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Fifteen years since the publication of its second edition, this foundational text in the history of Arab-Israeli peacemaking endeavors has been updated to include developments from the past twenty-five years.Thoroughly revised and expanded, the third edition of Negotiating Arab-Israeli Peace examines the history of recurrent efforts to resolve the Arab-Israeli conflict since the 1970s and identifies a pattern of negative negotiating behaviors that repeatedly derail peacemaking efforts. In addition to updating all of the book's existing chapters with post-2010 sources and developments, authors Eisenberg and Caplan have added new chapters on the Arab Peace Initiative, the Annapolis Conference, the Kerry mission, and the Abraham Accords, as well as a conclusion that questions several core notions regarding the nature of the conflict, the possibility of its resolution, Arab-Israeli "normalization," and the viability of the two-state solution. An epilogue extends the book's framework into present-day crises in the region, specifically Hamas's 7 October 2023 attack on Israel and Israel's war against Hamas in Gaza. A companion website comprises nine appendices, among them 145 primary source documents, expanded notes, links to websites for maps, data and analysis, peace activities, and additional visual and documentary sources. Also online is a robust instructor's guide offering supplementary resources and ideas for assignments, research and classroom exercises, all of which draw upon and complement the themes running throughout the text.By measuring contemporary diplomatic episodes against the historical pattern of counterproductive negotiating habits, Negotiating Arab-Israeli Peace makes possible a coherent comparison of some eighty years of Arab-Israeli negotiations and offers readers a framework with which to assess the relative strengths and weaknesses of peace-making attempts-past, present, and future.

As the twentieth century began, Indianapolis found itself at the center of a booming commercial and industrial network with new office buildings, department stores, theaters, hotels, factories, places or worship, and the largest electric interurban train network in the nation. The population was growing, as well, with many new residential additions to the city planned, from ornate mansions on the north side of the city to working-class bungalows and apartments.In Architecture in Indianapolis: 1900-1920, preservationist and architectural historian Dr. James A. Glass describes the varied architectural currents that shaped buildings in Indianapolis during the first two decades of the twentieth century, a period when the Commercial Club of Indianapolis called the state capital "the largest inland city." With over 300 photographs and drawings, as well as 31 maps, Glass continues the exploration begun in Volume 1 of the variety of architectural styles that the city's builders drew on, including Italian Renaissance, Gothic, Arts and Crafts, Modern, Tudor palace and Tudor vernacular, Prairie Style, and many more. And, like Volume 1, Volume 2 documents the loss of distinctive architecture that has occurred throughout Indianapolis and explains why certain structures were razed. Both volumes together provide the first history of architecture in the city during its first century and will serve as an indispensable reference for decades to come.Along with its companion 1820-1900, Architecture in Indianapolis: 1900-1920 describes the varied architecture that architects and builders in the city designed and constructed during the first two decades of the twentieth century and profusely illustrates buildings of that period, providing an indispensable reference for decades to come.

For most of human history, all pottery was what we would now consider traditional folk pottery. Not all artifacts go beyond the basic requirements of utility in pursuit of beauty, but Beautiful Clay considers those that do.In Beautiful Clay, noted scholar of traditional ceramics John A. Burrison writes about how a potter applies aesthetics to utilitarian objects to transform raw clay into something beautiful. Though what is considered beautiful in art changes from culture to culture and person to person, there are universal techniques such as manipulating form, color, texture, and more that tap into clay's potential for beauty. Burrison uses an approach from a perspective of international artistry rather than an approach bound by history or geography. After beginning with more than 40,000 images that the author curated as a study resource, Beautiful Clay narrows it down to around 230 images that capture the artistry within traditional ceramics worldwide.Beautiful Clay examines the aesthetic dimensions of what is essentially a traditional utilitarian craft, the ancient clay-based craft of pottery, from earliest times to the present.