Everyone with an interest in the history of mathematics and science will enjoy reading this book on one of the most famous mathematicians of the 19th century. The author, who is both a historian and a
By turns painful and soaring, an ambitious memoir debut from one of Irish literature's rising stars, Se嫕 HewittALL DOWN DARKNESS WIDE is a perceptive and unflinching meditation on the burden of living in a world that too often sets happiness and queer life at odds, and a tender and honest portrayal of what it's like to be caught in the undertow of a loved one's deep depression. As lives are made and unmade, this memoir asks what love can endure, and what it cannot. When Se嫕 meets Elias, the two fall headlong into a love story, but they soon come face-to-face with crisis--Elias sets out on the path to suicide, then turns back. Hewitt wrestles with the aftermath, confronting a profound rupture, endeavoring to mend and to understand it. It is a journey of lonely discovery followed by the light of community. Delving deep into his own history, enlisting the ghosts of queer figures before him, Hewitt plumbs the darkness in search of answers. From a 19th-century cemetery in Liverpool to a sac
Although portrayed as a liberal law of co-existence of and co-operation between states, international law has always been a welfarist law, too. Emerging in eighteenth-century Europe, it soon won favour globally. Not only did it minister to the interests of states and their concern for stability, but it was also an interventionist law designed to ensure the happiness and well-being of peoples. Hence international law initially served as a secularised eschatological model, replacing the role of religion in ensuring the proper ordering of mankind, which was held to be both one and divided. That initial vision still drives our post-Cold War globalised world. Contemporary international law is neither a strictly welfarist law nor a strictly liberal law, but is in fact a liberal-welfarist law. In the conjunction of these two purposes lies one of the keys to its meaning and a partial explanation for its continuing ambivalence.
Although portrayed as a liberal law of co-existence of and co-operation between states, international law has always been a welfarist law, too. Emerging in eighteenth-century Europe, it soon won favour globally. Not only did it minister to the interests of states and their concern for stability, but it was also an interventionist law designed to ensure the happiness and well-being of peoples. Hence international law initially served as a secularised eschatological model, replacing the role of religion in ensuring the proper ordering of mankind, which was held to be both one and divided. That initial vision still drives our post-Cold War globalised world. Contemporary international law is neither a strictly welfarist law nor a strictly liberal law, but is in fact a liberal-welfarist law. In the conjunction of these two purposes lies one of the keys to its meaning and a partial explanation for its continuing ambivalence.
"This manifesto-memoir comes none too soon to rescue Architecture from the trash bin of postmodernism. Lucid, intelligent, and visionary, this small book is destined to become a guide for 21st century
One of the nation’s top art critics shows how six great artists made old age a time of triumph by producing the greatest work of their long careers―and, in some cases, changing the course of art history.Ordinarily, we think of young artists as the bomb throwers. Monet and Renoir were still in their twenties when they embarked on what would soon be called Impressionism, as were Picasso and Braque when they ventured into Cubism. But your sixties and the decades that follow can be no less liberating if they too bring the confidence to attempt new things. Young artists may experiment because they have nothing to lose; older ones because they have nothing to fear. With their legacies secure, they’re free to reinvent themselves…sometimes with revolutionary results.Titian’s late style offered a way for pigment itself―not just the things it depicted―to express feelings on the canvas, foreshadowing Rubens, Frans Hals, 19th-century Impressionists, and 20th-century Expressionists. Goya’s late wor
