Jonathan Hill – författare

Philosophical ideas about the mind, brain, and behaviour can seem theoretical and unimportant when placed alongside the urgent questions of mental distress and disorder. However, there is a need to give direction to attempts to answer these questions. On the one hand a substantial research effort is going into the investigation of brain processes and the development of drug treatments for psychiatric disorders, and on the other, a wide range of psychotherapies is becoming available to adults and children with mental health problems. These two strands reflect traditional distinctions between mind and body, and causal as opposed to meaningful explanations of behaviour. In this book, which has been written for psychiatrists, psychologists, philosophers, and others in related fields, the authors propose a radical re-interpretation of these traditional distinctions. Throughout the discussions philosophical theories are brought to bear on the particular questions of the explanation of behaviours, the nature of mental causation, and eventually the origins of major disorders including depression, anxiety disorders, schizophrenia, and personality disorder.First published in 1996, this volume played an important role in bridging the gap between philosophy and psychiatry, and introducing those in psychiatry to philosophical ideas somewhat neglected in their field. Completely updated, the new edition of this acclaimed volume draws on the strengths of the first edition, and will be a central text in the burgeoning field of philosophy of psychiatry.

The fifth edition of Clarkson & Hill's Conflict of Laws provides a clear and up-to-date account of the private international law topics covered at undergraduate level. Theoretical issues and fundamental principles are introduced in the first chapter and expanded upon in later chapters. Basic principles of the conflict of laws are presented in an approachable style, offering clarity on complex points and terminology without over-simplification.The fifth edition reflects the field's changing focus from case law to domestic and European legislation, incorporating the Brussels I Regulation and Brussels II Revised Regulation, as well as the more recent Rome Regulations and Brussels I Recast. Embracing this reorientation of the field and increased emphasis on the recognition and enforcement of judgments, the authors provide detailed commentary on the most important commercial topics as well as the most relevant topics in family law.Written in a succinct and engaging style, Clarkson & Hill's Conflict of Laws continues to provide clear analysis of the key areas of debate across jurisdictions.

Up-to-date and practically focused, the revised 3rd edition of the Oxford Handbook of Cardiology has received a major refresh, including new topics, illustrations, and references. It has been thoroughly rewritten, with updated content and layout. The editors have also added brand new chapters on cardio-oncology and sports cardiology. It provides clinical professionals and students key information for use with patients and in tutorials. Presenting both the fundamental science and practice alongside higher-level discussion in a succinct and user-friendly style. It is a concise but definitive guide to all modern cardiological practice with an emphasis on practical clinical management in many different contexts. Written by specialists, it provides an accessible and informative tool suitable for all levels of training.

Until relatively recently, almost all contracts were domestic: both the consumer and the supplier were from the same country and the situation involved no substantial foreign elements. Technological changes (in terms of international travel, means of communication and information technology) have meant that it is a more frequent occurrence for consumer contracts to involve a cross-border dimension. This book explores the legal regimes which seek to deal with disputes which arise out of such cross-border consumer contracts. In terms of private international law, English law traditionally treated consumer contracts no differently from commercial contracts. However, at European level, jurisdictional and choice of law issues arising out of certain consumer contracts are subject to specific rules. The first part of the book focuses on these European developments and seeks to explain why the private litigation model for the resolution of disputes arising out of cross-border consumer contracts has failed to deal adequately with the problems generated by such contracts. Subsequent to these failures, alternative mechanisms for resolving contractual disputes have a particular significance in the consumer context. The second part of the book focuses on an evaluation of these alternative dispute resolution mechanisms, including online dispute resolution.

Studies of young American Catholics over the last three decades suggest a growing crisis in the Catholic Church: compared to their elders, young Catholics are looking to the Church less as they form their identities, and fewer of them can even explain what it means to be Catholic and why that matters.Young Catholic America, the latest book based on the groundbreaking National Study of Youth and Religion, explores a crucial stage in the life of Catholics. Drawing on in-depth surveys and interviews of Catholics and ex-Catholics ages eighteen to twenty-threea demographic commonly known as early emerging adulthoodleading sociologist Christian Smith and his colleagues offer a wealth of insight into the wide variety of religious practices and beliefs among young Catholics today, the early influences and life-altering events that lead them to embrace the Church or abandon it, and how being Catholic affects them as they become full-fledged adults. Beyond its rich collection of statistical data, the book includes vivid case studies of individuals spanning a full decade, as well as insight into the twentieth-century events that helped to shape the Church and its members in America.An innovative contribution to what we know about religion in the United States and the evolving Catholic Church, Young Catholic America is the definitive source for anyone seeking to understand what it means to be young and Catholic in America today.

The growth of both philosophy of mind and cognitive science has developed our understanding of the human mind in ways that just a few decades ago were unthinkable. As ideas from philosophy of mind begin to cross over into philosophy of religion, there is renewed interest in questions about the divine mind, about how it might relate to a human body, and about whether incarnation itself might be articulated with the conceptual tools offered by the current research developments in the philosophy of mind. This book offers original essays by leading philosophers of religion representing these new approaches to theological problems such as incarnation. The doctrine of incarnation - that Jesus Christ was God become human - has always been one of the most central and distinctive features of Christianity. Similar doctrines about divine humans can be found in other religions, from the claims to divinity made by ancient kings and emperors to the concept of avatars in Hinduism. But many people regard the notion that a human being could also be divine as unjustifiable or incoherent, and none of the many attempts to articulate it philosophically has earned general acceptance. The authors explore, from a variety of different viewpoints, whether any metaphysically rigorous and coherent model of incarnation can be defended today. Their aim is to give readers a clearer sense not only of the problems and possible new solutions associated with incarnation itself, but of how the notion of incarnation may be fitted in to wider current debates in philosophy.

What significance does the voice or projected persona in which a text is written have for our understanding of the meaning of that text? This volume explores the persona of the author in antiquity, from Homer to late antiquity, taking into account both Latin and Greek authors from a range of disciplines. The thirteen chapters are divided into two main sections, the first of which focuses on the diverse forms of writing adopted by various ancient authors, and the different ways these forms were used to present and project an authorial voice. The second part of the volume considers questions regarding authority and ascription in relation to the authorial voice. In particular, it looks at how later readers - and later authors - may understand the authority of a text's author or supposed author. The volume contains chapters on pseudo-epigraphy and fictional letters, as well as the use of texts as authoritative in philosophical schools, and the ancient ascription of authorship to works of art.

Occupying Architecture focuses on the importance of the user of architecture. It emphasises the cross-currents between design, theory and use, and the need for a wider cross-cultural approach to architecture. Beginning with the architect, the book proceeds to explore models for architectural practice that actively engage the issue of use, and concludes with examination of the user. The authors draw on illustrations and examples from London, Las Vegas, Barcelona and Bruges to discuss how and why architecture ignores the user. The apparant contradictions between the 'producer' and the 'product' of architecture are highlighted before the activities of the architect and the actions of the user are explored.This book illustrates that architecture is not just a building: it is the relation between an object and its occupant.

Occupying Architecture focuses on the importance of the user of architecture. It emphasises the cross-currents between design, theory and use, and the need for a wider cross-cultural approach to architecture. Beginning with the architect, the book proceeds to explore models for architectural practice that actively engage the issue of use, and concludes with examination of the user. The authors draw on illustrations and examples from London, Las Vegas, Barcelona and Bruges to discuss how and why architecture ignores the user. The apparant contradictions between the 'producer' and the 'product' of architecture are highlighted before the activities of the architect and the actions of the user are explored.This book illustrates that architecture is not just a building: it is the relation between an object and its occupant.

The aim of this book is to expand the subject and matter of architecture, and to explore their interdependence. There are now many architectures. This book acknowledges architecture far beyond the familiar boundaries of the discipline and reassesses the object at its centre: the building. Architectural matter is not always physical or building fabric. It is whatever architecture is made of, whether words, bricks, blood cells, sounds or pixels. The fifteen chapters are divided into three sections - on buildings, spaces and bodies - which each deal with a particular understanding of architecture and architectural matter.The richness and diversity of subjects and materials discussed in this book locates architecture firmly in the world as a whole, not just the domain of architects. In stating that architecture is far more than the work of architects, this book aims not to deny the importance of architects in the production of architecture but to see their role in more balanced terms and to acknowledge other architectural producers. Architecture can, for example, be found in the incisions of a surgeon, the instructions of a choreographer or the movements of a user. Architecture can be made of anything and by anyone.

The aim of this book is to expand the subject and matter of architecture, and to explore their interdependence. There are now many architectures. This book acknowledges architecture far beyond the familiar boundaries of the discipline and reassesses the object at its centre: the building. Architectural matter is not always physical or building fabric. It is whatever architecture is made of, whether words, bricks, blood cells, sounds or pixels. The fifteen chapters are divided into three sections - on buildings, spaces and bodies - which each deal with a particular understanding of architecture and architectural matter.The richness and diversity of subjects and materials discussed in this book locates architecture firmly in the world as a whole, not just the domain of architects. In stating that architecture is far more than the work of architects, this book aims not to deny the importance of architects in the production of architecture but to see their role in more balanced terms and to acknowledge other architectural producers. Architecture can, for example, be found in the incisions of a surgeon, the instructions of a choreographer or the movements of a user. Architecture can be made of anything and by anyone.

Drawing on the work of a wide range of architects, artists and writers, this book considers the relations between the architect and the user, which it compares to the relations between the artist and viewer and the author and reader. The book's thesis is informed by the text 'The Death of the Author', in which Roland Barthes argues for a writer aware of the creativity of the reader. Actions of Architecture begins with a critique of strategies that define the user as passive and predictable, such as contemplation and functionalism. Subsequently it considers how an awareness of user creativity informs architecture, architects and concepts of authorship in architectural design. Identifying strategies that recognize user creativity, such as appropriation, collaboration, disjunction, DIY, montage, polyvalence and uselessness, Actions of Architecture states that the creative user should be the central concern of architectural design.

Drawing on the work of a wide range of architects, artists and writers, this book considers the relations between the architect and the user, which it compares to the relations between the artist and viewer and the author and reader. The book's thesis is informed by the text 'The Death of the Author', in which Roland Barthes argues for a writer aware of the creativity of the reader. Actions of Architecture begins with a critique of strategies that define the user as passive and predictable, such as contemplation and functionalism. Subsequently it considers how an awareness of user creativity informs architecture, architects and concepts of authorship in architectural design. Identifying strategies that recognize user creativity, such as appropriation, collaboration, disjunction, DIY, montage, polyvalence and uselessness, Actions of Architecture states that the creative user should be the central concern of architectural design.

This fascinating argument from Jonathan Hill presents the case for the significance and importance of the immaterial in architecture.Architecture is generally perceived as the solid, physical matter that it unarguably creates, but what of the spaces it creates? This issue drives Hill's explorative look at the immaterial aspects of architecture. The book discusses the pressures on architecture and the architectural profession to be respectively solid matter and solid practice and considers concepts that align architecture with the immaterial, such as the superiority of ideas over matter, command of drawing and design of spaces and surfaces.Focusing on immaterial architecture as the perceived absence of matter, Hill devises new means to explore the creativity of both the user and the architect, advocating an architecture that fuses the immaterial and the material and considers its consequences, challenging preconceptions about architecture, its practice, purpose, matter and use.This is a useful and innovative read that encourages architects and students to think beyond established theory and practice.

This fascinating argument from Jonathan Hill presents the case for the significance and importance of the immaterial in architecture.Architecture is generally perceived as the solid, physical matter that it unarguably creates, but what of the spaces it creates? This issue drives Hill's explorative look at the immaterial aspects of architecture. The book discusses the pressures on architecture and the architectural profession to be respectively solid matter and solid practice and considers concepts that align architecture with the immaterial, such as the superiority of ideas over matter, command of drawing and design of spaces and surfaces.Focusing on immaterial architecture as the perceived absence of matter, Hill devises new means to explore the creativity of both the user and the architect, advocating an architecture that fuses the immaterial and the material and considers its consequences, challenging preconceptions about architecture, its practice, purpose, matter and use.This is a useful and innovative read that encourages architects and students to think beyond established theory and practice.

Critical Architecture examines the relationship between critical practice in architecture and architectural criticism. Placing architecture in an interdisciplinary context, the book explores architectural criticism with reference to modes of criticism in other disciplines - specifically art criticism - and considers how critical practice in architecture operates through a number of different modes: buildings, drawings and texts.With forty essays by an international cast of leading architectural academics, this accessible single source text on the topical subject of architectural criticism is ideal for undergraduate as well as post graduate study.

Critical Architecture examines the relationship between critical practice in architecture and architectural criticism. Placing architecture in an interdisciplinary context, the book explores architectural criticism with reference to modes of criticism in other disciplines - specifically art criticism - and considers how critical practice in architecture operates through a number of different modes: buildings, drawings and texts.With forty essays by an international cast of leading architectural academics, this accessible single source text on the topical subject of architectural criticism is ideal for undergraduate as well as post graduate study.

Weather Architecture further extends Jonathan Hill’s investigation of authorship by recognising the creativity of the weather. At a time when environmental awareness is of growing relevance, the overriding aim is to understand a history of architecture as a history of weather and thus to consider the weather as an architectural author that affects design, construction and use in a creative dialogue with other authors such as the architect and user.Environmental discussions in architecture tend to focus on the practical or the poetic but here they are considered together. Rather than investigate architecture’s relations to the weather in isolation, they are integrated into a wider discussion of cultural and social influences on architecture. The analysis of weather’s effects on the design and experience of specific buildings and gardens is interwoven with a historical survey of changing attitudes to the weather in the arts, sciences and society, leading to a critical re-evaluation of contemporary responses to climate change.

Weather Architecture further extends Jonathan Hill’s investigation of authorship by recognising the creativity of the weather. At a time when environmental awareness is of growing relevance, the overriding aim is to understand a history of architecture as a history of weather and thus to consider the weather as an architectural author that affects design, construction and use in a creative dialogue with other authors such as the architect and user.Environmental discussions in architecture tend to focus on the practical or the poetic but here they are considered together. Rather than investigate architecture’s relations to the weather in isolation, they are integrated into a wider discussion of cultural and social influences on architecture. The analysis of weather’s effects on the design and experience of specific buildings and gardens is interwoven with a historical survey of changing attitudes to the weather in the arts, sciences and society, leading to a critical re-evaluation of contemporary responses to climate change.

Conduct disorders are very common and the most frequent reason for clinical referrals to child and adolescent mental health facilities. Aggression and oppositional behaviour in youth often becomes persistent, and substantially increases the likelihood of adult problems of criminality, unstable relationships, psychiatric disorder, and harsh parenting. This comprehensive book by leading clinicians and researchers reviews established and emerging aspects of conduct disorder. It highlights the complexity and probable heterogeneity of the condition, including the biological, neuropsychological, and cognitive factors, and the role of attachment and family influences. Preventive and treatment approaches and outcomes are reviewed, with developmental and gender-based variations emphasized throughout. Integrating findings from a wide range of research perspectives, this is a uniquely authoritative survey of a common clinical and social problem, and will be essential reading for mental health practitioners and others with clinical, sociological or medicolegal interests in child health and behaviour.

A society with no grasp of its history is like a person without a memory. This is particularly true of the history of ideas. This book is an ideal introduction to the thinkers who have shaped Christian history and the culture of much of the world. Writing in a lively, accessible style, Jonathan Hill takes us on an enlightening journey from the first to the twenty first centuries. He shows us the key Christian thinkers through the ages - ranging from Irenaeus, Origen, Augustine and Aquinas through to Luther, Wesley, Kierkegaard and Barth - placing them in their historical context and assessing their contribution to the development of Christianity.

Jonathan Hill explores how Christian thinkers, as well as selected philosophers and other religious leaders, have addressed key issues over the centuries. Considering the arguments for and against each position, he encourages readers to think the issues through for themselves in this enjoyable, discursive book. Questions include: - How can we believe in God when there is so much suffering? - Does science mean the end of religion? - Does life after death really exist? - Is freedom just an illusion? - Is there such a thing as evil? - Have we any good reason to believe in God? - What is the ultimate goal of life? - What does it mean to lead a good life?

The first 400 years after the death of Christ saw huge developments and changes in the emerging faith.Christianity spread from Jerusalem to much of the known world; it became the official religion of the British empire; its key texts were written and its core ideas and beliefs were shaped and formalized.Much of this happened under huge pressure, from both within and without.Jonathan Hill charts the fascinating history of this crucial period in the development of Christianity. He shows how and why certain ideas triumphed over others; introduces the key figures, both within the faith and among its opponents, and their intellectual struggles; covers the main battles, often bitterly fought, both of ideas and of weapons; describes the lives of ordinary Christians and their worship and how each influenced the other.Occasionally murky, often thrilling and always compelling, the story Hill tells recounts the ways in which a new religion - centred on a single man executed in the Roman Middle East - first struggled, and then spread, to become the dominant belief system of the world.

The radio has been part of home entertainment for over 75 years and generations of listeners have enjoyed their favourite music or programmes, or sat enthralled as an historic event unfolded through the radio's loudspeakers. This book explores the development of the radio from the late Victorian era until the late 1960s, including photographs of rare and unusual styles. A surprising number of early radios have survived to this day, some of which were made before broadcasting was introduced in the early 1920s, and the author discusses these old sets as well as the different and improving models over the years.

The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture.Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a ‘physical novelist’ as well as a ‘physical historian’. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin’s incomplete and broken forms expand architecture’s allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.

The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture.Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a ‘physical novelist’ as well as a ‘physical historian’. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin’s incomplete and broken forms expand architecture’s allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.

Architecture can be analogous to a history, a fiction, and a landscape. We expect a history or a novel to be written in words, but they can also be cast in concrete or seeded in soil. The catalyst to this tradition was the simultaneous and interdependent emergence in the eighteenth century of new art forms: the picturesque landscape, the analytical history, and the English novel. Each of them instigated a creative and questioning response to empiricism’s detailed investigation of subjective experience and the natural world, and together they stimulated a design practice and lyrical environmentalism that profoundly influenced subsequent centuries.Associating the changing natural world with journeys in self-understanding, and the design process with a visual and spatial autobiography, this book describes journeys between London and the North Sea in successive centuries, analysing an enduring and evolving tradition from the picturesque and romanticism to modernism. Creative architects have often looked to the past to understand the present and imagine the future. Twenty-first-century architects need to appreciate the shock of the old as well as the shock of the new.