Search results for ""Author Paul"

Foundations of the relativistic quantum mechanics and field theory of arbitrary spin are presented. New relativistic wave equations without redundant components for the particle-antiparticle doublets of arbitrary spin are considered. The comparison with known arbitrary spin equations of Bhabha, Bargman-Wigner and with Pauli-Fierz, Rarita-Schwinger equations (for the spin s=3/2) demonstrates the advantages of the presented approach. The special procedure of synthesis of higher spin relativistic wave equations is suggested. New equations are considered on three levels of (i) relativistic canonical quantum mechanics, (ii) canonical Foldy-Wouthuysen type field theory, and (iii) manifestly covariant field theory. The derivation of field equations based on the start from the relativistic canonical quantum mechanics is given. The corresponding transition operator, which is the extended Foldy-Wouthuysen transformation, is suggested and described. This model of relativistic quantum mechanics is described here on the level of von Neumann's consideration of non-relativistic case. The Lagrange approach for the spinor field in the Foldy-Wouthuysen representation is analyzed. The proof of the Fermi-Bose duality property of a few main equations of field theory, which before were known to have only single Fermi (or single Bose) property, is given. Hidden Bose properties (symmetry, solutions, and conservation laws) of the Dirac equation are proved. Both cases of non-zero and zero mass are considered. New useful mathematical objects, which are the pure matrix representations of the 64-dimensional Clifford and 28-dimensional SO(8) algebras over the field of real numbers, are put into consideration. The application of such algebras to the Dirac and Dirac-like equations properties analysis is demonstrated. Fermi and Bose SO(4) symmetries of the relativistic hydrogen atom are found. New symmetries and solutions of the Maxwell equations are considered. The Maxwell equations in the form, having maximal symmetry, are suggested and described. The application of such field-strength equations to the atomic microworld phenomena is demonstrated. On the basis of such Maxwell system the relativistic hydrogen atom spectrum and quantum properties of this atom are described. The Sommerfeld-Dirac fine structure formula, Plank constant and the Bohr postulates are derived in the frameworks of classical electrodynamics. The limits and boarders of classical physics applications in inneratomic microworld are discussed. In order to determine the place of our approach among other investigations the 26 variants of the Dirac equation derivation are considered.

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Insight Guides Brazil Travel made easy. Ask local experts.Comprehensive travel guide packed with inspirational photography and fascinating cultural insights, now with free eBook.From deciding when to go, to choosing what to see when you arrive, this guide to Brazil is all you need to plan your perfect trip, with insider information on must-see, top attractions like the Corcovado, Brasilia and the Pantanal, and cultural gems like the glorious Iguaçu Falls, the magnificent Amazon rainforest, and the fascinating historic towns of Minas Gerais.Features of this travel guide to Brazil:- Inspirational colour photography: discover the best destinations, sights and excursions, and be inspired by stunning imagery- Historical and cultural insights: immerse yourself in Brazil's rich history and culture, and learn all about its people, art and traditions- Practical full-colour maps: with every major sight and listing highlighted, the full-colour maps make on-the-ground navigation easy- Editor's Choice: uncover the best of Brazil with our pick of the region's top destinations- Key tips and essential information: packed full of important travel information, from transport and tipping to etiquette and hours of operation- The ultimate travel tool: download the free app and eBook to access this and bonus content from your phone or tablet- Covers: (The Southeast) Rio de Janeiro; Rio de Janeiro State; Sao Paulo: City and State; Minas Gerais and Espirito Santo; Iguaçu Falls; The Southern States; (The Center-West) Brasilia and Goias; The Pantanal; (The Northeast) Bahia; Salvador; Sergipe and Alagoas; Recife and Pernambuco; Fernando de Noronha; The Far Northeast; The AmazonLooking for a comprehensive guide to South America? Check out Insight Guides South America for a detailed and entertaining look at all the city has to offer.About Insight Guides: Insight Guides is a pioneer of full-colour guide books, with almost 50 years' experience of publishing high-quality, visual travel guides with user-friendly, modern design. We produce around 400 full-colour print guide books and maps, as well as phrase books, picture-packed eBooks and apps to meet different travellers' needs. Insight Guides' unique combination of beautiful travel photography and focus on history and culture create a unique visual reference and planning tool to inspire your next adventure.

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In this "guided" anthology, experts lead students through the major genres and eras of Chinese poetry from antiquity to the modern time. The volume is divided into 6 chronological sections and features more than 140 examples of the best shi, sao, fu, ci, and qu poems. A comprehensive introduction and extensive thematic table of contents highlight the thematic, formal, and prosodic features of Chinese poetry, and each chapter is written by a scholar who specializes in a particular period or genre. Poems are presented in Chinese and English and are accompanied by a tone-marked romanized version, an explanation of Chinese linguistic and poetic conventions, and recommended reading strategies. Sound recordings of the poems are available online free of charge. These unique features facilitate an intense engagement with Chinese poetical texts and help the reader derive aesthetic pleasure and insight from these works as one could from the original. The companion volume How to Read Chinese Poetry Workbook presents 100 famous poems (56 are new selections) in Chinese, English, and romanization, accompanied by prose translation, textual notes, commentaries, and recordings. Contributors: Robert Ashmore (Univ. of California, Berkeley); Zong-qi Cai; Charles Egan (San Francisco State); Ronald Egan (Univ. of California, Santa Barbara); Grace Fong (McGill); David R. Knechtges (Univ. of Washington); Xinda Lian (Denison); Shuen-fu Lin (Univ. of Michigan); William H. Nienhauser Jr. (Univ. of Wisconsin); Maija Bell Samei; Jui-lung Su (National Univ. of Singapore); Wendy Swartz (Columbia); Xiaofei Tian (Harvard); Paula Varsano (Univ. of California, Berkeley); Fusheng Wu (Univ. of Utah)

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Co-Designing Publics brings together a mix of academics, activists, and practitioners to discuss and debate discourses from scholarly research, grassroots activism, and design ideas for future action. The “Co-Designing Publics” global research network, funded by a grant awarded by the UK Arts and Humanities Research Council, has a sustained focus on the public realm and its production through informal strategies in cities of the global south. As cities are increasingly confronted by multiple crises [e.g. Covid-19 pandemic, climate crisis] and conditions of precarity [e.g. urban inequality, inadequate public infrastructure], such circumstances call for more interactive, collaborative, and creative approaches for [re]designing their public realm. Based on these premises, the book integrates discussions of three critical and interrelated phenomena: creative ways of mobilising communities around common concerns and desires [i.e. co-designing publics], deployment of grassroots tactics and social innovations [i.e. informal strategies], and production of spatial networks of public spaces intertwined with their ongoing governance [i.e. public realm]. Contextually grounding these discussions in cities of the global south enables us to learn how innovative co-design practices operate around issues such as homelessness and affordable housing, sustainable and equitable energy systems, waste management, cooperative models of property ownership, the promotion and protection of human rights, and the production of peace in contexts of violence. The book thereby draws from and presents public conversations between academic research and case studies of activism [from Bogota, Bengaluru, Cape Town, Jakarta, Phnom Penh, and Sao Paulo].

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Efficiently Inefficient describes the key trading strategies used by hedge funds and demystifies the secret world of active investing. Leading financial economist Lasse Heje Pedersen combines the latest research with real-world examples and interviews with top hedge fund managers to show how certain trading strategies make money--and why they sometimes don't. Pedersen views markets as neither perfectly efficient nor completely inefficient. Rather, they are inefficient enough that money managers can be compensated for their costs through the profits of their trading strategies and efficient enough that the profits after costs do not encourage additional active investing. Understanding how to trade in this efficiently inefficient market provides a new, engaging way to learn finance. Pedersen analyzes how the market price of stocks and bonds can differ from the model price, leading to new perspectives on the relationship between trading results and finance theory. He explores several different areas in depth--fundamental tools for investment management, equity strategies, macro strategies, and arbitrage strategies--and he looks at such diverse topics as portfolio choice, risk management, equity valuation, and yield curve logic. The book's strategies are illuminated further by interviews with leading hedge fund managers: Lee Ainslie, Cliff Asness, Jim Chanos, Ken Griffin, David Harding, John Paulson, Myron Scholes, and George Soros. Efficiently Inefficient effectively demonstrates how financial markets really work. Free problem sets are available online at http://www.lhpedersen.com

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'Vivid, pungent and perilous' CHRIS BROOKMYRE'Evocative...brilliant plotting' REBECCA GRIFFITHSAn intricate and darkly atmospheric thriller set in Victorian London, perfect for readers of Elly Griffiths' The Stranger Diaries, Laura Purcell's The Silent Companions and Stuart Turton's The Seven Deaths of Evelyn Hardcastle.Summoned to the riverside by the desperate, scribbled note of an old friend, Jem Flockhart and Will Quartermain find themselves on board the seamen's floating hospital, an old hulk known only as The Blood, where prejudice, ambition and murder seethe beneath a veneer of medical respectability. On shore, a young woman, a known prostitute, is found drowned in a derelict boatyard. A man leaps to his death into the Thames, driven mad by poison and fear. The events are linked - but how? Courting danger in the opium dens and brothels of the waterfront, certain that the Blood lies at the heart of the puzzle, Jem and Will embark on a quest to uncover the truth. In a hunt that takes them from the dissecting tables of a private anatomy school to the squalor of the dock-side mortuary, they find themselves involved in a dark and terrible mystery. Praise for E.S. Thomson:'It's rare that a book is Gothic enough for me, but Beloved Poison is killing it. The blood, the bones...' LAURA PURCELL'Complex, harrowing and highly enjoyable' DAILY EXPRESS'Marvellous, vivid . . . breathtakingly dark' JANET ELLIS'Jem Flockhart books are the best I've read in years' KIRSTY LOGAN'A marvel . . . thoroughly engrossing' MARY PAULSON ELLIS

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The Pulitzer Prize-winning biographer turns his eye to the seventeenth-century Dutch Golden Age Twenty years ago, Benjamin Moser followed a love affair to an ancient Dutch town. In order to make sense of this new place, he threw himself into the Dutch museums. Soon, he found himself unearthing the strange, inspiring and sometimes terrifying stories of the artists who shaped one of the most luminous moments in the history of human creativity, the Dutch Golden Age.As he explored the hidden world of the Dutch Masters (and one Mistress), Moser met a crowd of fascinating personalities: the stormy Rembrandt, the intimate Ter Borch, the mysterious Vermeer. Through their art, he got to know their country, too: from Pieter Saenredam's translucent churches to Paulus Potter's muddy barnyards, and from Pieter de Hooch's cozy hearths to Jacob van Ruisdael's tragic trees. Over the years, Moser found himself on increasingly intimate terms with these centuries-dead artists, and found that they, too, were struggling with the same questions he was. Why do we make art? What is art, anyway - and what is an artist? What does it mean to succeed as an artist, and what does it mean to fail?The Upside-Down World is an invitation to ask these questions, and to turn them on their heads: to look, and then to look again. It is a brilliant, colourful and learned book for anyone, whether lifelong scholar or curious tourist, who has ever felt the lure of the Dutch galleries. It shows us art, and artists, as we have never seen them before.

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The Web of Iniquity is a study of detective fiction written by American women between the Civil War and World War II. Refuting the idea that no American detective fiction of substance was produced between the times of Edgar Allan Poe and Dashiell Hammett, Catherine Ross Nickerson shows how these women writers blended Gothic elements into domestic fiction to create a unique and all-but-ignored subgenre that she labels “domestic detective fiction.” This subgenre allowed women writers to participate in postbellum culture and to critique other aspects of a rapidly changing society. Domestic detective fiction combined elements of sensationalist papers, popular nonfiction crime stories, and the domestic novel. Nickerson shows how it also incorporated the gothic tropes found in the work of Harriet Beecher Stowe, Louisa May Alcott, and Charlotte Brontë and influenced the work of Pauline Hopkins. Mid-nineteenth-century writer Metta Fuller Victor, who represented such important areas of cultural conflict as the role of professions in the formation of class identity and the possibility of women's independence and self-determination, paved the way for the appearance of women detectives in the late-nineteenth-century fiction of Anna Katharine Green. Nickerson credits Mary Roberts Rinehart, in particular, for bringing sophistication to the subgenre by amplifying the humorous, terrifying, and feminist elements inherent in earlier detective novels by women. Throughout the volume, Nickerson focuses on the narrative qualities of the domestic novel tradition and the ways in which it reflected ideologies of domesticity and gender. Also included are a discussion of various rewritings of the Lizzie Borden scandal in this tradition and an afterword on the relation of domestic detective fiction to the hard-boiled style. The Web of Iniquity places the detective fiction written by women between 1850 and 1940 into ongoing discussions regarding women, culture, and literature and will appeal to scholars and students of women's studies, American studies, and literary history.

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Tropical Multiculturalism provides a major study of race in Brazilian culture through the most complete critical analysis of Brazilian cinema in any language. Focusing on representations of multicultural themes involving Euro- and Afro-Brazilians, other immigrants, and indigenous peoples in the rich tradition of Brazilian fictional feature film, Robert Stam puts Brazilian culture at the center of a wide-ranging analysis of race, representation, history, and film. Drawing parallels between the histories of colonialism, slavery, and immigration in Brazil and the United States, he also contends that questions of ethnic and racial representations are best viewed within the larger context of a comparative analysis of racially plural societies.Stam examines the broad historical and cultural links that connect Brazil and the United States before considering multicultural imagery in Brazilian film as it has changed from the silent era to the present. His analysis moves through the comic chanchadas of the 1930s and 1940s, to the Hollywood-style films from Sao Paulo in the 1950s, and the diverse phases of Cinema Novo beginning in the 1960s. He explores a wealth of subjects, including the submerged "blackness" of Carmen Miranda, the anti-racist agenda of Orson Welles’s never-released Brazilian film It’s All True, the international background behind Black Orpheus, the career of Grande Otelo (Brazil’s greatest black film star), the allegorical "cannibalistic" films like How Tasty Was My Frenchman, and "indigenous media"—the attempt by Brazilian "indians" to use camcorders and VCRs for their own cultural and political purposes. Tropical Multiculturalism is simultaneously a history of Brazilian cinema from the standpoint of race, a history of Brazil itself through its cinematic representations, a comparative study of racial formations in Brazil and the United States, and a theorized analysis of racialized representations.

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“This is the closest we have to an Americans for our time... CAPOLAVORO!... already hailed critically as a classic... One of the best photo books in a lonnnnng time” Known for his haunting portraits of solitary Americans in Sleeping by the Mississippi and Broken Manual, Alec Soth has recently turned his lens toward community life in the country. To aid in his search, Soth assumed the increasingly obsolescent role of community newspaper reporter. From 2012-2014, Soth traveled state by state while working on his self-published newspaper, The LBM Dispatch, as well as on assignment for the New York Times and others. From upstate New York to Silicon Valley, Soth attended hundreds of meetings, dances, festivals and communal gatherings in search of human interaction in an era of virtual social networks. With Songbook, Soth has stripped these pictures of their news context in order to highlight the longing for connection at their root. Fragmentary, funny and sad, Songbook is a lyrical depiction of the tension between American individualism and the desire to be united. Alec Soth (b. 1969) is a photographer born and based in Minneapolis, Minnesota. His photographs have been featured in numerous solo and group exhibitions, including the 2004 Whitney and Sao Paulo Biennials. In 2008, a survey exhibition of Soth’s work was exhibited at Jeu de Paume in Paris and Fotomuseum Winterthur in Switzerland. In 2010, the Walker Art Center produced a traveling survey exhibition of Soth’s work entitled From Here To There. Soth has been the recipient of numerous fellowships and awards, including the Guggenheim Fellowship (2013). In 2008, Soth founded his own publishing company, Little Brown Mushroom. Soth is represented by Sean Kelly in New York, Weinstein Gallery in Minneapolis, Fraenkel Gallery in San Francisco, and is a member of Magnum Photos.

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The Updated and Expanded edition of The Art of Feminism charts the birth of the feminist aesthetic and its development over two centuries that have seen profound and fast-paced change in women's lives across the globe. Including over 350 remarkable artworks, ranging from political posters and graphics to stunning and provocative pieces of painting, sculpture, textiles, craft, performance, digital and installation art, the book begins with poster images produced by the Suffrage Atelier in the nineteenth century, moving on to developments of both World Wars before arriving at the `birth' of feminist art in the 1960s. More recent artworks describe the development of feminism from the fall of the Berlin Wall to the present day, including examples by Zanele Muholi, Paula Rego, Lenka Clayton, Sethembile Msezane, Andrea Bowers, Tanja Ostojic, Aliaa Magda Elmahdy and Zoe Leonard. Other featured artists include Valie Export, Ketty La Rocca, Ewa Partum, Carolee Schneemann, Sanja Ivekovic, Senga Nengudi, Eva Hesse, Lynda Benglis, Suzy Lake, Barbara Kruger, Sophie Calle, Nancy Spero, Marina Abramovic, Mary Kelly, Judy Chicago, Faith Ringgold and Sonia Boyce. UPDATED AND INCLUSIVE: This edition of the book features an even more diverse array of artists and artworks than the original, from the beautiful figurative paintings of Hungarian-Indian artist Amrita Sher-Gil to the thoroughly researched and extravagantly costumed self-portraits of American photographer Ayana Jackson. Edited by Helena Reckitt, with texts by Lucinda Gosling, Hilary Robinson and Amy Tobin, The Art of Feminism also includes a preface by Maria Balshaw, Director, Tate, and a foreword by Xabier Arakistain, former director of del Centro Cultural Montehermoso Kulturunea, Spain.

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The follow-up to the groundbreaking Black Queer Studies, the edited collection No Tea, No Shade brings together nineteen essays from the next generation of scholars, activists, and community leaders doing work on black gender and sexuality. Building on the foundations laid by the earlier volume, this collection's contributors speak new truths about the black queer experience while exemplifying the codification of black queer studies as a rigorous and important field of study. Topics include "raw" sex, pornography, the carceral state, gentrification, gender nonconformity, social media, the relationship between black feminist studies and black trans studies, the black queer experience throughout the black diaspora, and queer music, film, dance, and theater. The contributors both disprove naysayers who believed black queer studies to be a passing trend and respond to critiques of the field's early U.S. bias. Deferring to the past while pointing to the future, No Tea, No Shade pushes black queer studies in new and exciting directions.Contributors. Jafari S. Allen, Marlon M. Bailey, Zachary Shane Kalish Blair, La Marr Jurelle Bruce, Cathy J. Cohen, Jennifer DeClue, Treva Ellison, Lyndon K. Gill, Kai M. Green, Alexis Pauline Gumbs, Kwame Holmes, E. Patrick Johnson, Shaka McGlotten, Amber Jamilla Musser, Alison Reed, Ramón H. Rivera-Servera, Tanya Saunders, C. Riley Snorton, Kaila Story, Omise'eke Natasha Tinsley, Julia Roxanne Wallace, Kortney Ziegler

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Since N. Scott Momaday’s 1969 Pulitzer Prize for House Made of Dawn brought Native American fiction squarely into mainstream culture, the genre has expanded in different ways and in new directions. The result is a Native American–written literature that requires a variety of critical approaches, including a discussion of how this canon differs from the familiar, established canons of American literature. Drawing on personal experience as well as literary scholarship, John Lloyd Purdy brings the traditions of Native American fiction into conversation with ideas about the past, present, and future of Native literatures. By revisiting some of the classics of the genre and offering critical readings of their distinctive qualities and shades of meaning, Purdy celebrates their dynamic literary qualities. Interwoven with this personal reflection on the last thirty years of work in the genre are interviews with prominent Native American scholars and writers (including Paula Gunn Allen, Simon Ortiz, Gerald Vizenor, Sherman Alexie, and Louis Owens), who offer their own insights about Native literatures and the future of the genre. In this book their voices provide the original, central conversation that leads to readings of specific novels. At once a journey of discovery for readers new to the canon and an intimate, fresh reunion with important novels for those well versed in Native studies, Writing Indian, Native Conversations invites all comers to participate in a communal conversation.

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The Pauline expressions "infant milk" and "hardy nourishment" or "solid food" (cf. 1 Cor 3,2 and Heb 5,12-14) have frequently been used by the Church fathers, medieval preachers and early modern writers, to voice the contrasting opinions that the words of Scripture are either simple to understand for the uneducated laity, or only discernable for professional theologians. Hence, the present volume considers the place of the Scriptures in both lay spirituality and in theological thinking. It includes a wide range of articles, dealing with vernacular Bible translations intended for common people, visual Bible culture, Bible commentaries written by theologically and philologically skilled scholars, and other related topics. The essays have been arranged in a chronological order, and divided into three sections, the first part considering the period from 1450 to 1520. This period begins when the mediaeval production of Bible translations is at a peak, and when another readership, other than the clergy, has increasingly found its way to the Bible. The printing press, which makes an appearance at the time, provides an immediate response to this growing demand. During the same period, also in the north, we see the gradual rise of humanism, which for figures such as Erasmus and Lefevre d'Etaples, also entailed a great interest in the Bible sources (ad fontes). In 1519 Erasmus published his Novum Testamentum (a revised version of his 1516 Novum Instrumentum), providing from 1520 the basis for various vernacular Bible publications. His Paraphrases on diverse books of the New Testament also appealed to a broad reading public. The effects of this Biblical humanism provide the point of departure for the second part of this book. During the same decennia, through the influence of the Reformation and its sola scriptura principle, new translations became available. The response to this new Bible elan in Catholic circles was varied, from an absolute prohibition of Bible translation in the vernacular, to a cautious integration of a Biblical spirituality in teaching and preaching. The different contributions demonstrate how the religious diversity and plurality continues to expand in this period, with each group increasingly accentuating its own confessional identity. The way in which the Bible is dealt with reflects this process. In the seventeenth century, on which the third section of this book focuses, this evolution is pursued further. From the middle of this century however, an evolution takes place, with a growing number of exegetes taking a critical, scholarly attitude to the Bible, a development that is in an obvious relationship with the growing contemporary phenomenon of secularisation and rationalism. The present book will serve as a valuable companion to Lay Bibles in Europe 1450-1800 (eds. August den Hollander and Mathijs Lamberigts), the proceedings of the 2004 Amsterdam Conference with the same title, which has been published as volume 198 of the BETL-series.

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W.S. Merwin was arguably the most influential American poet of the last half-century – an artist who transfigured and reinvigorated the vision of poetry for our time. An essential voice in modern American literature, he was United States Poet Laureate in 2010-11. Merwin composed the poems of Garden Time as he was losing his eyesight. When he could no longer see well enough to write, he dictated the poems to his wife, Paula. In this gorgeous, mindful and life-affirming book, he channels energy from animated sounds and memories to remind us that ‘the only hope is to be the daylight’. This late collection written in his late-80s finds him deeply immersed in reflection on the passage of time and the frailty and sustaining power of memory. Switching between past and present, he shows us a powerful and moving vision of the eternal, focusing on images of mornings, sunsets, shifting seasons, stars, birds and insects to capture the connectedness of time, space and the natural world. In a poem about Li Po, ‘now there is only the river / that was always on its own way’. In another poem he dreams that ‘the same river is still here / the house is the old house and I am here in the morning / in the sunlight and the same bird is singing’. He remembers when ‘dragonflies were as common as sunlight / hovering in their own days’ and recalls ‘a house that had been left to its own silence / for half a century’. In a poem of wonder entitled ‘Variations to the Accompaniment of a Cloud’, he writes: ‘I keep looking for what has always been mine / searching for it even as I / think of leaving it.’ Poetry Book Society Recommendation

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Poetry is an ideal artistic medium for expressing the fear, sorrow, and triumph of revolutionary times. Words of Protest, Words of Freedom is the first comprehensive collection of poems written during and in response to the American civil rights struggle of 1955–75. Featuring some of the most celebrated writers of the twentieth century—including Maya Angelou, Amiri Baraka, Gwendolyn Brooks, Allen Ginsberg, Robert Lowell, and Derek Walcott—alongside lesser-known poets, activists, and ordinary citizens, this anthology presents a varied and vibrant set of voices, highlighting the tremendous symbolic reach of the civil rights movement within and beyond the United States.Some of the poems address crucial movement-related events—such as the integration of the Little Rock schools, the murders of Emmett Till and Medgar Evers, the emergence of the Black Panther party, and the race riots of the late 1960s—and key figures, including Martin Luther King Jr., Malcolm X, and John and Robert Kennedy. Other poems speak more broadly to the social and political climate of the times. Along with Jeffrey Lamar Coleman's headnotes, the poems recall the heartbreaking and jubilant moments of a tumultuous era. Altogether, more than 150 poems by approximately 100 poets showcase the breadth of the genre of civil rights poetry.Selected contributors. Maya Angelou, W. H. Auden, Amiri Baraka, Gwendolyn Brooks, Lucille Clifton Lawrence Ferlinghetti, Allen Ginsberg, Langston Hughes, June Jordan, Philip Levine, Audre Lorde, Robert Lowell, Pauli Murray, Huey P. Newton, Adrienne Rich, Sonia Sanchez, Léopold Sédar Senghor, Derek Walcott, Alice Walker, Yevgeny Yevtushenko

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These 840+ magical tables are the most complete set of tabular correspondences covering magic, astrology, divination, Tarot, I Ching, Kabbalah, gematria, angels, demons, Graeco-Egyptian magic, pagan pantheons, Christian, Muslim, Jewish, Buddhist, Taoist and mystical correspondences ever printed. It is over five times larger and more wide ranging than Crowleys Liber 777. New columns include the spirits from Fausts Höllenzwang and Trithemius Steganographia. Types of magic and their Greek identification headwords; the meanings of a wide range of nomina magica; planetary incenses; and the secret names for ingredients, all from the Greek magical papyri. Also the names of the gods of the hours and the months which must be used for successful evocation. The source of the data in these tables ranges over 2000 years, from the Graeco-Egyptian papyri, Byzantine Solomonike, unpublished manuscript mediaeval grimoires and Kabbalistic works, Peter de Abano, Abbott Trithemius, Albertus Magnus, Henry Cornelius Agrippa, Dr John Dee, Dr Thomas Rudd, Tycho Brahe, MacGregor Mathers (and the editors of Mathers work, Aleister Crowley and Israel Regardie), to the mage of classical geometric shapes, modern theories of prime numbers and atomic weights. The sources include many key grimoires such the Sworn Book, Liber Juratus, the Lemegeton (Goetia, Theurgia-Goetia, Almadel, Pauline Art), Abramelin, and in the 20th century the grimoire of Franz Bardon. All this material has been grouped and presented in a consistent and logical way covering the whole Western Mystery tradition and some relevant parts of the Eastern tradition. This is the final update of this volume.

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Seduced by simplicity, physicists find themselves endlessly fascinated by hydrogen, the simplest of atoms. Hydrogen has shocked, it has surprised, it has embarrassed, it has humbled--and again and again it has guided physicists to the edge of new vistas where the promise of basic understanding and momentous insights beckoned. The allure of hydrogen, crucial to life and critical to scientific discovery, is at the center of this book, which tells a story that begins with the big bang and continues to unfold today.In this biography of hydrogen, John Rigden shows how this singular atom, the most abundant in the universe, has helped unify our understanding of the material world from the smallest scale, the elementary particles, to the largest, the universe itself. It is a tale of startling discoveries and dazzling practical benefits spanning more than one hundred years--from the first attempt to identify the basic building block of atoms in the mid-nineteenth century to the discovery of the Bose-Einstein condensate only a few years ago. With Rigden as an expert and engaging guide, we see how hydrogen captured the imagination of many great scientists--such as Heisenberg, Pauli, Schrödinger, Dirac, and Rabi--and how their theories and experiments with this simple atom led to such complex technical innovations as magnetic resonance imaging, the maser clock, and global positioning systems. Along the way, we witness the transformation of science from an endeavor of inspired individuals to a monumental enterprise often requiring the cooperation of hundreds of scientists around the world.Still, any biography of hydrogen has to end with a question: What new surprises await us?

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Miroslav Holub was the Czech Republic's most important poet, and also one of her leading immunologists. His fantastical and witty poems give a scientist's bemused view of human folly and other life on the planet. Mixing myth, history and folktale with science and philosophy, his plainly written, sceptical poems are surreal mini-dramas often pivoting on paradoxes. Poems Before & After covers thirty years of his poetry. Before are his poems from the fifties and sixties, poems written before the Soviet invasion of Czechoslovakia: first published in English in his Penguin Selected Poems (1967) and in Bloodaxe's The Fly (1987), with some additional poems. After are translations of his later poetry, all written after 1968, including not only those from his two Bloodaxe editions, On the Contrary (1984) and Supposed to Fly (1996), but also the entire texts of two late collections published by Faber, Vanishing Lung Syndrome (1990) and The Rampage (1997). With additional translations by David Young, Dana Hábová, Rebekah Bloyd and Miroslav Holub. 'A laying bare of things, not so much the skull beneath the skin, more the brain beneath the skull; the shape of relationships, politics, history; the rhythms of affections and disaffection; the ebb and flow of faith, hope, violence, art' – Seamus Heaney 'Miroslav Holub is one of the half dozen most important poets writing anywhere' – Ted Hughes 'One of the sanest voices of our time' – A. Alvarez 'He is a magnificent, astringent genius and this volume sings with an oblique and cutting candour, a tubular coolness we must praise again and again' – Tom Paulin

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From a variety of historically grounded perspectives, After the Imperial Turn assesses the fate of the nation as a subject of disciplinary inquiry. In light of the turn toward scholarship focused on imperialism and postcolonialism, this provocative collection investigates whether the nation remains central, adequate, or even possible as an analytical category for studying history. These twenty essays, primarily by historians, exemplify cultural approaches to histories of nationalism and imperialism even as they critically examine the implications of such approaches. While most of the contributors discuss British imperialism and its repercussions, the volume also includes, as counterpoints, essays on the history and historiography of France, Germany, Spain, and the United States. Whether looking at the history of the passport or the teaching of history from a postnational perspective, this collection explores such vexed issues as how historians might resist the seduction of national narratives, what—if anything—might replace the nation’s hegemony, and how even history-writing that interrogates the idea of the nation remains ideologically and methodologically indebted to national narratives. Placing nation-based studies in international and interdisciplinary contexts, After the Imperial Turn points toward ways of writing history and analyzing culture attentive both to the inadequacies and endurance of the nation as an organizing rubric. Contributors. Tony Ballantyne, Antoinette Burton, Ann Curthoys, Augusto Espiritu, Karen Fang, Ian Christopher Fletcher, Robert Gregg, Terri Hasseler, Clement Hawes, Douglas M. Haynes, Kristin Hoganson, Paula Krebs, Lara Kriegel, Radhika Viyas Mongia, Susan Pennybacker, John Plotz, Christopher Schmidt-Nowara, Heather Streets, Hsu-Ming Teo, Stuart Ward, Lora Wildenthal, Gary Wilder

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Who was Edmond J. Safra? “The greatest banker of his generation,” in the estimation of a former World Bank President. The founder of four massive financial institutions on three continents, and a proud child of Beirut’s Jewish quarter. An innovative avatar of financial globalization, and a faithful heir to a tradition of old-world banking. The leading champion and protector of the Sephardic diaspora. In A Banker’s Journey, financial journalist and historian Daniel Gross, who, like Safra, traces his heritage to Aleppo, Syria, reconstructs the public life of an intensely private man. With exclusive access to Safra’s personal archives, Gross tracks the banker’s remarkable journey from Beirut to Milan, São Paulo, Geneva, and New York—to the pinnacle of global finance.Edmond Safra was fifteen in 1947, when his father sent him to establish a presence in Milan, Italy. Fluent in six languages, and with an eye for value, managing risk, and personal potential, Safra was in perpetual motion until his tragic death in 1999. The modern, global financial empire he built was based on timeless principles: a banker must protect his depositors and avoid excessive leverage and risk. In an age of busts and bailouts, Safra posted remarkable returns while rarely suffering a credit loss.From a young age, Safra assumed the mantle of leadership in the Syrian-Lebanese Jewish community, providing personal aid, supporting the communities that formed in exile, and championing Sephardic religious and educational efforts in Israel and around the world. Edmond J. Safra’s life of achievement in the twentieth century offers enduring lessons for those seeking to make their way in the twenty-first century. He inspired generations to make the world a better place.

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AD 60. Britannia. The Boudica Revolt begins . . .Macro and Cato - heroes of the Roman Empire - face a ruthless enemy set on revenge The Roman Empire's hold on the province of Britannia is fragile. The tribes implacably opposed to Rome have grown cunning in their attacks on the legions. Even amongst those who have sworn loyalty, dissent simmers. In distant Rome, Nero is blind to the danger.As hostilities create mayhem in the west, Governor Gaius Suetonius Paulinus gathers a vast army, with Prefect Cato in command. A hero of countless battles, Cato wants his loyal comrade Centurion Macro by his side. But the Governor leaves Macro behind, in charge of the veteran reserves in Camulodunum. Suetonius dismisses concerns that the poorly fortified colony will be vulnerable to attack when only a skeleton force remains. With the military distracted, slow-burning anger amongst the tribespeople bursts into flames. The king of the Iceni is dead and a proud kingdom is set for plundering and annexation. But the widow is Queen Boudica, a woman with a warrior's heart. If Boudica calls for death to the emperor, a bloodbath will follow.Macro and Cato each face deadly battles against enemies who would rather die than succumb to Roman rule. The future of Britannia hangs in the balance.'An outstanding book with the vivid battle scenes proving a highlight' ⭐ ⭐ ⭐ ⭐ ⭐'This is action packed and unputdownable . . . from the first page, you are transported back in time. A captivating book full of heroism and sacrifice' ⭐ ⭐ ⭐ ⭐ ⭐'Vigorous plot with unexpected twists' ⭐ ⭐ ⭐ ⭐ ⭐'Scarrow . . . has the gift of combining wide knowledge of the period with a page-turning narrative' Sunday TimesSIMON SCARROW: 5 MILLION BOOKS SOLD WORLDWIDE!

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Rufinus' vivid account of the battle between the Eastern Emperor Theodosius and the Western usurper Eugenius by the River Frigidus in 394 represents it as the final confrontation between paganism and Christianity. It is indeed widely believed that a largely pagan aristocracy remained a powerful and active force well into the fifth century, sponsoring pagan literary circles, patronage of the classics, and propaganda for the old cults in art and literature. The main focus of much modern scholarship on the end of paganism in the West has been on its supposed stubborn resistance to Christianity. The dismantling of this romantic myth is one of the main goals of Alan Cameron's book. Actually, the book argues, Western paganism petered out much earlier and more rapidly than hitherto assumed. The subject of this book is not the conversion of the last pagans but rather the duration, nature, and consequences of their survival. By re-examining the abundant textual evidence, both Christian (Ambrose, Augustine, Jerome, Paulinus, Prudentius) and "pagan" (Claudian, Macrobius, and Ammianus Marcellinus), as well as the visual evidence (ivory diptychs, illuminated manuscripts, silverware), Cameron shows that most of the activities and artifacts previously identified as hallmarks of a pagan revival were in fact just as important to the life of cultivated Christians. Far from being a subversive activity designed to rally pagans, the acceptance of classical literature, learning, and art by most elite Christians may actually have helped the last reluctant pagans to finally abandon the old cults and adopt Christianity. The culmination of decades of research, The Last Pagans of Rome overturns many long-held assumptions about pagan and Christian culture in the late antique West.

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Jesus Becoming Jesus, Volume 3 follows upon the previous two volumes of this series entitled Jesus Becoming Jesus. Volume 1 was a theological interpretation of the Gospels of Matthew, Mark and Luke, and volume 2 was a theological interpretation of the Prologue and Book of Signs of John's Gospel (chapters 1–12). Unlike many conventional biblical commentaries, Weinandy concentrates on the theological content contained within John's Gospel. This is accomplished through a close reading of John's Gospel, theologically interpreting each chapter of the Gospel sequentially. In so doing he also takes into account the Johannine corpus as a whole. He also relates John's Gospel to relevant material found within the Synoptic Gospels, the Pauline Corpus and other New Testament writings.In this present volume, Weinandy's original theological interpretation focuses first on the Evangelist's narrative of the Last Supper, which includes Jesus' washing of his disciples' feet, followed upon his lengthy farewell address and his ensuing High Priestly Prayer (chapter 13–17). Although Jesus speaks of his leaving his disciples, yet their hearts should not be troubled, for he is going to prepare a place for them in his Father's house, and he will also send them another Counselor, the Holy Spirit. The Holy Spirit will not only convict the world sin, but he will also empower the disciples to profess their faith in Jesus as the Father's Son, even in the midst of persecution. All that Jesus tells his disciple in his final discourse, he then prays that his Father will accomplish through his forthcoming death and resurrection—above all that his disciples will share in the same oneness of love that he and his Father possess.Weinandy masterfully treats John's Passion and Resurrection Narratives. He not only theologically interprets the uniqueness of the Evangelist's narratives, but also how his narratives insect with the Synoptic accounts. Moreover, Weinandy's theological reading of Jesus' crucifixion and resurrection weaves together John's soteriology, ecclesiology, and sacramentality—all of which are founded upon the Incarnation, that Jesus is the Father's Spirit-filled incarnate Son. As the title suggests, Jesus, being named Jesus, in his death and resurrection, definitively enacts his name and so becoming who he is—YHWH-Saves.

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Three generations of women from the Skelfs family take over the family funeral home and PI businesses in the first book of a taut, gripping page-turning and darkly funny new series. ***Shortlisted for the McIlvanney Prize for Best Scottish Crime Book of the Year*** ***Shortlisted for the Amazon Publishing Capital Crime Awards*** ‘An engrossing and beautifully written tale that bears all the Doug Johnstone hallmarks in its warmth and darkly comic undertones’ Herald Scotland ‘Gripping and blackly humorous’ Observer ‘I was addicted from the first page; gripping, gritty and darkly funny as hell’ Erin Kelly ‘A Dark Matter showcases a writer at the peak of his powers, except that with every book, Doug Johnstone just gets better’ Val McDermid _________________ Meet the Skelfs: well-known Edinburgh family, proprietors of a long-established funeral-home business, and private investigators… When patriarch Jim dies, it’s left to his wife Dorothy, daughter Jenny and granddaughter Hannah to take charge of both businesses, kicking off an unexpected series of events. Dorothy discovers mysterious payments to another woman, suggesting that Jim wasn’t the husband she thought he was. Hannah’s best friend Mel has vanished from university, and the simple adultery case that Jenny takes on leads to something stranger and far darker than any of them could have imagined. As the women struggle to come to terms with their grief, and the demands of the business threaten to overwhelm them, secrets from the past emerge, which change everything… A compelling, tense and shocking thriller and a darkly funny and warm portrait of a family in turmoil, A Dark Matter introduces a cast of unforgettable characters, marking the start of an addictive new series. _________________ ‘A fiendish mystery that is also deeply moving and laced with suitably dark humour … set to be one of the books of the year’ Mark Billingham 'Emotionally complex, richly layered and darkly funny. An addictive blend of Case Histories and Six Feet Under’ Chris Brookmyre ‘This dark but touching thriller makes for a thoroughly enjoyable slice of Edinburgh noir’ Mary Paulson-Ellis ‘This enjoyable mystery is also a touching and often funny portrayal of grief, as the three tough but tender main characters pick up the pieces and carry on: more, please’ Guardian ‘A tense ride … strong, believable characters’ Kerry Hudson, Big Issue ‘They are all wonderful characters: flawed, funny, brave — and well set up for a series. I wouldn’t call him cosy, but there’s warmth to Johnstone’s writing’ Sunday Times

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“Editorial design is the art of storytelling, and DJ’s brand of it is uniquely American. Western American. It starts out slow and builds. It wins you with a bit of humility (almost ‘shucks-gee-whiz’) and then comes back at you with a surprise punch. The pacing and analogies feel like a Will Rogers narrative. . . . When he first began presenting his work to his London Pentagram partners, they thought he could have just as easily been from the moon. But the storytelling was so strong, so funny, so completely designed but guileless at the same time that the Londoners, and the rest of us, found ourselves confronted with something real, authoritative, and probably definable only as pure American Graphic Design.” —Paula Scher, from the introductionAn internationally renowned graphic designer and partner in Pentagram, the world’s most famous graphic design firm, DJ Stout is a fifth-generation Texan whose strong sense of place has inspired his design work for over thirty-five years. His contributions to Texas Monthly, where he was art director for thirteen years, helped the magazine win three National Magazine Awards. American Photo magazine named Stout one of its “100 Most Important People in Photography,” and I.D. (International Design) magazine selected him for “The I.D. Fifty,” its annual listing of design innovators. The Society of Illustrators honored Stout with the national Richard Gangel Art Director Award, and he was made a Fellow of the Austin chapter of the AIGA (American Institute of Graphic Arts) for his lifetime achievements.Variations on a Rectangle presents both a career retrospective of DJ Stout’s work and his inimitable, often humorous perspectives on publication design. Using nearly eight hundred images to illustrate more than two hundred fifty major design projects, Stout describes the inspiration and creative process behind his highly innovative designs for magazines, books, brochures, posters, and even a fiberglass “batcow.” He tells fascinating, behind-the-scenes stories of Texas personalities such as Tommy Lee Jones, Sissy Spacek, and Ann Richards, who figured prominently in Texas Monthly’s pages, while also discussing how his Texas heritage has influenced his more recent design work US and international clients. An essential primer for younger graphic designers and a revelation for everyone who values exceptional design, Variations on a Rectangle proves Stout’s maxim, “A publication without style is just a document, and documents don’t do well on the newsstand. And that’s why you need editorial art directors. Amen.”

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This book encompasses our current understanding of the ensemble approach to many-body physics, phase transitions and other thermal phenomena, as well as the quantum foundations of linear response theory, kinetic equations and stochastic processes. It is destined to be a standard text for graduate students, but it will also serve the specialist-researcher in this fascinating field; some more elementary topics have been included in order to make the book self-contained.The historical methods of J Willard Gibbs and Ludwig Boltzmann, applied to the quantum description rather than phase space, are featured. The tools for computations in the microcanonical, canonical and grand-canonical ensembles are carefully developed and then applied to a variety of classical and standard quantum situations. After the language of second quantization has been introduced, strongly interacting systems, such as quantum liquids, superfluids and superconductivity, are treated in detail. For the connoisseur, there is a section on diagrammatic methods and applications.In the second part dealing with non-equilibrium processes, the emphasis is on the quantum foundations of Markovian behaviour and irreversibility via the Pauli-Van Hove master equation. Justifiable linear response expressions and the quantum-Boltzmann approach are discussed and applied to various condensed matter problems. From this basis the Onsager-Casimir relations are derived, together with the mesoscopic master equation, the Langevin equation and the Fokker-Planck truncation procedure. Brownian motion and modern stochastic problems such as fluctuations in optical signals and radiation fields briefly make the round.

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The volume tells the stories of eighteen parishes in the southern part of Holderness wapentake, the wedge of Yorkshire between the North Sea and the Humber. The low--lying landscape has changed repeatedly during the historical period, with lands along the north bank of the Humber being washed away or growing, lesser watercourses silting up, new drains being made, the steady erosion of the cliff along the sea coast, and the cyclical breaching, destruction,and redeposit of the long spit of land at Spurn Head. The church of Kilnsea and several small settlements have gone with the receding cliff. Sunk Island, which forms part of the Crown Estate, is a parish consisting entirely of newground thrown up by the Humber. In the Middle Ages the land comprised the liberty of Holderness, with a centre at Burstwick manor house, and belonged to the counts of Aumale before passing to the Crown. The counts' extensive privileges in Holderness included the right to exclude the royal sheriff. Within the parish of Preston a medieval borough was established by the count at Hedon, but access for ships from the Humber was difficult and the town later decayed; it is noteworthy for its magnificent church, dubbed 'the king of Holderness'. Another borough and port established by the count was Ravenser Odd, at Spurn head, but that was later destroyed by the sea. There was a haven alsoat Patrington, a large village distinguished by its fine 14th-century church, 'the queen of Holderness'. In the part of the area near Hull, Thorngumbald, in Paull parish, and Keyingham have grown into large dormitory villages. Withernsea, in Hollym and Owthorne parishes, was developed from the 1850s as a seaside resort used mainly by residents of Hull. Other places of which the volume contains accounts are Easington, Halsham, Holmpton, Ottringham, Skeffling, Welwick, and Winestead.

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‘Joe Goldberg is my guilty pleasure, my strange addiction. If loving him is wrong, I don’t want to be right’ Erin KellyJOE GOLDBERG IS BACK, AND THIS TIME HE'S WRITING HIS OWN HAPPILY EVER AFTER . . . Joe Goldberg is ready for a change. Instead of selling books, he’s writing them. And he’s off to a good start. Invited to join a tight-knit writing fellowship at Harvard, Joe thinks he’s finally found a place where talent matters more than pedigree. Where anything is possible, even happy endings. At least until he meets his uber-privileged, already-published, already-distinguished peers. Thankfully, Wonder enters the picture. They have so much in common: no college degrees, no pretensions, just a love for literature. They could be those rare literary soulmates who never fall prey to their demons. If only Wonder could just commit herself to the writing life. But Joe has faith in Wonder. He will sacrifice his art for hers. And, if he must, he will kill her darlings for her. With her trademark biting wit, Caroline Kepnes explores why vulnerable people bring out the worst in others as Joe sets out to make this small, elite world a fairer place. And if a little crimson runs in the streets of Cambridge, who can blame him? Love doesn’t conquer all. Often, it needs a little push. PRAISE FOR CAROLINE KEPNES AND THE YOU SERIES: ‘Crazy, sexy, cool: Caroline Kepnes gets better – and Joe Goldberg gets worse – with every book’ ERIN KELLY ‘Caroline Kepnes writes with such malevolent energy, such dark grace and such ink-black humour. An utterly unique character and an utterly unique writer, in a marriage made somewhere between heaven and hell’ RICHARD OSMAN ‘Fiendish, fast-paced, and very funny’ PAULA HAWKINS ‘Another dark, thrilling, and blackly hilarious adventure from everyone's favourite murderer’ CLAIRE MCGOWAN ‘My new favourite writer’ COLLEEN HOOVER

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#NiUnaMenos#Aufschrei#LoSHA Before #MeToo became the massive global movement we know today, these were the hashtags that represented mobilisations from Ukraine to Latin America that demanded accountability for the intersecting experiences of sexual violence and racism, xenophobia, and misogyny inflicted on women, transgender people, and girls. Lead by activists such as Tarana Burke, who coined the phrase "me too," the movement provided a call to action for survivors across the world to speak out about their experiences. In #MeToo and Beyond, M. Cristina Alcalde and Paula-Irene Villa bring together scholars and activists from various backgrounds to approach #MeToo from multiple spaces, positionalities, and areas of expertise, many from regions and contexts often overlooked and understudied in the mediascapes of the Global North. This volume includes perspectives from around the world and covers research spanning topics from masculinity, and trans issues, to Jewish communities. The editors and contributors heed Tarana Burke's call to center marginalised voices and experiences so that instead of becoming a footnote, these experiences guide activists to frame polyphony as central to understanding past, current, and future forms of gendered violence and resistance. The goal of #MeToo and Beyond is to examine both the profoundly universal and familiar experiences of sexual violence, and the specificity of these forms of violence and mobilisation against them across place, space, and experiences of participants. Activists and scholars will find this an important and necessary contribution to current and future discussions on sexual violence and global movements.

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Traditional literary theory holds that women writers of the Restoration and eighteenth century produced works of limited range and value: simple tales of domestic conflict, seduction, and romance. Bringing a broad range of methodologies (historical, textual, post-structuralist, psychological) to bear on the works of Eliza Haywood, Charlotte Smith, Sarah Fielding, Fanny Burney, Jane Austen, and others. Fetter'd or Free? encourages a re-evaluation of these elder sisters of the Brontes and Eliot. In addition to examining the relationship between the minor female writers and the acknowledged greats of the age, these twenty-three essays focus on such issues as politics and ideology in the novel; the social, cultural, and economic context of the female writer; female character types and iconography; fictional and rhetorical strategies; and the development of such recurrent themes as imprisonment and subversion. What emerges is a much clearer view than we have had of the predicament of the female writer in the eighteenth century, the constraints on her freedom and artistic integrity, and the means by which she recognized, expressed, and responded to the conditions of this turbulent age. The collection includes essays by Paula Backscheider, Patricia M. Spacks, Jerry C. Beasley, Margaret Anne Doody, Robert A. Day, and others. None of the essays has been previously published. In scope and variety, Fetter'd of Free? is unlike anything currently available. It will be of interest to both the specialist and the ambitious general reader and will initiate fresh dialogues among scholars of both eighteenth century literature and women's studies.

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The past thirty years have seen dozens of otherwise successful investors try to improve education through the application of market principles. They have funneled billions of dollars into alternative schools, online education, and textbook publishing, and they have, with surprising regularity, lost their shirts. In Class Clowns, professor and investment banker Jonathan A. Knee dissects what drives investors' efforts to improve education and why they consistently fail. Knee takes readers inside four spectacular financial failures in education: Rupert Murdoch's billion-dollar effort to reshape elementary education through technology; the unhappy investors-including hedge fund titan John Paulson-who lost billions in textbook publisher Houghton Mifflin; the abandonment of Knowledge Universe, Michael Milken's twenty-year mission to revolutionize the global education industry; and a look at Chris Whittle, founder of EdisonLearning and a pioneer of large-scale transformational educational ventures, who continues to attract investment despite decades of financial and operational disappointment. Although deep belief in the curative powers of the market drove these initiatives, it was the investors' failure to appreciate market structure that doomed them. Knee asks: What makes a good education business? By contrasting rare successes, he finds a dozen broad lessons at the heart of these cautionary case studies. Class Clowns offers an important guide for public policy makers and guardrails for future investors, as well as an intelligent expose for activists and teachers frustrated with the repeated underperformance of these attempts to shake up education.

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Pulitzer Prize–winning playwright Paula Vogel once said that theater helps us learn how to be comfortable with being uncomfortable with each other. Revolving around the theme of 'this is who we are," the one-act plays in this latest edition of the Best American Short Plays series (now in its ninth decade) explore the thoughtful ways in which playwrights are wrestling to make sense of our world today. The selected plays reflect how we perform our identities (private and public) and how we negotiate who we are with others who often have different perspectives, perspectives that make us uncomfortable. The theme of this collection is topical and apt—as our country continues to shore up its borders along party lines, from pride parades to strict abortion laws, from inclusivity in education curricula to children in detention centers at the US–Mexico border. Each of the plays presents a clear reflection of who we are (and who we aspire to be) as individuals and as a nation. The styles of the plays also reflect different approaches to storytelling: two characters, four characters, a single setting, multiple settings, or a utopian "nowhere." The rich and compelling characters try to work out their differences and overcome obstacles using humor and a sense of magic that comes with simple moments of human connection. This is who we are: people who are grappling with the desire to be understood, the hope to be loved and accepted, and to allow that hope to shape a larger sense of who we could be if we continue to work and listen.

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One of History Today's Best Books of 2022'I felt exquisitely anchored reading this wonderful book' Juno Roche'A thoughtful, fun, and refreshingly readable romp through the history of gender variance' Susan Stryker'A searing, reflexive read . . . that needs to be in everyone's hands expeditiously' Paula AkpanAcross the world today, people of all ages are doing fascinating, creative, messy things with gender. These people have a rich history - but one that is often left behind by narratives of trans lives that focus on people with stable, binary, uncomplicated gender identities. As a result, these stories tend to be recent, binary, stereotyped, medicalised and white.Before We Were Trans is a new and different story of gender, that seeks not to be comprehensive or definitive, but - by blending culture, feminism and politics - to widen the scope of what we think of as trans history by telling the stories of people across the globe whose experience of gender has been transgressive, or not characterised by stability or binary categories. Transporting us from Renaissance Venice to seventeenth-century Angola, from Edo Japan to North America, the stories this book tells leave questions and resist conclusions. They are fraught with ambiguity, and defy modern Western terminology and categories - not least the category of 'trans' itself. But telling them provides a history that reflects the richness of modern trans reality more closely than any previously written. Before We Were Trans is a history and celebration of gender in all its fluidity, ambiguity and complexity.

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The great-grandaughters of Emma Harte, the heroine of A Woman of Substance and Emma’s Secret, follow in her legendary footsteps… Evan Hughes, Emma's American great-grandaughter, is trying to integrate into the powerful Harte family. She is caught between her estranged parents, her new family, and new love. Meanwhile a dangerous enemy hovers in the background. Tessa Longden, Evan's cousin, is battling her husband for custody of their daughter, Adele. When Adele suddenly goes missing, Tessa seeks her sister Linnet's help. Linnet O'Neill, the most brilliant businesswoman of the four great-granddaughters, shows that she is the natural heir to her mother, Paula. But her glittering future at the helm of the vast Harte empire means many sacrifices. India Standish, the traditionalist in the family, falls in love with a famous British artist from a working-class background. Madly in love, India is determined to marry him. When Evan discovers letters from Emma Harte to her grandmother, the story is swept back to the 1950s. In the post-war boom years Emma builds her business empire, using a combination of determination and sheer nerve, and she embarks on a relationship with a handsome acquaintance from the war years. But it is the revelations in Emma's letters to her grandmother that give Evan a new perspective and help to set her free from her own past. This latest dramatic story in the on-going saga of an extraordinary family dynasty is full of love, passion and jealousy and is Barbara Taylor Bradford at her inimitable best.

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In Icons of Hope: The “Last Things” in Catholic Imagination, John Thiel, one of the most influential Catholic theologians today, argues that modern theologians have been unduly reticent in their writing about “last things”: death, judgment, heaven, and hell. Beholden to a historical-critical standard of interpretation, they often have been reluctant to engage in eschatological reflection that takes the doctrine of the “last things” seriously as real events that Christians are obliged to imagine meaningfully and to describe with some measure of faithful coherence. Modern theology’s religious pluralism leaves room for a speculative style of interpretation that issues in icons of hope—theological portraits of resurrected life that can inform and inspire the life of faith. Icons of Hope presents an interpretation of heavenly life, the Last Judgment, and the communion of the saints that is shaped by a view of the activity of the blessed dead consistent with Christian belief in the resurrection of the body, namely, the view that the blessed dead in heaven continue to be eschatologically engaged in the redemptive task of forgiveness. Thiel offers a revision of the traditional Catholic imaginary regarding judgment and life after death that highlights the virtuous actions of all the saints in their heavenly response to the vision of God. These constructive efforts are fostered by Thiel’s conclusions on the disappearance of the concept of purgatory in large segments of contemporary Catholic belief, a disappearance attributable to the emergence of a noncompetitive spirituality in postconciliar Catholicism, which has eclipsed the kinds of religious sensibilities that made belief in purgatory a practice in earlier centuries. This noncompetitive spirituality—one that recovers traditional Pauline sensibilities on the gratuitousness of grace—encourages an eschatological imaginary of mutual, ongoing forgiveness in the communion of the saints in this life and in the life to come.

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Jesus Becoming Jesus, Volume 2: A Theological Interpretation of the Gospel of John: Prologue and the Book of Signs follows upon the first volume of this series entitled Jesus Becoming Jesus. The first volume was a theological interpretation of the Gospels of Matthew, Mark and Luke. Unlike many conventional biblical commentaries, Weinandy concentrates on the theological content contained within John’s Gospel. He does this in the light of the Church’s doctrinal and theological tradition, particularly in keeping with the Second Vatican Council’s Dogmatic Constitution, Dei Verbum. This is accomplished through a close reading of John’s Gospel, theologically interpreting each chapter of the Gospel sequentially. In so doing he also takes into account the Johannine corpus as a whole. He also relates John’s Gospel to relevant material found within the Synoptic Gospels, the Pauline Corpus and other New Testament writings.This original theological interpretation focuses primarily on the intertwining theological themes contained within John’s Gospel, specifically within the Prologue and the Book of Signs – light and darkness, the seven miracle-signs, the sacraments of baptism and the Eucharist, the seven “I Am” sayings, the contentious dialogues with the Jews, Jesus’ relationship to his Father as the Father’s incarnate Word and Son, etc. Within all of these interlocking themes one finds the importance of Jesus’ saving actions – the salvific works of his Father. The overarching theme of this book, as the title suggests, is that Jesus, being named Jesus, throughout his public ministry is enacting his name and so becoming who he is – YHWH-Saves.Weinandy offers a singular, vibrant, and luminous reading of John’s Gospel; one that reveals the Evangelist’s theological depth and doctrinal sophistication. In so doing, Weinandy makes manifest the particular beauty of the Gospel According to John.

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Chile has long been a centre for radical propaganda painting. As early as 1940 leading Mexican and Chilean artists, including David Alfaro Siqueiros, Fernando Marcos and Gregorio de la Fuente, were painting murals in Chile. Today, Latin American street art is as innovative as any in the world, and Chile plays a leading part. Much as Spain witnessed a boom in the arts post-Franco, so, since the end of Pinochet’s dictatorship in 1990, Chile has embraced an era of new freedoms. Chile has made up for lost time. The contemporary artists and graffiteros shown on these pages have their roots in Latin American propagandistic murals, but look forward. Artists such as Bomber West, Charqui Punk, Dana Pink, Elodio, Inti, Piguan, Pussyz Soul Food, Ritalin Crew, Vazko and Yisa are informed by Latin American, European and North American (especially West Coast) art and music, but have their own Chilean slant. Their carefully planned visual and verbal jokes, strategies and techniques are derived from an array of sources: Picasso, Surrealism, Pop, São Paulo’s Os Gêmoes, Vitche and Herbert, Brazilian pichaçao lettering, Peruvian photorealism, Argentine stencils, Bolivian hats and masks, US subway graffiti, hip hop, punk, Barcelona’s street art, Japanese animation, pornography, Gilbert & George, Brit art, Bansky. The resulting mixture is anarchic, accessible art. All parts of Chile are covered, from Arica to Punta Arenas, with special focus on Santiago and Valparaíso, both key centres of Latin American street art. Distinctive cities such as Iquique, Chillán, Concepción and Puerto Montt, and areas of the country rarely seen, are featured. The book includes an introduction to the history and flavour of Chilean street art; a glossary of graffiti terms; manifestos; and translations of all the graffiti shown.

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Refuting the common perception that the American left has a religion problem, Vaneesa Cook highlights an important but overlooked intellectual and political tradition that she calls "spiritual socialism." Spiritual socialists emphasized the social side of socialism and believed the most basic expression of religious values—caring for the sick, tired, hungry, and exploited members of one's community—created a firm footing for society. Their unorthodox perspective on the spiritual and cultural meaning of socialist principles helped make leftist thought more palatable to Americans, who associated socialism with Soviet atheism and autocracy. In this way, spiritual socialism continually put pressure on liberals, conservatives, and Marxists to address the essential connection between morality and social justice. Cook tells her story through an eclectic group of activists whose lives and works span the twentieth century. Sherwood Eddy, A. J. Muste, Myles Horton, Dorothy Day, Henry Wallace, Pauli Murray, Staughton Lynd, and Martin Luther King, Jr. spoke and wrote publicly about the connection between religious values and socialism. Equality, cooperation, and peace, they argued, would not develop overnight, and a more humane society would never emerge through top-down legislation. Instead, they believed that the process of their vision of the world had to happen in homes, villages, and cities, from the bottom up. By insisting that people start treating each other better in everyday life, spiritual socialists transformed radical activism from projects of political policy-making to grass-roots organizing. For Cook, contemporary public figures such as Senator Bernie Sanders, Pope Francis, Reverend William Barber, and Cornel West are part of a long-standing tradition that exemplifies how non-Communist socialism has gained traction in American politics.

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Early in his career, New Zealand artist Gavin Hipkins was described by fellow artist Giovanni Intra as a ‘tourist of photography’. This epithet has been used repeatedly by commentators on Hipkins’ work to describe two intertwined aspects of his practice. As art historian Peter Brunt puts it, Hipkins is a constantly travelling photographer, ‘an iconographer of desire, travel, time and … modern communities’, and a tourist within the medium, ‘a great manipulator of the photographic artifact itself’.Accompanying a major survey of Hipkins’ work at The Dowse Art Museum (November 2017 – March 2018), The Domain is an extensively illustrated book that combines new essays with a selection of art writing from the past 20 years. It illuminates not only Hipkins’ ever-evolving practice – which takes in a great variety of photographic media, from slide transparencies to moving image – but critical approaches to photography at the turn of the 21st century. Included here are plates from major bodies of work including The Habitat (1999–2000), Hipkins’ study of Brutalist architecture on New Zealand universities; The Homely (1997–2000), a photographic tour through New Zealand and Australia, nominated for the inaugural Walters Prize; The Colony (2000–2002), shown at the 28th Sao Paulo Biennale; and Erewhon (2014), Hipkins’ first feature-length film, an experimental adaptation of Samuel Butler’s anonymously published 1872 novel Erewhon. Hipkins’ work returns again and again to a set of core concerns: photography as the predominant form of modernist visual communication; the nation state and national identity; exploration and colonisation in the modern era; and how social and political ideologies visually shape the world we live in. Here, followers of Hipkins can see how his career has unfolded and newcomers can discover one of New Zealand’s most innovative, subversive investigators of photography.With new essays by George Clark, Courtney Johnston and Robert Leonard, and archival texts by Barbara Blake, Peter Brunt, Blair French, Heather Galbraith, Giovanni Intra, Robert Leonard, Trevor Mahovsky, William McAloon, Karra Rees and Laurence Simmons.

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The discipline of urban design is undergoing a rapid expansion and realignment. It is experiencing a shift from a profession dominated by architects and planners, directed at urban development, to a more expansive set of practices engaging new forms of social and environmental ecologies, as cities worldwide adapt to economic restructuring, mass migrations and climate change. Bringing together classic and new texts from the last 40 years, this AD Reader focuses attention on the critical tools needed to understand how cities have been designed and constructed and then changed over time. This enables new ways of envisioning how cities must be conceived and adapted in the future to the dual conditions of rapid urbanisation and economic restructuring, coupled with unpredictable environmental conditions due to climate change. With its emphasis on both urban design and the ecological, this book brings together key articles that point the way forward for reconciling the often conflicting concerns of urbanism and environmentalism. Twenty-three texts are organised into four distinct sections, covering metropolitan architecture, the sprawling megalopolis, the megacity and the recently emerging metacity. These are broadly chronological and highlight the recent thinking behind some of the key urban developments, ranging from the art of traditional city-making covered by European architects and historians in the late 20th century to contemporary Tokyo described by Atelier Bow-Wow. Features original texts from: Reyner Banham, Rem Koolhaas, Aldo Rossi, Colin Rowe, David Grahame Shane, Bernard Tschumi, Oswald Mathias Ungers, and Robert Venturi, Denise Scott Brown and Steven Izenour. Contains newly commissioned texts from: Mary Cadenasso, Sharon Haar and Victoria Marshall, Carlos Leite, Steward TA Pickett and Albert Pope. Includes new translations of important essays by Vittorio Gregotti and Paola Viganò. Topics range from the European historic city to the Las Vegas Strip and the megacity of São Paulo, taking in the global sustainable city.

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Pauline Kael, Andrew Sarris, and Roger Ebert were three of America’s most revered and widely read film critics, more famous than many of the movies they wrote about. But their remarkable contributions to the burgeoning American film criticism of the 1960s and beyond were deeply influenced by four earlier critics: Otis Ferguson, James Agee, Manny Farber, and Parker Tyler. Throughout the 1930s and ’40s, Ferguson, Agee, Farber, and Tyler scrutinized what was on the screen with an intensity not previously seen in popular reviewing. Although largely ignored by the arts media of the day, they honed the sort of serious discussion of films that would be made popular decades later by Kael, Sarris, Ebert and their contemporaries. With The Rhapsodes, renowned film scholar and critic David Bordwell—an heir to both those legacies—restores to a wider audience the work of Ferguson, Agee, Farber, and Tyler, critics he calls the “Rhapsodes” for the passionate and deliberately offbeat nature of their vernacular prose. Each broke with prevailing currents in criticism in order to find new ways to talk about the popular films that contemporaries often saw at best as trivial, at worst as a betrayal of art. Ferguson saw in Hollywood an engaging, adroit mode of popular storytelling. Agee sought in cinema the lyrical epiphanies found in romantic poetry. Farber, trained as a painter, brought a pictorial intelligence to bear on film. A surrealist, Tyler treated classic Hollywood as a collective hallucination that invited both audience and critic to find moments of subversive pleasure. With his customary clarity and brio, Bordwell takes readers through the relevant cultural and critical landscape and considers the critics’ writing styles, their conceptions of films, and their quarrels. He concludes by examining the profound impact of Ferguson, Agee, Farber, and Tyler on later generations of film writers.The Rhapsodes allows readers to rediscover these remarkable critics who broke with convention to capture what they found moving, artful, or disappointing in classic Hollywood cinema and explores their robust—and continuing—influence.

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Join maverick inventor Steve Mushin as he tackles climate change with an avalanche of mind-bending, scientifically plausible inventions to rewild cities and save the planet.Jump intohisbrain as he designs habitat-printing robot birds and water-filtering sewer submarines, calculates how far compost cannons can blast seed bombs (over a kilometre), brainstorms biomaterials with scientists and engineers, studies ecosystems and develops a deadly serious plan to transform cities into jungles, rewilding them into carbon-sucking mega-habitats for all species, and as fast as possible.Through marvellously designed and hilarious engineering ideas, Mushin shares his vision for super-high-tech urban rewilding, covering the science of climate change, futuristic materials and foods, bio reactors, soil, forest ecosystems, mechanical flight, solar thermal power and working out just how fast we could actually turn roads into jungles, absorb carbon and reverse climate change.Developed over seven years, Ultrawild is an optimistic book about creative thinking, science, technology, engineering and maths (STEM) and the potential for massive change. Filled with laugh-out-loud design-ridiculousness, it aims to empower and excite a new generation of designers, scientists, engineers and ultra-wild thinkers.'If this book does not fire your imagination, nothing will. Steve Mushin doesn't hold back when thinking about our green future; humanity needs all the ideas it can get to bring climate change under control, and this book is packed with them!' Professor James Renwick, climate scientist 'Abrain-meltingly intricate and inspiring compendium of the gigantic ideas needed to repair the planet by rewilding every city on Earth. From compost-firing cannons to water-filtering sewer submarines, Mushin's bonkers, brilliant, boundary-breaking inventions give permission to eager 9+ conservationists to push their imaginations to the limit, rather than yield to despair.'The Guardian'The most astonishing children's book I have read in ages. I am astonished by the wildness of ideas, the creative energy, the exuberant movement of thought, the feet in science and the YES in imagining. Enter the wilds of Ultrawild and you will see the world afresh because this book is a clear response to climate change, the loss of habitats, outdated power sources, a need to care for forest ecosystems, over-roading, resource depleting. It is like imagination gets political and the political gets imaginative.' Paula Green, Poetry Box NZ'This visionary, intricate, outrageous road map for integrated thinking is mind blowing. It's funny, it's a melding of engineering, hi-tech, botany, zoology and pure creative thinking. Required reading for everyone, most especially political leaders and those feeling like we've run out of ideas: this book proves we really haven't.' Claire Mabey, The Spin Off, Aotearoa Books of the Year, 2023'The ideas, conversations and inventions in Ultrawild belong in every school, home, waiting room, library, community house, bedroom, car and loo. The perfect gift for curious kids. Don't walk - RUN to grab your copy!' Kids' Book Review

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150 works – mostly unpublished before – signed by the Moroccan contemporary artist Fouad Bellamine in a rich, complete monograph. Moroccan contemporary artist, Fouad Bellamine, was born in Fez in 1950 and was raised amidst varied artistic and creative influences in the Medina of his home town. Bellamine came from a family of skilled craftsmen, and he learned many of his painting techniques from his father who was a talented artist. Pursuing his passion for art, from 1967 Fouad Bellamine studied at the School of Applied Arts in Casablanca, going on to the University of Paris where he completed a masters degree in the history and theory of art. He later became a professor of history and art at the University of Rabat. His first exhibition in 1972 in Rabat featured a selection of his abstract landscapes, which were well received by critics. Throughout the 1970s Bellamine explored the use of different materials in art and it is during this experimental period that he developed his unique style of minimalism with bold single-colour brush strokes which is still evident in his current work. He has been exhibiting extensively throughout Morocco, France, Belgium and the U.K. as well as worldwide such as in Spain, Portugal, Finland, the Middle East and Egypt, Senegal, California, Tunis. In 1987, he participated to the Biennale of São Paulo in Brazil. Since he had returned to Morocco in 1989, Bellamine contributed actively to the promotion of contemporary art in his country. In 1997, he initiated the creation of a permanent collection of contemporary art in the Children’s Hospital of Rabat, first experience of its kind in Morocco. His works have been acquired by several public and corporate collections such as Moroccan institutions as well as the Museum of the Arab World Institution (IMA), the National Fund for Contemporary Art (FNAC), the Museum of Modern Art, the Museum of Africa and Oceania all of them in Paris, the Kinda Foundation. He lives and works in Rabat.

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In Bodies in Dissent Daphne A. Brooks argues that from the mid-nineteenth century to the early twentieth, black transatlantic activists, actors, singers, and other entertainers frequently transformed the alienating conditions of social and political marginalization into modes of self-actualization through performance. Brooks considers the work of African American, Anglo, and racially ambiguous performers in a range of popular entertainment, including racial melodrama, spectacular theatre, moving panorama exhibitions, Pan-Africanist musicals, Victorian magic shows, religious and secular song, spiritualism, and dance. She describes how these entertainers experimented with different ways of presenting their bodies in public—through dress, movement, and theatrical technologies—to defamiliarize the spectacle of “blackness” in the transatlantic imaginary.Brooks pieces together reviews, letters, playbills, fiction, and biography in order to reconstruct not only the contexts of African American performance but also the reception of the stagings of “bodily insurgency” which she examines. Throughout the book, she juxtaposes unlikely texts and entertainers in order to illuminate the complicated transatlantic cultural landscape in which black performers intervened. She places Adah Isaacs Menken, a star of spectacular theatre, next to Sojourner Truth, showing how both used similar strategies of physical gesture to complicate one-dimensional notions of race and gender. She also considers Henry Box Brown’s public re-enactments of his escape from slavery, the Pan-Africanist discourse of Bert Williams’s and George Walker’s musical In Dahomey (1902–04), and the relationship between gender politics, performance, and New Negro activism in the fiction of the novelist and playwright Pauline Hopkins and the postbellum stage work of the cakewalk dancer and choreographer Aida Overton Walker. Highlighting the integral connections between performance and the construction of racial identities, Brooks provides a nuanced understanding of the vitality, complexity, and influence of black performance in the United States and throughout the black Atlantic.

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One may visit famous gardens in Tokyo, Kyoto, or Osaka—or one may visit Japanese-styled gardens in New York, San Francisco, Philadelphia, Berlin, London, Paris, São Paulo, or Singapore. We often view these gardens as representative of the essence of Japanese culture. Christian Tagsold argues, however, that the idea of the Japanese garden has less do to with Japan's history and traditions, and more to do with its interactions with the West. The first Japanese gardens in the West appeared at the world's fairs in Vienna in 1873 and Philadelphia in 1876 and others soon appeared in museums, garden expositions, the estates of the wealthy, and public parks. By the end of the nineteenth century, the Japanese garden, described as mystical and attuned to nature, had usurped the popularity of the Chinese garden, so prevalent in the eighteenth century. While Japan sponsored the creation of some gardens in a series of acts of cultural diplomacy, the Japanese style was interpreted and promulgated by Europeans and Americans as well. But the fashion for Japanese gardens would decline in inverse relation to the rise of Japanese militarism in the 1930s, their rehabilitation coming in the years following World War II, with the rise of the Zen meditation garden style that has come to dominate the Japanese garden in the West. Tagsold has visited over eighty gardens in ten countries with an eye to questioning how these places signify Japan in non-Japanese geographical and cultural contexts. He ponders their history, the reasons for their popularity, and their connections to geopolitical events, explores their shifting aesthetic, and analyzes those elements which convince visitors that these gardens are "authentic." He concludes that a constant process of cultural translation between Japanese and Western experts and commentators marked these spaces as expressions of otherness, creating an idea of the Orient and its distinction from the West.

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Authentikos Logos (NHC VI,3), also known as Authoritative Teaching,is a little studied story of a souls descent and ascent in the Nag Hammadi library. With her book Ulla Tervahauta fills a gap in the scholarship and provide the first monograph-length study that has this writingas its primary focus. The aim is to find a place and context for Authentikos Logos within early Christianity, but Tervahauta also adds new insight into the scholarship of the Nag Hammadi Library and study of early Christianity. Contrary to the usual discussion of the Nag Hammadi writings from the viewpoint of Gnostic studies, she argues that Authentikos Logos is best approached from the context of Christian traditions of late ancient Egypt between the third and the fifth centuries. Tervahauta discusses the story of the souls journey in light of various Christian and Platonic writings. Also, she analyses the relationship of Authentikos Logos with the Valentinian Wisdom myth and suggests that no firm evidence connects the writing closely with Valentinian traditions. And although a Platonic mind-set can be assumed, the writing combines motifs in a unique manner. For example, the four epithets used in the writing the invisible soul, the pneumatic soul, the material soul, and the rational soul are not found thus combined elsewhere. Discussion of matter (hyle) is connected with Christian scriptural allusions and the focus is on ethics and the evilness of matter. The body, on the other hand, is the souls place of contest and progress. The Pauline term pneumatic body (1 Cor 15:44) is used allusively and from a Platonic perspective. With this book Ulla Tervahauta makes an important contribution to the study of early Christianity in late ancient Egypt by discussing a writing thatshows knowledge and creative combination of literary traditions that circulated in late ancient Egypt.

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The very name Stalingrad has become synonymous with military folly and political arrogance. Its capture by the Wehrmacht was a crushing defeat, both militarily and politically, for the Red Army. The 6th Army was a highly experienced key element of Army Group South. In late June 1942 it rolled eastwards as part of the summer offensive to capture the vital oilfields of Baku and secure the city on the Volga that bore the name of the Soviet leader. The 6th Army was the acme of German military might and on paper it should have easily overwhelmed the defenders of Chuikov's 62nd Army. However its commander, General Friedrich Wilhelm Ernst Paulus, lacked field experience. His army would pay the price. Stalingrad was a new type of battlefield and it would test the mettle of attacker and defender to the very limit, all the while the thermometer plunged. This Battle Craft title also looks at four pieces of military hardware that were involved in these legendary battles. Innumerable T-34's, which often rolled off local assembly lines unpainted and straight into battle took on the Stug III assault gun as it supported troops fighting for mere meters of territory. Overhead, in the frigid air, deadly V, Ju87 Stuka and Yak 9s, were locked in battle for air superiority over the shattered remains of a once vibrant city. The Quartermaster section provides the modeller with an insight into the development and operational use of the four chosen vehicles and aircraft that were involved in the Battles of El Alamein. A selection of historical and contemporary photos and illustrations feature alongside stunning showcase builds, providing the modeller with subjects to whet the creative appetite. It also features details of model kits and extras that can really help the modeller bring military history to life.

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