Jonathan Harris – författare

'..a biographer of supreme intelligence and industry, since the bibliography is immense and he has delved into it with extraordinary taste and imagination.' - The Spectator'An excellent book, detailed where detail was still needed, sensibly perfunctory where almost everything possible has already been told and said.' - The Observer'M. Jullian's book succeeds in keeping the reader's interest unflaggingly alive.' - The Economist

The practice of international litigation has been transformed in recent decades. Central to the development of international litigation as a field has been the remarkable career of Lord Collins: scholar, practitioner, judge and arbitrator. In this collection in his honour, inspired by Collinss own late 20th Century classic Essays in International Litigation and the Conflict of Laws (OUP 1994), Jonathan Harris and Campbell McLachlan present the research of sixteen jurists of international renown. They offer a fresh appraisal of key developments across the field: from climate litigation to offshore trusts, the impact of Brexit and the new tools for international judicial cooperation. Organised into five parts, the book offers a set of unique insights into the conduct of cross-border litigation; the judicial role in international cases; the shape of English private international law; the conduct of international arbitration; and the interface with public international law. As a whole, the book offers the opportunity to reflect on the deeper purposes of international litigation in the pursuit of comity.

Bentham's central concern during the 1810s and 1820s was with the codification of the law. Rejecting both the common law and the historical approach to codification, he argued that a code of law should be based on a rigorous logical analysis of the categories of human action, and that each enactment should be followed by the reasons which justified it. Such an `all-comprehensive' code containing an `interwoven rationale' would signal a new era in legislation. Once one state had adopted such a code, other states would be obliged to follow its example, and Bentham would become in effect 'legislator of the world'. Bentham attempted to persuade legislative authorities in the United States of America, Russia, Spain, Portugal, Greece, South and Central America, and elsewhere, to invite him to draft a code of law for them. The works presented in this volume record in fascinating detail Bentham's dealings with such eminent figures as James Madison, John Quincy Adams, Emperor Alexander I, Prince Adam Czartoryski, Alexander Mavrokordatos, Bernadino Rivadavia, and José del Valle. The production of a methodology for codification ranks as one of Bentham's outstanding theoretical achievements. Through the materials presented in this volume he emerges as a seminal figure in the development of liberalism throughout Europe and America in the early nineteenth century.

A beautifully illustrated and accessible account of the medieval crusades.The Oxford Illustrated History of the Crusades provides an accessible introduction to the medieval crusades and to the changes and developments that have taken place in their study over the last twenty-five years. Written by fifteen experts in the field, it opens with the nature of western European society in the eleventh century that gave rise to the holy war ethos, where the Church promoted violence against the perceived enemies of the faith not as a distasteful necessity in a fallen world but as a meritorious act which attracted a spiritual reward. The launch of the First Crusade in 1095 and its capture of Jerusalem four year later is described, along with the subsequent expeditions to the Holy Land up to 1271. Later chapters focus on some of the less well-known aspects. These include the reaction in the Islamic world to the crusades; the impact on the Jewish communities of western Europe; the perspective from the Byzantine empire; the crusades launched against Christians, whether Orthodox Byzantines or Hussite and Albigensian heretics; the literature and songs to which the crusades gave rise and the physical monuments that can still be seen today. Crusading continued long after the fall of Acre, the last outpost in the Holy Land, in 1291, becoming increasingly defensive in the face of the expansion of the Ottoman empire, although Christian forays into Africa and the Americas in the fifteenth and early sixteenth centuries were still regarded as crusades. Even in the nineteenth century, crusades were looked back on as a model for contemporary European imperialism.

This book is the first one in English to focus in depth upon the private international law problems raised by the sale of goods. It begins with the substantive law and practice, and uses this as the basis for a comparative and critical discussion of the private international law issues. Examples of the typical obligations of the buyer and seller are also provided. International Sale of Goods in the Conflict of Laws is a strong new addition to the Oxford Private International Law Series and covers everything from torts to e-commerce.Contracts of sale with a cross-border element are an everyday occurrence and one which is becoming ever more common with the advent of modern communications technology. For example, where, for jurisdictional purposes, is the place or performance of the obligation to pay for goods? Where software is sold over the Internet, is this a sale of goods contract and, if so, where are the goods delivered? Foreign judgments as to title raise complex questions as to enforcement, recognition and res judicata. As regards choice of law, sales-specific problems arise to a large extent from the interaction of contractual obligations and title matters which are central to the sale contract and the complex characterisation questions which ensue. They arise from the enactment in many countries of the Vienna Convention, from the complex inter-relationship between buyer, seller and third parties and from sales-specific domestic legislation which may be mandatory irrespective of the applicable law.The book is concerned not only with contractual disputes that can arise out of the international sale of goods but also with torts, such as conversion and negligent misstatement, that can arise out of this type of contract. Restitutionary and proprietary claims can also arise. Special attention is paid to both the jurisdictional and choice of law problems that occur in cases of business to business e-commerce.

The late medieval eastern Mediterranean, before its incorporation into the Ottoman Empire in the sixteenth century, presents a complex and fragmented picture. The Ayyubid and Mamluk sultanates held sway over Egypt and Syria, Asia Minor was divided between a number of Turkish emirates, the Aegean between a host of small Latin states, and the Byzantine Empire was only a fragment of its former size. This collection of thirteen original articles, by both established and younger scholars, seeks to find common themes that unite this disparate world. Focusing on religious identity, cultural exchange, commercial networks, and the construction of political legitimacy among Christians and Muslims in the late Medieval eastern Mediterranean, they discuss and analyse the interaction between these religious cultures and trace processes of change and development within the individual societies. A detailed introduction provides a broad geopolitical context to the contributions and discusses at length the broad themes which unite the articles and which transcend traditional interpretations of the eastern Mediterranean in the later medieval period.

By 1400, the once-mighty Byzantine Empire stood on the verge of destruction. Most of its territories had been lost to the Ottoman Turks, and Constantinople was under close blockade. Against all odds, Byzantium lingered on for another fifty years until 1453, when the Ottomans dramatically toppled the capital’s walls. During this bleak and uncertain time, ordinary Byzantines faced difficult decisions to protect their livelihoods and families against the death throes of their homeland. In this evocative and moving book, Jonathan Harris explores individual stories of diplomatic maneuverings, covert defiance, and sheer luck against a backdrop of major historical currents and offers a new perspective on the real reasons behind the fall of this extraordinarily fascinating empire.

A fresh, concise, and accessible history of one of the medieval world’s greatest empiresFor more than a millennium, the Byzantine Empire presided over the juncture between East and West, as well as the transition from the classical to the modern world. Jonathan Harris, a leading scholar of Byzantium, eschews the usual run-through of emperors and battles and instead recounts the empire’s extraordinary history by focusing each chronological chapter on an archetypal figure, family, place, or event.  Harris’s action-packed introduction presents a civilization rich in contrasts, combining orthodox Christianity with paganism, and classical Greek learning with Roman power. Frequently assailed by numerous armies—including those of Islam—Byzantium nonetheless survived and even flourished by dint of its somewhat unorthodox foreign policy and its sumptuous art and architecture, which helped to embed a deep sense of Byzantine identity in its people.  Enormously engaging and utilizing a wealth of sources to cover all major aspects of the empire’s social, political, military, religious, cultural, and artistic history, Harris’s study illuminates the very heart of Byzantine civilization and explores its remarkable and lasting influence on its neighbors and on the modern world.

This book assesses the key definitions, forms, contexts and impacts of terrorist activity on the arts in the modern era, using historical and contemporary perspectives. Its empirical case studies include theatre, literature, music, visual art, mass media, film and the mores of ‘ordinary life.’ While its immediate reflective context is Islamic fundamentalist terrorism, the book reviews a broader range of definitions and counter-definitions of 'terrorism', 'state terrorism' and 'states of terror,' examining uses of the terms through a series of comparative analyses. Chapters focus on the intersection of these definitional questions with heuristic analysis of art forms, cultural activities and their socio-historical contexts. This book will be of interest to scholars in art history, terrorism, politics and the media, and visual culture.

The Christian, Greek-speaking Byzantine empire was placed rather uneasily between western Christendom and the Islamic world during the Crusade era. Like all historical topics – particularly medieval – sources on the crusades give a variety of perspectives and accounts, but Byzantine writers provide a unique outlook on these crucial events.Byzantine Sources for the Crusades, 1095–1204 brings together important sources on the Crusades into one volume. The texts translated here include established accounts, such as selections from Anna Komnene’s description of the passage of the First Crusade in 1096–8, John Kinnamos' writings on the Second Crusade and Niketas Choniates’ studies on the Second and Third Crusades, particularly covering the passage of German emperor Frederick I Barbarossa during the latter. However, less well-known accounts are also translated and provided, such as Zonaras' and the contemporary letters of the archbishop of Ohrid during the First Crusade, various poems and speeches recorded throughout the reigns of John II and Manuel I Komnenos and smaller accounts about crusaders passing through the Byzantine Empire.This book covers up to the Fourth Crusade, in which Niketas Choniates was an eye-witness to the Siege of Constantinople in 1204 and later a refugee in Nicaea, writing a series of speeches about the capture of the Byzantine capital and rallying the Byzantines to recovery the city from the newly created Latin Empire.This book will appeal to scholars and students alike studying the era of the Crusades in the East and the perspectives and accounts of Byzantine writers both at the time and after, as well as all those interested in the history of the Byzantine Empire in the 11th, 12th, and 13th centuries.

The Sylloge Tacticorum is a mid-Byzantine example of the literary genre of military manuals or Taktika which stretches back to antiquity. It was one of a number produced during the tenth century CE, a period when the Byzantine empire enjoyed a large measure of success in its wars against its traditional enemy, the Arabs. Compiled to record and preserve military strategies, know-how, and tactics, the manual discusses a wide variety of matters: battle formations, raids, sieges, ambushes, surprise attacks, the treatment of prisoners of war and defectors, distribution of booty, punishment of military offences, how to mount effective espionage, and how to send and receive envoys. There is even advice on the personal qualities required by generals, on how to neutralize enemy horses, and on how to protect the troops against poisoned food. The work culminates in an account of the stratagems employed by great Greek and Roman military commanders of the past. While, like so much of Byzantine literature, the Sylloge often simply reproduces material found in earlier texts, it also preserves a great deal of information about the military tactics being developed by the Byzantine army during the tenth century. It is the first Byzantine source to record the reappearance of a specialized heavy cavalry (the kataphraktoi) and of a specialized infantry (the menavlatoi) used to repel the attacks of the opposing heavy cavalry. There is also a great deal of information on new infantry and cavalry formations and on the new tactics that required them. This is the first complete translation of the Sylloge into English. It is accompanied by a glossary of the specialised Greek military vocabulary used in the work and by footnotes which explain obscure references and identify the author’s classical and Byzantine sources. An introduction places the work in its historical and literary context and considers some of the questions that

The New Art History provides a comprehensive introduction to the fundamental changes which have occurred in both the institutions and practice of art history over the last thirty years. Jonathan Harris examines and accounts for the new approaches to the study of art which have been grouped loosely under the term 'the new art history'. He distinguishes between these and earlier forms of 'radical' or 'critical' analysis, explores the influence of other disciplines and traditions on art history, and relates art historical ideas and values to social change. Structured around an examination of key texts by major contemporary critics, including Tim Clarke, Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of Marxist, feminist and psychoanalytic critical theories. Individual chapters include: * Capitalist Modernity, the Nation-State and Visual Representation * Feminism, Art, and Art History * Subjects, Identities and Visual Ideology * Structures and Meanings in Art and Society * The Representation of Sexuality

The New Art History provides a comprehensive introduction to the fundamental changes which have occurred in both the institutions and practice of art history over the last thirty years. Jonathan Harris examines and accounts for the new approaches to the study of art which have been grouped loosely under the term 'the new art history'. He distinguishes between these and earlier forms of 'radical' or 'critical' analysis, explores the influence of other disciplines and traditions on art history, and relates art historical ideas and values to social change. Structured around an examination of key texts by major contemporary critics, including Tim Clarke, Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of Marxist, feminist and psychoanalytic critical theories. Individual chapters include: * Capitalist Modernity, the Nation-State and Visual Representation * Feminism, Art, and Art History * Subjects, Identities and Visual Ideology * Structures and Meanings in Art and Society * The Representation of Sexuality

Art History: The Key Concepts is a systematic, reliable and accessible reference guide to the disciplines of art history and visual culture. Containing entries on over 200 terms integral to the historical and theoretical study of art, design and culture in general, it is an indispensable source of knowledge for all students, scholars and teachers. Covering the development, present status and future direction of art history, entries span a wide variety of terms and concepts such as abstract expressionism, epoch, hybridity, semiology and zeitgeist.Key features include:a user-friendly A-Z formatfully cross-referenced entriessuggestions for further reading.Engaging and insightful, as well as easy to follow and use, Art History: The Key Concepts builds a radical intellectual synthesis for understanding and teaching art, art history and visual culture.

Art History: The Key Concepts is a systematic, reliable and accessible reference guide to the disciplines of art history and visual culture. Containing entries on over 200 terms integral to the historical and theoretical study of art, design and culture in general, it is an indispensable source of knowledge for all students, scholars and teachers. Covering the development, present status and future direction of art history, entries span a wide variety of terms and concepts such as abstract expressionism, epoch, hybridity, semiology and zeitgeist.Key features include:a user-friendly A-Z formatfully cross-referenced entriessuggestions for further reading.Engaging and insightful, as well as easy to follow and use, Art History: The Key Concepts builds a radical intellectual synthesis for understanding and teaching art, art history and visual culture.

Here for the first time is a full-length study of the 'critical modernisms' of the three leading art writers of the second half of the twentieth century, which helps us build a better understanding of the development of modern art writing and its relation to the 'post-modern' in art and society since the 1970s.Focusing on canonical modern artists such as Manet, Cezanne, Picasso and Pollock, this book provides an important understanding of writing and criticism in modern art for all students and scholars of art theory and art history. Mainstay issues discussed include aesthetic evaluation, subjectivity and meaning in art and art writing. Jonathan Harris examines key discourses and identifies points of significant overlap as well as sharp disjunction between the critics. Developing the notions of 'good' and 'bad' complexity in modernist criticism, Writing Back to Modern Art creates ways for us to think outside of these discourses of value and meaning and helps us to look at the place that art writing holds in the latter twentieth century and beyond.

Here for the first time is a full-length study of the 'critical modernisms' of the three leading art writers of the second half of the twentieth century, which helps us build a better understanding of the development of modern art writing and its relation to the 'post-modern' in art and society since the 1970s.Focusing on canonical modern artists such as Manet, Cezanne, Picasso and Pollock, this book provides an important understanding of writing and criticism in modern art for all students and scholars of art theory and art history. Mainstay issues discussed include aesthetic evaluation, subjectivity and meaning in art and art writing. Jonathan Harris examines key discourses and identifies points of significant overlap as well as sharp disjunction between the critics. Developing the notions of 'good' and 'bad' complexity in modernist criticism, Writing Back to Modern Art creates ways for us to think outside of these discourses of value and meaning and helps us to look at the place that art writing holds in the latter twentieth century and beyond.

Jonathan Harris demonstrates that the leaders of Stalin's Secretariat clashed sharply over the nature of the Communist party's "leadership" of the Soviet state in the period between 1939 and 1948. The term "party leadership" is generally misunderstood; it does not refer to the activities of the party as a whole, but to the efforts of its full time officials (the "inner party") to direct the activities of the members of the party who manned the Soviet state (the "outer party"). This study argues that A. Zhdanov and G. Malenkov, the two junior Secretaries of the CC/VKP(B) who directed the two major bureaucratic divisions of the Secretariat for most of the period under review, supported diametrically opposed conceptions of the leadership to be provided by the party's officials. A. Zhdanov argued that they should give priority to the ideological education of all members of the party and should allow the Communists who manned the state considerable autonomy in their administration of the five-year plans. In direct contrast, G. Malenkov, who directed the cadres directorate for most of the period under review, had little sympathy for ideological education and urged party officials to engage in close and detailed direction of the Communists who directly administered the five-year plans. This study contends that it is possible to illustrate this never-ending conflict by a careful examination of the public discussion of this issue in the various publications controlled by the major divisions of the Secretariat. When examined in conjunction with recently published archival materials, it is possible to pinpoint the linkages between the leadership conflict within the Secretariat, the shifts in the ongoing public discussion, and Stalin's role as the final arbiter in the dispute.

Jonathan Harris demonstrates that the leaders of Stalin's Secretariat clashed sharply over the nature of the Communist party's "leadership" of the Soviet state in the period between 1939 and 1948. The term "party leadership" is generally misunderstood; it does not refer to the activities of the party as a whole, but to the efforts of its full time officials (the "inner party") to direct the activities of the members of the party who manned the Soviet state (the "outer party"). This study argues that A. Zhdanov and G. Malenkov, the two junior Secretaries of the CC/VKP(B) who directed the two major bureaucratic divisions of the Secretariat for most of the period under review, supported diametrically opposed conceptions of the leadership to be provided by the party's officials. A. Zhdanov argued that they should give priority to the ideological education of all members of the party and should allow the Communists who manned the state considerable autonomy in their administration of the five-year plans. In direct contrast, G. Malenkov, who directed the cadres directorate for most of the period under review, had little sympathy for ideological education and urged party officials to engage in close and detailed direction of the Communists who directly administered the five-year plans. This study contends that it is possible to illustrate this never-ending conflict by a careful examination of the public discussion of this issue in the various publications controlled by the major divisions of the Secretariat. When examined in conjunction with recently published archival materials, it is possible to pinpoint the linkages between the leadership conflict within the Secretariat, the shifts in the ongoing public discussion, and Stalin's role as the final arbiter in the dispute.

This book analyzes the efforts by Mikhail Gorbachev, the General Secretary of the Central Committee of the Communist Party of the Soviet Union (CPSU), to transform the relationship between the bureaucratic core of full-time party officials (the 'inner party') and the Communists who manned the Soviet state (the 'outer party'). Jonathan Harris argues that the efforts of party officials, headed by the secretariat of the CPSU Central Committee, to direct members of the 'outer party' were the essence of so-called party leadership of the entire political system, and that Gorbachev's reforms destroyed the basis of this leadership. Finally, Subverting the System shows how orthodox party officials not only directly challenged Gorbachev's definitions but worked vigorously to restore their own authority during the last years of Gorbachev's reign; opposition contributed significantly to the attempted coup against him in 1991.

Hundreds of ready-to-use model letters for handling various sales situations. Aimed at the busy sales rep, each letter can be used as it is or can be quickly modified to suit. The chapters follow the progression of the sales cycle.

Contemporary Art in the Conflicts of Globalization presents an authoritative introductory guide to the emergence, development, and meanings of contemporary art around the world from the era of twentieth-century western colonialism to the crises and conflicts of globalization over the last three decades.Examining contemporary art’s connections to and breaks from modern art in the last century, the study offers an innovative account of its artists’ formation during the era of decolonization after 1945 and the Cold War. Through a series of complementary analytic perspectives, the book considers the cultural politics of the global art world, its patterns of inclusion and exclusion, and charts contemporary art’s relations to feminist, anti-racist, and climate change activisms (among others) as these have both mutated and interconnected since the 1990s. More than 50 illustrations are included and are the basis for the book’s empirical and theoretically informed study.The book is designed for both students and general readers and will be of great value for all who see contemporary art and global cultures as a contested ground of creativity and social significance, within which transformative progressive change may be achieved for the whole world and all its peoples.

Contemporary Art in the Conflicts of Globalization presents an authoritative introductory guide to the emergence, development, and meanings of contemporary art around the world from the era of twentieth-century western colonialism to the crises and conflicts of globalization over the last three decades.Examining contemporary art’s connections to and breaks from modern art in the last century, the study offers an innovative account of its artists’ formation during the era of decolonization after 1945 and the Cold War. Through a series of complementary analytic perspectives, the book considers the cultural politics of the global art world, its patterns of inclusion and exclusion, and charts contemporary art’s relations to feminist, anti-racist, and climate change activisms (among others) as these have both mutated and interconnected since the 1990s. More than 50 illustrations are included and are the basis for the book’s empirical and theoretically informed study.The book is designed for both students and general readers and will be of great value for all who see contemporary art and global cultures as a contested ground of creativity and social significance, within which transformative progressive change may be achieved for the whole world and all its peoples.

This substantial collection of newly commissioned essays presents an ambitious, entertaining, and accessible guide to developments in Asian art over the past 20 years of the epoch of globalization. The term ‘global Asia’ signals the genesis and evolution of contemporary art within the context of global economic, social, political, and intellectual change related to the end of the Cold War, decolonization, the emergence of postcolonial societies and cultures, and the rise of a global contemporary art world. In the handbook its editors establish, in an extended introductory section and in four section introductions, the theoretical, geographical, and historical parameters within which the contemporary visual arts of ‘global Asia’ may be described, analyzed, and evaluated. The collected chapters provide a diverse, multiauthored, heterogeneous, and genuinely plural account of art and its contexts. The democratic and inclusive character of globalization is reflected and produced within this anthology, which includes different styles of writing as well as varieties of analytic and thematic focus. The anthology will appeal to both scholars and students in art history, art practice, curation, contemporary art, fine art, cultural studies, and globalization studies.

This substantial collection of newly commissioned essays presents an ambitious, entertaining, and accessible guide to developments in Asian art over the past 20 years of the epoch of globalization. The term ‘global Asia’ signals the genesis and evolution of contemporary art within the context of global economic, social, political, and intellectual change related to the end of the Cold War, decolonization, the emergence of postcolonial societies and cultures, and the rise of a global contemporary art world. In the handbook its editors establish, in an extended introductory section and in four section introductions, the theoretical, geographical, and historical parameters within which the contemporary visual arts of ‘global Asia’ may be described, analyzed, and evaluated. The collected chapters provide a diverse, multiauthored, heterogeneous, and genuinely plural account of art and its contexts. The democratic and inclusive character of globalization is reflected and produced within this anthology, which includes different styles of writing as well as varieties of analytic and thematic focus. The anthology will appeal to both scholars and students in art history, art practice, curation, contemporary art, fine art, cultural studies, and globalization studies.

The final installment in the critically-acclaimed trilogy on globalization and art explores the growing dominance of Asian centers of art This book takes readers on a fascinating journey around five Asian centers of contemporary art and its myriad institutions, agents, forms, materials, and languages, while posing vital questions about the political economy of culture and the power of visual art in a multi-polar world. He analyzes the financial powerhouse of Art Basel Hong Kong, new media art in South Korea, the place of the Kochi Biennale within contemporary art in India, transnational art and art education in China, and the geo-politics of art patronage in Palestine, and he develops a highly original synthesis of theoretical perspectives and empirical research.Drawing on detailed case studies and personal insights gained from his extensive experience of the contemporary art scene in Asia, Professor Harris examines the evolving relationship between the western centers of art practice, collection, and validation and the emerging “peripheries” of Asian Tiger societies with burgeoning art centers. And he arrives at the somewhat controversial conclusion that dominance of the art world is rapidly slipping away from Europe and North America.The Global Contemporary Art World is essential reading for undergraduates and postgraduate students in modern and contemporary art, art history, art theory and criticism, cultural studies, the sociology of culture, and globalization studies. It is also a vital resource for research students, academics, and professionals in the art world.

Macroeconomics in Context: A European Perspective lays out the principles of macroeconomics in a manner that is thorough, up to date, and relevant to students. With a clear presentation of economic theory throughout, this latest addition to the bestselling "In Context" set of textbooks is written with a specific focus on European data, institutions, and historical events, offering engaging treatment of high-interest topics, including sustainability, Brexit, the euro crisis, and rising inequality. Policy issues are presented in context (historical, institutional, social, political, and ethical), and always with reference to human well-being. This book is divided into four parts, covering the following key issues: The context of economic analysis, including basic macroeconomic statistics and tools; The basics of macroeconomic measurements, including GDP, inflation, and unemployment, as well as alternative measures of well-being, and the particular structures of the European economies; Methods for analyzing monetary and fiscal policy, including an in-depth coverage of the instruments and approaches of the European central bank and some coverage of an open economy; The application of the tools learnt to selected macroeconomic issues, such as the euro crisis, the global financial crisis, public debt, global development, and environmental sustainability. Far more than any other existing macroeconomic textbook, this book combines real-world relevance of the topics covered with a strong focus on European institutions and structures within an approach that explains multiple economic paradigms. This combination helps to raise students’ interest in macroeconomics as well as enhance their understanding of the power and limitation of macroeconomic analysis.Visit http://www.bu.edu/eci/education-materials/textbooks/macroeconomics-in-context-a-european-perspective/ for online resources for both lecturers and students. A video of a panel discussion about the book can be found at https://youtu.be/xjHJrW9WP44.