is distorted, too, by the idea (that we may take from Wittgenstein) that our seeing similarities between we human beings and dogs or giant squids is a condition of our ability to ascribe pain or fear to such creatures. A 'phenomenological' treatment of our perception of faces may be helpful in breaking down pervasive philosophical prejudices here. The irreducible sense in which the smile that we see is a smile on this face is intimately connected with Wittgenstein's insistence on the importance of context for an ascription of thoughts and feelings: an insistence that brings out a fundamental incoherence in dominant, 'reductive', treatments of the notion of a persisting individual. This incoherence is intimately tied to a failure to leave a place for the notion of a particular individual, as opposed to kinds (transferable properties), in our thought about those whom we know and care for; and, with that, a failure to leave a place for anything recognisable as love.The notion of a human being links the discussions of mind and language through the relation between two themes in Wittgenstein: (i) the way in which the human enters into our thinking ('The human body is the best picture of the human soul'); (ii) the way in which our thinking is a reflection of our humanity. These relations are distorted by the emphasis on 'rule following' and the appeal to the idea of continuing an arithmetical series that has had a central place in discussions of language originating from Wittgenstein. Approaches from this perspective fail to do justice to the idea of speech as a form of interaction between people. Rush Rhees suggests that conversation provides a better model for thinking about language. To share a language with someone is to be able to speak with her. One aspect of Wittgenstein's 'attitude towards a soul' is the demand to seek forms of contact with others: including, centrally, interaction in speech with others. Such interaction is crucially dependent on trust, and on the effort to sustain conversation in the face of the unlimited possibilities of its collapse: possibilities that find expression in philosophy in various forms of scepticism. Wittgenstein's appeal to the idea that 'justification comes to an end' is potentially misleading in that it may obscure the possibilities of sustaining discussion in the face of such potential collapse. While much of what we say may run into the sand if pursued in certain directions, we may take one of the tasks of philosophy to be that of bringing out possibilities of a sense of forms we would not have anticipated: and so enhancing the links between us that are involved in conversation. We do well here to shift from the familiar question 'What conditions must something satisfy in order to be a language?' to the question 'What is it seriously to think of - to acknowledge in practice - an individual or group as speaking?' A focus on this question may cast in a clearer light the character and importance of questions about the language capacities of non-human creatures. The issues here are only well understood if we recognize the primacy of the ethical in our relations to such creatures: a point well illustrated by a remarkable study of the language capacities of bonobo.

Max Nettlaüs Utopian Vision provides a historically grounded presentation of the entire literature of utopianism. Nettlau shows an encyclopaedic knowledge of the subject.

An Interdisciplinary Approach to the Theory and Practice of Wildlife Corridors charts some best practices and makes new theoretical contributions about the design and creation of wildlife corridors. The book provides the necessary background for understanding habitat connectivity projects, and makes a theoretical contribution to current knowledge about wildlife corridors.

This book looks at how Renaissance poets ended their poetic lines. It considers a range of strategies and argues that line endings are crucial to our understanding of the poems. It begins with an introduction summarizing the work that has already been done in this area and demonstrating the author's own method. While many of the devices the book highlights have been discussed before and while there has been some scholarship on the poetic line as a unit, how lines end has not received much critical attention, and particularly not in the critical work on Renaissance poetry.The main part of the book is divided into three chapters: one on rhyme; one on enjambment; and one on the sestina. Rhyme is perhaps the most obvious kind of line ending; it was a contentious subject in the English Renaissance. Scholars then debated whether rhyme was necessary or even advisable. Enjambment, in which the end of a line occurs part of the way through a phrase, was especially common in dramatic poetry. In lyric poetry as well, however, it was an important tool for poets. The sestina is a complex form in which matters are the (usually unrhymed) end words, which vary according to a set scheme. There are other technically demanding forms in the Renaissance that focus on end words, but the sestina is the most extreme.These are the most significant kinds of line endings used by English Renaissance poets. Each chapter provides one or two main poetic examples, but the book considers a range of poems from the period. The book ends with a brief afterword, wherein the author's findings are summarized.

Artists often talk of a sense of community, of being in a place that engages their creativity in a cultural history that is deeply tied to and inseparable from their local environment. The phrase 'community art' emphasizes a collaboration between the artist and community; it is practised where the artist and the neighbourhood intersect. Projects most often take place as a means of revitalizing a community or providing an opportunity for community members to engage in a creative process. Increasingly, this has become a national and international movement in which sustainability of the identity of the community, the individuals within it and the environment are at the core of the project. This project engages the conception of art evolved in the ethos of community as its basic framework but considers it from a situationally historic perspective against the backdrop of the diverse landscape of Oregon. As such it considers the role of nature, individual and community identity in the development of arts projects that ultimately become associated with a community's cultural and social milieu. Oregon is known for its unique landscape that moves from the high deserts of eastern Oregon through the former volcanoes of the Cascade Range, the breadth of the Willamette River Valley, Coast Range and finally the Pacific coast from Astoria to Brookings. Oregon has a long history of environmental planning. In 1899, the Oregon legislature declared 30 miles of Oregon beach as a public highway from the Columbia River to the south line of Clatsop County. In 1913, they declared the entire coast a public highway. Throughout the 20th century, the Oregon legislature and communities throughout Oregon have placed an emphasis on land use from the role of the timber, fishing and mining industries to the planning necessary for cities and towns. This manuscript considers the combination of people and social cultural ethos that were influential in the development of specific literary, visual and performing arts groups across Oregon's diverse landscape. Artists Activating Sustainability: The Oregon Story examines the way in which the arts within specific communities, against the background of landscape and history, reveal concepts of sustainability that help us broaden our knowledge of what is needed to create a sustainable world. As such, each chapter considers the themes of participation, agency and empowerment through the lens of land, history and individual initiative.

The book has an introduction outlining the conceptual framework that gives meaning to the six collected texts that follow. This framework derives from the work of Pierre Bourdieu. He stated that ''everything is social, '' which means that all discourses have to be understood in their own terms (as ''structured structures'') and in relation to the social conditions in which they developed (''structuring structures''). As social individuals we are constrained by the structures defining our situation but we also have the capacity to alter those structures. With particular reference to the ''field'' of politics, the Introduction considers theoretically the nature of the ''presentation of self'' (Goffman) of citizens and the nature of parliamentary democracy as ''presentation'' or ''representation'' (as discussed in Habermas: The structural transformation of the public sphere). The six main chapters reproduce texts written or spoken about politics at intervals in the period from 1960 until 2020. Brief introductions to each chapter will contextualise these texts both in terms of their significance in my developing awareness of political discourse and also in terms of the historically changing nature of the field of politics itself in the United Kingdom. Having an a-political upbringing, the author suggests that he gradually acquired a political competence but, equally, developed the view that the domination of political discourse has become exclusive and that there is now a need to reassert social relations in society and to recognize the extent to which political activity sustains the social control of a privileged minority. The book has an Epilogue which considers some recent arguments about ''populism'' and also reflects on the extent to which the ''new normal'' heralded by some for a post-Covid future has the capacity to circumscribe the influence of politics. The author reflects on whether deployment of Bourdieu''s concept of ''symbolic violence'' - the process by which the attitudes of the few are imposed on the many - might lead to the possible resurgence of social movements which are sceptical about political power. The author suggests that there may be a need for a new ''quietism'' as advanced by Fénelon in the court of Louis XIV at the end of the 17th century and as considered by Richard Rorty in "Naturalism and quietism" in Philosophy as Cultural Politics, 2007.

The Gothic Literature and History of New England surveys the history, nature and future of the Gothic mode in the region, from the witch trials through the Black Lives Matter Movement. Three main areas of its focus are women's representation as writers and consumers of Gothic literature, the Puritans' fear of the wilderness and treatment of the native peoples, and the legacy of slavery and enduring racism. Texts include Cotton Mather and other Puritan divines who collected folklore of the supernatural; the Frontier Gothic of Indian captivity narratives; the canonical authors of the American Renaissance such as Melville and Hawthorne; the women's ghost story tradition and the Domestic Gothic from Harriet Beecher Stowe to Charlotte Perkins Gilman to Shirley Jackson; Stephen King and the horror boom of the twentieth century; and writers of the current generation who respond to the racial and gender issues in the work of H. P. Lovecraft, the Providence writer whose stories once defined New England's Gothic heritage. The Gothic Literature and History of New England brings to the surface the religious intolerance, racism and misogyny inherent in the New England Gothic, and how these nightmares continue to haunt literature and popular culture-tourism, films, television, games, the visual arts and more.This is a high-interest work designed for scholars of the Gothic mode who may not be familiar with more recent developments in fiction and film as well as for advanced undergraduate and graduate students searching for a compact introduction to this area of the American Gothic. It will provide an overview of criticism, a timeline of historical events and literary texts, and suggestions for further reading. The approach relies on open-ended questions that may help instructors "e;teach the conflicts"e; around race, gender, class and the aesthetics of the Gothic.

Cornwall as Strange Fiction is focused on written and visual culture that is made in, or made about, Cornwall and where there is affinity with Gothic. Cornwall and the Scilly Isles (known as 'Kernow' in the Cornish language) have a special relationship with Gothic, one that has been overlooked in the literature on regional Gothic. In 1998, Avril Horner and Sue Zlosnik coined the term 'Cornish Gothic' in relation to the work of Daphne du Maurier. Since then, however, there have been few discussions of the distinctive types of Gothic engendered by cultural and imaginative re-creations of Cornwall or where it has played a generative role within creative practice. Cornwall as Strange Fiction argues that a persistent imaginative romance with the peninsular has produced a specific and distinctive set of Gothic fictions and creative outputs that mark an exciting new departure in the discussion of regional and media-aware Gothic studies.In his chapter on 'Regional Gothic', Jarlath Killeen cites the Celtic fringes as 'Ireland, Scotland and Wales' (2009, pp. 92-3). Cornwall is forgotten in this account, but it is this often continued absence of Cornwall that at least in part defines it as a Gothic space. Cornwall as Strange Fiction argues that Cornwall has a culturally acquired liminality, becoming a space of ambivalence, absence, excess and loss. Cornwall is too far away and yet at the same time too near (at least for British scholars of Gothic). It has an excess of history, mythic non-history and identity, uncanny light and sublime sculptural stones, all representing both creative plenitude and its lack. This book looks to the visual, the digital and to adaptation, to contemporary as well as traditional platforms, in pursuit of our argument that Kernow thrives as a dark economy for the creative imagination. We address the ways in which different platforms, the novel, film or painting, shape articulations of Gothic Kernow, alongside our attention to the threads of intertextual dialogue that weave among such diversity.Central to our argument and method is the fact that Gothic Kernow is always situationally produced as a framework within which different aesthetic, psychological and social agendas sit. As we will show, the texts and artefacts that we discuss are shaped by a confluence of medial formats and aesthetic concerns, political and social contexts, all filtering through the perceived magics, mysteries and myths of Cornwall. We are therefore intent on demonstrating how, as both an imagined and real space, Cornwall becomes the subject of Gothic concerns, particularly in terms of otherness, animism and the sublime. Offering new insights into the relationships between place and Gothic, this book aims to engender and encourage greater debate through our argument that Cornwall plays a potent role in the landscape of regional Gothic and that it needs to be considered more fully as a major catalyst in the Gothic imagination. Most importantly, this book argues and demonstrates that Gothic Kernow needs to be considered as a powerful force in the development of Gothic grammar generally.

The aim of this translation is to provide the first English translation of Buddenbrooks by a native speaker of English superseding the previous Canadian and American translations.

Roland Barthes Writing the Political: History, Dialectics, Self is a re-reading and a re-purposing for the twenty-first century of the work and the critical theories of France's most important writer of the twentieth century. Drawing on articles and chapters published since 2007, and including new material written for the volume, it argues that Barthes's wide-ranging analyses and critical essays - from Voltaire to Nietzsche, Marx to myth, gay love to Japan - can be applied to debates and controversies in the contemporary world. By applying his 1958 essay on Voltaire to the aftermath in France of the 2015 terrorist attacks, by using Edouard Glissant's work as an unspoken dialogue to look at post-colonial writing strategies, the volume sets out what a dialectical critical practice might look like in our complex world of political, ethical and aesthetic choices.In order to address the complexity of his critical practice, the study takes up a seldom-discussed notion which Barthes had originally developed in relation to the nineteenth-century historian Jules Michelet: that of the 'double grasp'. This 'double grasp' is used to think through photography and innovative forms of historiography (including a comparison with the work of Walter Benjamin), but also to account for the 'stereographic' approach with which Barthes read Balzac, visited Japan and then China, and even considered both the writing self and the imagined self.The book considers the persistence - and the functions - of myth in the era of image-saturated social media, using both early Marx and early Nietzsche, whilst relating Barthes's radical homosexuality and his questioning of binary structures to today's debates on post-gender. The volume ends with discussion of Barthes's essay-writing and its similarities with the theories on the essay of Hungarian Marxist George LukaA s in his 1910 'Letter to Leo Popper', and asks whether the essay, in its many Barthesian guises, is the future for radical forms of writing in the twenty-first century.

Tasos Leivaditis (1922-88), one of the undiscovered greats of Modern Greek literature, entered the poetic scene in the middle of the last century with three short poetry books, presented here in English translation for the first time. These works, received with both popular and critical acclaim upon publication in 1952-53, give compelling testimony to the violence of the twentieth century, witnessed by Leivaditis and his generation in the Nazi occupation of Greece in World War II and the subsequent civil war (1946-49) between the left and right-wing factions. The latter, internecine battle found Leivaditis, a committed communist, on the defeated side, and he was exiled to concentration camps on various islands for more than three years. Soon after his release, he published a remarkable triptych of poetic works that evoke the horrors of war and, in the midst of this, the yearning for justice and peace. The first work in the trilogy, Battle at the End of the Night, is set on the Aegean island of Makronisos, which functioned in the civil war years as an internment camp for leftist dissidents. The entire action takes place over a single, seemingly endless, wintry night reeking of terror and death. But the narrator defiantly retains his faith in our common humanity and his conviction that justice will prevail. The second work, This Star Is For All of Us, is also set during the civil war, but this time the focus is the author''s beloved, Maria. Although imprisoned, he is confident that they will meet again, and his love for her becomes by the end universal in scope. The sense of solidarity also deeply marks the final work, The Wind at the Crossroads of the World, the shortest of the three but the most controversial. The book was banned and Leivaditis thrown into prison once again, the authorities unable to tolerate the book''s "subversive proclamation" of freedom and peace.

Sexual Violence and Literary Art addresses the complicity of representation in what is represented, and its creative transformations, by re-examining classic poetic, dramatic and fictional texts by men in light of women's philosophical, theoretical and critical responses to them.

Black Refigurations is the third volume of a three-volume study of African-American literary history, with special attention to the internal dialogues regarding concepts of "tradition," haunting, trauma, and re-vision. Texts studied extend from slave narratives to contemporary works, including both canonical and lesser-known instances of African-American expression.

The early modern period witnessed the rise of impressive empires in the Eurasian context, in Europe and not less so in the east - The Ottoman, Safavid, and Mughal Empires. The construction of large and stable empires necessitated the constructions of unprecedented power mechanisms. History of law and legality in the early modern period was playing a crucial role in these changes.Born in Spain and joining his family as refugees from the great expulsion from the Iberian peninsula, heading east to the Ottoman Empire, Karo, as the rest of Sephardi intellectuals, was deeply acquainted with both European [Canon law, ius comune] and Ottoman [Shari'a, Kanuname] legal traditions, and their transformative processes during the early modern period.The codes of law, in the short and long version, composed by R. Karo mark a watershed turn, and they were never superseded until the present. In composing them, Karo intended to respond to the global changes in law, and to update Jewish Halakhah to current political and cultural circumstances. The books suggest both a global reading of Jewish law, and a sociological perspective of Halakhah. It adds a further dimension on modernization of Jewish culture.

Black Configurations is the first volume of a three-volume study of African-American literary history, with special attention to the internal dialogues regarding concepts of "tradition," haunting, trauma, and re-vision. Texts studied extend from slave narratives to contemporary works, including both canonical and lesser-known instances of African-American expression.

Black Hauntologies is the second volume of a three-volume study of African-American literary history, with special attention to the internal dialogues regarding concepts of "tradition," haunting, trauma, and re-vision. Texts studied extend from slave narratives to contemporary works, including both canonical and lesser-known instances of African-American expression.

For those captive to the broken world of late modernity, wherein ageing and dying persons become vulnerable to despair, this book offers a diagnostic of such despair. It also resources the practices of a realistic, humanising hope that might enable a strength for person to journey with and for others, together, through such despair. Thus, by addressing the aetiology of despair experienced by people confronting ageing, frailty and dying, and drawing upon the writings of Gabriel Marcel, among others, Ashley Moyse reveals the problematic life of a broken world with its functionalising metaphors, instrumentalising reasoning and objectifying desires that offer no hope at all. It is a broken world where despair generates behaviours that anticipate suicide or other, often tragic, outcomes that impede or greatly curtail or even completely inhibit human flourishing. Resisting despair, but living through it, Moyse presents the activity of the moral life, demonstrating a way persons might be resourced through an intersubjective and reflective pedagogy, with its habits or practices that enable a humanising hope, liberating human beings to become those readied to confront the actualities of human living and dying, and encouraged to grow and develop as 'wayfarers', hopefully.

May Alcott Nierike, Author and Advocate examines in-depth the writings on art and travel by the youngest sister of famed novelist Louisa May Alcott. Like other American women in the later nineteenth century, May was unable to receive the advanced training and exhibition opportunities in the USA that she needed to become a notable professional painter due to her gender. An additional obstacle for Alcott Nieriker was her family's insecure financial status, making it difficult to travel or study abroad for training. Fortunately, following Louisa's early publishing success, May was able to make three trips to London and Paris to immerse herself more fully in the art world, and eventually attained the prestigious honor of having two paintings accepted into the Paris Salon. However, the book argues that Alcott Nieriker's main contributions to cultural history were not necessarily her artistic creations, but rather her publications on travel and art-specifically, four articles for the Boston Evening Transcript and an 1879 guidebook, Studying Art Abroad and How To Do It Cheaply. The book examines the art and travel writings of May Alcott Nieriker from three distinct but interrelated perspectives: (1) how Alcott Nieriker's writings both relate to and yet stand apart from standard travel writing of the later nineteenth century; (2) how Alcott Nieriker's travel writings smartly interweave art criticism and social as well as cultural advocacy, including her concerns about the lack of access to free museums in the USA; and (3) how Alcott Nieriker's writings critique the social and cultural norms of the day in respect to equal opportunity for women artists, and in turn seek to empower women of modest means to navigate these obstacles and pursue careers as professional artists. In addition, the book provides more insight in general to the fields of nineteenth-century American art and art criticism, travel writing, gender studies, and American cultural studies. In sum, May Alcott Nieriker's writings, a number of which are republished here for the first time since the 1870s, deserve further attention and interpretation because her texts give voice to critical social and cultural concerns of the nineteenth century, such as gender and class discrimination, that still resonate today.