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This work is part of a project undertaken by the co-authors on ‘Interfaith relations in medieval Islam: Jewish minorities under Almohad rule’ supported by a joint project grant from the British Academy and the Consejo Superior de Investigaciones Cientificas, Madrid. The authors thank both institutions for their generous support., This article presents a Genizah letter dealing with Jewish trade in Fes shortly after the Almohads had started their conquest of southern Morocco. The authors propose a new reading of the text, as part of a project of revision of primary sources related to interfaith relations under Almohad rule., En este artículo se presenta una carta de la Genizah relativa comercio judío en la ciudad de Fez, en el período en el que los Almohades habían comenzado la conquista del Sur de Marruecos. Las autoras proponen una nueva lectura del texto, como parte de un proyecto de revisión de fuentes primarias relativas a las relaciones interreligiosas bajo poder almohade., British Academy, Consejo Superior de Investigaciones Cientificas, Madrid

This paper critically reviews the literature on diversity. We develop a framework of HR diversity management, indicating the major issues, objectives and strategies at the strategic, tactical and operational levels. We also examine the state of human resource diversity management practices in organizations. Our review shows that inequality and discrimination still widely exist and HRM has focused mainly on compliance with equal employment opportunity (EEO) and affirmative action (AA). Less attention has been paid to valuing, developing and making use of diversity. We found limited literature examining how diversity is managed in organizations through effective human resource management. The implications of the findings of our review for research and practice are discussed.

International audience; The symbol of the Leviathan came to the forefront in political theory, as the structure and the ideological justification of the state underwent radical change in at least three European countries from the early 1920s to the 1940s. Thus, the terrifying image of Leviathan has sometimes given rise to a surprising historiography of twentieth-century totalitarian states, tracing them back to the origins of modern political thought, as if there were a direct line of descent from Hobbes to Mussolini, Hitler and Stalin, or, worse still, as if Hobbes’s Leviathan (1651) were an exact anticipation of twentieth-century political catastrophes. The differing interpretations of Hobbes proposed by Strauss, Tönnies, Schmitt, Vialatoux, Capitant, Pareto, Collingwood, and Oakeshott, are here interpreted in the perspective of the interwar transformation of Europe. The contributors, who are German, British and French political philosophers, analyse the conditions which have made possible conflicting readings of Hobbes’s political philosophy, and explain why they sometimes don’t do justice to Leviathan.

International audience; What we set out to do here is not so much raise a historical question about the social and economic reasons for the crisis in the concept of justice in the 1640s, as reflect on the philosophical aspects of Hobbes’ recasting of the theory of justice in Leviathan. The first aspect of this recasting is the emergence of a new definition of justice as the keeping of valid convenants; the second aspect is a new understanding of distribution and exchanges, and the third aspect is a criticism of alternative forms of justice, which is to be found in the famous refutation of the fool, in chapter XV of Leviathan. The peculiarity of the third of Hobbes’s political treatises is thus that it simultaneously presents the crisis in the concept of justice and resolves it, in the form of a new theory based on a novel conception of contractual exchanges and political authority.

This thesis is a comparative literary study which is conducted by placing the reception of Russian literature in Spain during the period 1918-36 within the context of the interplay of literature and the social and political situations in which it is written. It first places the boom in the publication of Russian literature in the late 1920s and 1930s within the context of the history of the reception of Russian literature in Spain, providing a comprehensive survey of that history. Next, it describes the impact of the Russian Revolution and the formative years of the Soviet Socialist state on the political situation in pre-Civil War Spain, including the ideological links between the political situations of both countries. In pre-Civil War Spain, the revolutionary atmosphere changed the mood, subject matter and style of literature, and certain writers, recognizing their civic duty, began to produce literature that had a socially critical and didactic role. During that period, given the political context and the development of politically committed literature, Spanish intellectuals and artists of a Marxist persuasion derived incentive from their Russian counterparts. Russian literature has traditionally been the forum for social criticism, and has had a profoundly revolutionary dimension. Pre-revolutionary writers such as Dostoevsky and Andreev have been perceived by outsiders as revolutionary writers, and, in that capacity, have enjoyed great popularity abroad, including Spain. In the Soviet era, Mayakovsky was often considered to be the "Poet of the Revolution", and Gorky was the chief spokesman in the promotion of socialist ideals in literature in the twenty years following the Revolution. In Spanish pre-Civil War fiction, both the social novel and poetry were instrumental in conveying overtly Marxist messages. The thesis concludes with a comprehensive study about certain Spanish writers and their works, in the domains of poetry and the novel, specifically seeking evidence of the impact of the literature and ideology which was emanating from Russia in the first third of the twentieth century.

This paper draws on work undertaken through Harriet Bulkeley's ESRC Climate Change Fellowship, Urban Transitions: climate change, global cities and the transformation of socio-technical systems (ESRC RES-066-27-0002) Debates about climate justice have mainly occurred at the international scale, and have focussed on the rights and responsibilities of nation-states to either be protected from the effects of climate change, or to take action to reduce emissions or support adaptation. In this paper, we argue that it is both productive and necessary to examine how climate justice is being pursued at the urban scale, which brings into focus the need for attention to issues of recognition as well as rights and responsibilities. Building on work from environmental justice, which has conceptualized justice as trivalent, we propose that climate justice can be understood as a pyramid, the faces of which are distributions, procedures, rights, responsibilities and recognition. We then apply this conceptual framework to examine climate change interventions in five cities; Bangalore, Monterrey, Hong Kong, Philadelphia and Berlin. Arguing that the politics and practices of urban climate change interventions are constantly engaging with and refracting the idea of justice, we examine how justice was articulated, practiced and contested across our cases. The perspective of recognition emerges as a particularly useful entry point through which to explore the types of rights, responsibilities, distributions and procedures required to respond justly to climate change. We conclude by reflecting on our framework, arguing that it is useful both as an analytical device to interrogate climate justice and to shape the design of climate change interventions which seek to ensure climate justice. Publisher PDF

This study charts the developing relationship between the Zurich church and Italian-speaking Protestants between around 1540 and 1620. It explores the close ties that were established between Zurich's senior minister, Heinrich Bullinger, and Italian evangelical exiles in Switzerland and elsewhere from the early 1540s, and describes how the Zurich church facilitated the spread of Protestantism in Italian-speaking regions such as Locarno and southern Graubünden. That process culminated in the setting-up in Zurich, under Bullinger's patronage, of an Italian Reformed congregation. A particular concern of the thesis is the threat to the integrity of the Zwinglian settlement posed by the ideas and activities of religious radicals within the Italian exile community. To begin with, Bullinger was confident that those 'heretics' could be accommodated within the emerging Reformed consensus. However, a series of doctrinal disputes during the 1540s, 1550s and 1560s revealed the extent of the radicals' differences with Reformed orthodoxy and compelled the Zurichers to revise their judgement. Bullinger's hostile reaction to the publication of the allegedly heterodox Dialogi XXX by his Italian colleague, Bernardino Ochino, signalled a move from conciliation to confrontation. From the early 1560s, the Zurich divines assumed an active role in the Reformed campaign to shore up Nicene orthodoxy against the criticisms of Italian antitrinitarians, and to expel radicals from the Italian-speaking churches of the Rhaetian Freestate. In the process, they endeavoured to counter the charges of heresy that had long bedevilled Zwinglianism by articulating a conservative, 'catholic' definition of their church's identity. The study concludes by examining how relations between the Zurich church and the Italian Reformed communities of Graubünden and its subject lands were placed on a new, co-operative basis once the radical challenge had been repelled. Through its support for those vulnerable congregations, I suggest, the Zurich church gave evidence of its continued commitment to the international Protestant cause during the period following Bullinger's death. The correspondence of Bullinger and other Zurich ministers forms the dissertation's most important source. The study also draws on works produced by the Zurich divines in the context of their exchanges with Italian evangelicals, the works of the Italian exiles themselves, and the records of Zurich's Italian-speaking community.

This thesis argues that the term Kailyard is not a body of literature or cultural discourse, but a critical concept which has helped to construct controlling parameters for the discussion of literature and culture in Scotland. By offering an in-depth reading of the fiction of J.M. Barrie - the writer who is most usually and misleadingly associated with the term - and by tracing the writing career of Ian Maclaren, I argue for the need to reject the term and the critical assumptions it breeds. The introduction maps the various ways Kailyard has been employed in literary and cultural debates and shows how it promotes a critical approach to Scottish culture which focuses on the way individual writers, texts and images represent Scotland. Chapter 1 considers why this critical concern arose by showing how images of national identity and national literary distinctiveness were validated as the meaning of Scotland throughout the nineteenth century. Chapters 2-5 seek to overturn various assumptions bred by the term Kailyard. Chapter 2 discusses the early fiction of J.M. Barrie in the context of late nineteenth-century regionalism, showing how his work does not aim to depict social reality but is deliberately artificial in design. Chapter 3 discusses late Victorian debates over realism in fiction and shows how Barrie and Maclaren appealed to the reading public because of their treatment of established Victorian ideas of sympathy and the sentimental. Chapter 4 discusses Barrie's four longer novels - the works most constrained by the Kailyard term - and chapter 5 reconsiders the relationship between Maclaren's work and debates over popular culture. Chapter 6 analyses the use of the term Kailyard in twentieth-century Scottish cultural criticism. Discussing the criticism of Hugh MacDiarmid, the writing of literary histories and studies of Scottish film, history and politics, I argue for the need to reject the Kailyard term as a critical concept in the discussion of Scottish culture.

This thesis is a critical study of the theme of shame in Shakespeare. The first chapter defines the senses in which shame is used. Chapter Two analyses the workings of shame in pre-renaissance literature. The argument sets aside the increasingly discredited shame-culture versus guilt-culture antithesis still often applied to classical and Christian Europe; then classical and Christian shame are compared. Chapter Three focuses on shame in the English Renaissance, with illustrations from Spenser, Marlowe, Jonson, and Milton. Attention is also paid to the cultural context, for instance, to the shaming sanctions employed by the church courts. It is argued that, paradoxically, the humanist aspirations of this period made men and women more vulnerable to shame: more aware of falling short of ideals and open to disappointment and the reproach of self and others. The fourth chapter is an introductory account of Shakespearean shame; examples are drawn from the plays and poems preceding the period of the major tragedies, circa. 1602-9. This lays the groundwork, both conceptually and in terms of Shakespeare's development, for the main part of the thesis, Part Two, which offers detailed readings of Hamlet, Othello, King Lear, Antony and Cleopatra, and Coriolanus. In Each case, a consideration of the theme of shame illuminates the text in question in new ways. For example, and exploration of shame in Hamlet uncovers a neglected spiritual dimension; and it is argued that, despite critical tradition, shame, rather than jealousy, is the key to Othello, and that Antony and Cleopatra establishes the attraction and limitation of shamelessness. The last Chapter describes Shakespeare's distinctive and ultimately Christian vision of shame. In a tail-piece it is suggested that this account of Shakespearean shame casts an intriguing light on a little-known interpretation of Shakespeare's last days by the historian E.R.C. Brinkworth.

This thesis focuses upon the writings of the contemporary North American feminist theologian Mary Daly. It takes the form of a critical study of Daly's thought in terms of five tributary influences. It represents a contribution to two areas of research: the history of feminist ideas, and the ongoing methodological debate within feminism as to the possible relationship between feminist theory and 'conventional' theory. In chapter one Daly's political thought is introduced through a discussion of the influence of the tradition of radical feminism. The principle aim of this chapter is to clarify, as far as possible, the dual process of influence that exists between her thinking and the work of certain radical feminist theorists. In chapter two the influence of Beauvoirian existentialism upon Daly's thought is examined in the wake of the claim that in drawing from Simone de Beauvoir's feminist existentialist analysis of women's situation, in The Second Sex, Daly assimilates Sartrean existentialist assumptions which are problematic from a feminist perspective. In chapter three turn to address Daly's philosophical- theological debt to Thomas Aquinas and the Thomist tradition. I trace the history of Daly's dealings with Thomism, including her criticism, and briefly evaluate her continued feminist engagement with its ontology. In chapter four Daly's utilisation of Peter L. Berger's sociological theory is explored. I discuss Daly's feminist criticism of Berger's theory of 'worldbuilding' and proceed to evaluate her subsequent attempts to use Berger's work as the starting-point for a new feminist sociology of knowledge. In the fifth and final chapter the abiding influence of Christianity to Daly's 'revolutionary' theological agenda is highlighted and explored with reference to the contemporary division of theological labour between so-called 'reformists' and 'revolutionaries'. The thesis ends with a few concluding remarks about Daly's methodology with regard to 'conventional' theory.

This thesis starts from the point of departure of asking why Aesthetic Theory is difficult to read. In answering this question it is argued that the difficulty of the work is a function of the unusual claims Adorno makes about the relation between art and philosophy, and that the presentation of these arguments exemplifies these claims. This complimentary relation between form and content has implications for the way Adorno can be understood as engaging the idea of mimesis. Aesthetic Theory should be understood as a theory of mimesis in modern art and as a mimetic work itself. Given this idea, the question of the readability of the work emerges as inseparable from the explicit claims Adorno makes for mimesis. If the work ultimately cannot be understood because Adorno does not define his concepts, or it is unexplainable for any other reason, then mimesis will be shown to be untenable. The issue of the readability of Aesthetic Theory is explored in the Introduction through a discussion of issues arising from the recent history of Adorno's reception. Particular attention is paid to the differences between critics who have emphasised the significance of the particular claims Adorno makes against those who emphasise his method. Chapter I rejects this distinction while it argues that the character of Adorno's writing is uneven, that is to say, Aesthetic Theory cannot usefully be read in a uniform way. Chapter I considers different aspects of this lack of uniformity and argues that the identity of Aesthetic Theory as 'philosophy' is often tenuous as it moves in and out of other modes of argument. Chapters 2 and 3 look at different aspects of the identity of Aesthetic Theory as philosophy. Chapter 2 explains the strategic significance of the work as a continuation of a tradition of philosophy from Hegel onwards. This tradition, it is argued, has explicitly understood the problem of philosophy as recognising itself as experience while it attempts to describe experience. Chapter 3 extends this theme into a consideration of philosophical form. If philosophy is understood as a mode of experience then its form as well as its content is significant. Through a consideration of Heidegger and Derrida, Chapter 3 examines the uniqueness of the philosophical form of Aesthetic Theory. Having made this distinction. Chapter 4 reads Aesthetic Theory as philosophical form, describing aspects of it as mimetic. Chapters 5 and 6 then give detailed readings of parts of Aesthetic Theory which are particularly relevant for an understanding of Adorno's theory of the mimetic potential of modern art. The concluding chapter argues that the internal consistency of Aesthetic Theory in its practice and definition of the crisis of mimesis in modernism has significant implications for the practice of art history and criticism of twentieth-century art.

The period 1775 - 1840 witnessed a dramatic transformation in the size and complexity of the Edinburgh art world, with the rituals associated with fine art consumption emerging from the closed circles of the elite connoisseur and taking on new meanings in the more open and contested spaces of the urban public sphere. Expanding regimes of artistic exchange and consumption accelerated rapidly during the course of the 1820s, as the city's fine arts became more deeply embedded in British and Continental markets. For a growing audience of wealthy professional bourgeoisie and lesser gentry, the ownership of painting became the requisite component of refined urban living. However, this expansion -- dominated by the resale exchange of 'old' masters -- was not automatically a boon to contemporary artists. In a highly stratified artistic sphere many found the struggle for subsistence unequal. An early protective association, the Society of Artists, foundered on the rocks of its members' competing interests, and the formation of the Scottish Academy in 1826 was also riven by debilitating disputes between different groups of artists and their patrons. During a period of acute political turmoil, the press exploited these divisions for political gain, and disagreements over modes of patronage were easily represented in terms of the passions of party feeling. It was only in the wake of the Reform Act, and the remodelling of Edinburgh's body politic, that the 'problem' of the public emerged as a central concern of elite patronage. Members of the stumbling Scottish Academy joined with leading civic figures to found the first Edinburgh art union. Its successful harnessing of a largely middle-class public not only secured the financial prospects of the city's leading artists, but also offered civic elites a clearly defined pathway to social power and recognition. The cultural authority accruing to the fine arts allowed its managers to develop a self-interested 'governmental' agenda. However, the art union's dominance of the urban arts did not pass uncontested, and a counter organisation was formed to challenge its patrician management style. These disputes, combined with earlier confrontations, expose the complex array of competing interests that structured Edinburgh's emergent artistic field during the early decades of the nineteenth century.

“The existing work is easy to summarise; despite the ever present nature of furniture in people's lives, and its obvious position in a social context as a reflection of taste, wealth and progress, the study in Scotland of the trade which made it, and the furniture itself, has until recently been sadly neglected.” -- From the Preface. “This thesis is intended to hang flesh on the bones of Francis Bamford's ‘Dictionary of Edinburgh Wrights’, rather than to be a counterpart to Pat Kirkham's study of the London trade¹². Whereas in Glasgow 'no rich vein of documentation has revealed the existence of a dominant city manufacturer comparable with Trotter of Edinburgh, whose furniture and business activities can be traced back into the eighteenth century¹³', in Edinburgh rich veins do exist. They have been used not only to illuminate the careers of individuals but also to explore the great range of services which these individuals offered. The editorial of the 1992 volume of ‘Regional Furniture’ states that 'some work on Norwich, Chester, Doncaster, Lancaster and Glasgow is in print, but coverage is patchy'. That Edinburgh had such a clearly vibrant trade will hopefully be of encouragement to historians of all major British cities, even those that did not benefit from the privileges of a capital city, or bask in the reflected glow of the Enlightenment.” – From the Introduction.

Blood oxygenation level is associated with cardiovascular fitness, and raising oxygenated blood colouration in human faces increases perceived health. The current study used a two-alternative forced choice (2AFC) psychophysics design to quantify the oxygenated blood colour (redness) change threshold required to affect perception of facial colour, health and attractiveness. Detection thresholds for colour judgments were lower than those for health and attractiveness, which did not differ. The results suggest redness preferences do not reflect a sensory bias, rather preferences may be based on accurate indications of health status. Furthermore, results suggest perceived health and attractiveness may be perceptually equivalent when they are assessed based on facial redness. Appearance-based motivation for lifestyle change can be effective; thus future studies could assess the degree to which cardiovascular fitness increases face redness and could quantify changes in aerobic exercise needed to increase facial attractiveness. Publisher PDF

This thesis investigates an aspect of the first complete translation of the Bible into French. It shows how the study of the Gospels glosses, hitherto considered of secondary importance by scholars, increases our understanding of the date and context of this translation. This thesis takes two complementary approaches to the gloss material: (a) a study of the likely Latin sources for these glosses, and (b) an investigation into their recurring themes and rhetorical construction, as a way of showing how far they fit into the tradition of Latin exegesis. Chapter one surveys existing scholarship and presents the methodology of the thesis. Chapter two is a handlist of Latin commentaries consulted. In chapters three to six, the main body of the thesis, a comparison is made between Latin gloss material from these commentaries and corresponding glosses in the French Gospels, Chapter seven presents the broad patterns which have emerged from this study, discussing the use of material and rhetorical techniques, as well as identifying remaining problems, namely, those of other types of source-text, and the question of multiple translators. Chapter eight contains a summary of the conclusions reached, and discusses the implications of these for our knowledge of this Bible translation. The glossator is revealed as someone with access to exegesis from several different traditions, not just commentaries, and as a person trained in Latin commentary technique, which he adapted for writing in the vernacular. The glossator is shown not to have copied literally from commentaries or other texts, but to have used material thoughtfully, and reworked it for his own purposes. That the glossator was learned, and that his glosses fit into the Latin exegetical tradition, are the major findings of this thesis, challenging previously-held views as to the fundamental worthlessness of these glosses.

This thesis examines the function of art in Nietzsche's philosophy. Its primary concern is with Nietzsche's turn to art as the means to counter what he terms metaphysics. Metaphysics is a metonym for the system of beliefs sustaining our culture whereby human judgements about the world are perceived as uncovering an objective truth antecedent to those judgements, with an implicit faith in the possibility of exhausting the totality of these antecedent truths. This thesis consequently has two principal strands. The first is to analyse Nietzsche's criticism of metaphysics. The second is to explore the way in which, using a specific understanding of art, Nietzsche attempts to reconcile extreme scepticism towards all forms of human knowledge with a continued belief in their necessity. The thesis argues that Nietzsche lays an importance on art as providing an aesthetic education to replace the misguided theoretical orientation of metaphysics. Nietzsche criticises metaphysics for its inability to recognise that its interpretations are mere interpretations, that logic and the rational serve as means to make the world meaningful from the human perspective. My thesis explores how he sees art, and in particular the tragic, as constituting a mode of world interpretation which declares its status as such. I argue that for Nietzsche this is crucial inasmuch as a failure to recognise the contingency of our interpretations results in a refusal to give value in any interpretations. For Nietzsche the advent of the Modern age heralds the danger of such refusal, and hence I argue that his turn to art is a response to the specifically Modern temptation to descend into mere cynical Nihilism.

This thesis provides a descriptive study of element-order (or word-order) within clauses in a corpus drawn from Ælfric’s Catholic Homilies and Supplementary Homilies. A sample of 11,543 clauses has been analysed, divided into fourteen clause categories. A survey of element-order within each clause category is presented, with copious examples and full statistics. Attention is paid both to the order of single elements in relation to the verb phrase, and to patterns of clause order. An extensive description of the position of adverbial elements is included. Discussion includes a comparison of the rhythmic and non-rhythmic prose of Ælfric, showing that though there is broad similarity between the two styles, significant differences do exist. The results obtained reveal many regularities or marked tendencies in element-order, as well as a substantial measure of stylistic freedom.

The subject of faith has long been a subject of study for both theologians, whose prime concern has usually been with the nature and object of a particular faith, and philosophers of religion who have been more concerned with the relationship between faith and reason. This thesis differs from both such approaches in that its primary aim is to examine the psychological structure, functions and experience of the general phenomenon of human faith; that need to trust, be loyal to and centre one's life in something outside of oneself, It should not be identified with any one school of psychological theory; rather, its intention is to use a psychological description of faith to enhance the theological understanding of faith. Its methodology is to examine the psychology that underlies three particular theologians' understandings of faith: Paul Tillich, H, Richard Niebuhr and Wilfred Cantwell Smith. In addition to examining the psychology of faith, a second aim is to examine what the present author sees as a practical implication of such a psychological understanding of faith as expounded by W. C. Smith in his proposal for the construction of a universal theology. Chapter One is a general introduction to the thesis, a definition of terms and a brief examination of the place a psychology of faith has in the wider field of the psychology of religion. Chapters Two, Three and Four follow a similar format: each is a separate examination of the psychology that underlies Tillich's, Niebuhr's and Smith's understandings of faith respectively. In the case of Tillich and Niebuhr a differentiation is made between an objective psychological understanding of faith which concerns the functions and structure of faith and a subjective understanding which concerns the experience of faith. Chapter Five is in the form of a conclusion and proposes a uniform understanding of the psychology of faith based on the previous three authors. It also examines the main discrepancy between the authors' understandings of faith in their descriptions of the final object and source of faith. Following Chapter Five is a Postscript which examines W. C. Smith's proposal for the construction of a universal theology which the present author sees as a practical application of understanding faith psychologically.

The identification of Oldowan hominin knapping skill levels has been a focus of numerous studies, with apparent variation in technical abilities identified between a number of Early Stone Age archaeological sites. Raw material variability, however, can play a significant role in the outcomes of knapping events as well as in the accuracy of analysis. Implications of such variability are yet to be fully understood. Here we present an experimental study to assess the effects that varying raw materials have on the identification of technological attributes typically associated with varying skill levels and whether it is possible to identify knapper skill levels across multiple raw materials. Variation was tested between raw materials from Olduvai Gorge across and between skill levels. The results suggest that knapping skill levels manifest differently in the material record across raw materials. In addition, we suggest that raw material has a significant effect on identifying knapper skill variation. This has implications for future research concerned with identifying knapper skill within and between early assemblages of differing raw materials., Open Access funding enabled and organized by Projekt DEAL. T.P is supported by a British Academy Postdoctoral Fellowship (pf170157). A.B. is supported by a European Union’s Horizon 2020 research and innovation programme Marie Sklodowska-Curie Action grant PREKARN n:702584 and Juan de la Cierva-Incorporación (IJCI-2019-041546-I). I.D.L.T is supported by an ERC-Advanced Grant (European Union’s Horizon 2020 research and innovation programme grant agreement no. 832980). Support was also provided by the Max Planck Society (Technological Primates Research Group) (to T.P). Raw material collection at Olduvai Gorge was funded by the European Research Council (Starting Grant 283366) and authorised by the Department of Antiquities, Tanzania

This project has received funding from the European Research Council (ERC) under the European Union's Horizon 2020 research and innovation programme under grant agreement No 715146. The authors also acknowledge the funding received to carry out this research from the Leverhulme Trust (ECF‐2013‐177) and the British Academy (EN150010). This article considers how people working in the oil and gas industry in Colorado perceive their involvement in energy exploration in relation to broader understandings of devotion, compassion, and outreach. I argue that although their energy projects may appear to merely echo companies’ formal promotional pitches, the oil field and corporate actors’ own moral ambitions reveal more-than-human cosmoeconomic visions of oil’s potentiality. This article thus demonstrates how multiple and diverging ethical registers intersect and inform the valuation of oil. Publisher PDF

Although Pierre Seghers is well-known as publisher and promoter of poetry, his own poetry, as a corpus, has never been the focus of academic attention. This study approaches his poetry first through the themes. The picture which emerges, of the universe and the individual's position in this universe, is characterised by dynamism; nature, society and the individual are all in a state of becoming. So, too, are the individual's relationship with the outside world and the picture he has of himself. For the poet, these are realised in the language of his poetry. Part II is a study of the poetic technique. The importance attached by Seghers to the oral quality of poetry has led to an emphasis on the rhythms of Seghers's verse. Features which are typical of his verse and which give rise to dynamism in the verse itself are studied in relation to the dynamism which is conveyed thematically. The poetry is divided into four main types. These are the early fixed-form poetry, and three later freer forms: freed alexandrine verse, verse in mixed line-lengths, and verse written in lines of sixteen syllables. The poetry written in a mixture of line-lengths is highlighted as the apogee of Seghers's production: it is here that the dynamic relationship between the self and the outside world is most successfully concretised. The four categories reflect a chronological development, but the poetry seen in each section is studied in a synthetic manner, and a number of features are seen to be common to poetry of different types and from different periods. The synthetic character of the study is complemented by commentaries on three whole poems. A comprehensive bibliography of Seghers's poetry and prose works is found at the end of the thesis.

As prime minister and finance minister of Luxembourg over 30 years, Pierre Werner played a major role in the building of a united Europe. This Christian Democratic intellectual and committed federalist gained strong reputation as a consensus-builder between larger powers (Germany and France) and between diametrically opposed positions (‘economists’ and ‘monetarists’), as well as for his ideas on monetary integration. From early 1950s, Werner advocates a European monetary system based on a currency unit and on a clearing house for central banks. In 1968 he delivered a clear roadmap to EMU founded on a symmetrical economic and monetary union, with political union as the ultimate goal. Werner’s vital input and the ‘effective parallelism’ principle he imagined, were evident in the Werner Report of 1970, which was offered as the blueprint for EMU in the EU. Based on the Werner family archives and original interviews, this chapter highlights Werner’s contribution as architect of EMU in a threefold way: intellectual input, negotiation methods and consensus building.

International audience; The symbol of the Leviathan came to the forefront in political theory, as the structure and the ideological justification of the state underwent radical change in at least three European countries from the early 1920s to the 1940s. Thus, the terrifying image of Leviathan has sometimes given rise to a surprising historiography of twentieth-century totalitarian states, tracing them back to the origins of modern political thought, as if there were a direct line of descent from Hobbes to Mussolini, Hitler and Stalin, or, worse still, as if Hobbes’s Leviathan (1651) were an exact anticipation of twentieth-century political catastrophes.

International audience; Tom Sorell and Luc Foisneau bring together original essays by the world's leading Hobbes scholars to discuss Hobbes's masterpiece after three and a half centuries. The contributors address three different themes. The first is the place of Leviathan within Hobbes's output as a political philosopher. What does Leviathan add to The Elements of Law (1640) and De Cive (1642; 1647)? What is the relation between the English Leviathan and the Latin version of the book (1668)? Does Leviathan deserve its pre-eminence?The second theme concerns the connections between Hobbes's psychology and Hobbes's politics. The essays discuss Hobbes's curious views on the significance of laughter, evidence that he connected life in the state with passionlessness; the ways in which such things as fear for one's life entitle subjects to rebel; and the question of how the sovereign's personal passions are to be squared with his personifying a multitude.The third theme is Hobbes's views on the Bible and the Church: contributors examine the tensions between any allowance for ecclesiastical and (differently) biblical authority on the one hand, and political authority on the other. This is a book which anyone working on Hobbes or on this period of intellectual history will want to read.