Michael Robertson - Böcker

This critical study of Stephen Crane's journalism examines the climate of change that had begun to blur the line between non-fiction writing and fiction in Crane's era and provides insight into the masculine aesthetic Crane championed in his urban reportage, travel writing and war correspondence.

Reggie Heath is a successful attorney with charisma to spare. When he leases space in an office building on London's Baker Street, his firm begins receiving letters sent to Sherlock Holmes. Reggie's brother Nigel becomes intrigued by one of the 'Dear Sherlock' notes and then disappears quite suddenly, leaving a dead body in his wake. Reggie must hop on the next flight to Los Angeles to uncover the truth. Hot on his heels is his sometime lover, Laura - a quick-witted stage actress who's captured the hearts of both brothers.

The contributions in this volume suggest that "the ethics project in legal education" is increasingly an international one. Even though the strength of commitment by both the profession and the legal academy to "ethics learning" within law schools varies, two fundamental questions confront all who work in this area. First, what is it that we want our students to learn (or, perhaps, in what manner do we want our students to develop) from the teaching of "legal ethics"? Second, how can we create a learning environment that will encourage the nature and quality of learning we think is important? All the contributors to this volume take a strong stand on the importance of ethical legal practice and the role of law schools in developing students’ capacities in this area. They share a belief in the essential need to encourage law students to engage with the moral dimensions of legal practice. The questions that these scholars grapple with are therefore not of the "should we be teaching this?" variety, but "how might we best to go about doing this, so that our efforts within law schools really make some difference?" Each of the chapters in this volume adds uniquely to our understanding of these matters.

It has been over thirty years since the founding crises that birthed legal ethics as both a field of study and a discrete field of law. In that time thinking about the ethical dimension of legal practice has taken several turns: from justifications of zealous advocacy, to questions of process and connections to specifically legal values, to more recently consideration of legal conduct as part of a wider field of virtue. Parallel to this dynamism of thought, there has also been significant changes in how legal professions, especially within those that possess a common law heritage, have been regulated and the values and conceptions of legitimate conduct that has informed this regulation.This volume represents an opportunity for a comprehensive review of legal ethics as an international movement. Contributors include many of the key participants to the legal ethics field from the United States, United Kingdom, Canada, Australia, New Zealand and South Africa, including David Luban and Deborah Rhode, as well as many of the recognised emerging thinkers. The theme of the book is taking stock of the last thirty years of legal ethics practice and scholarship and also a forum for new ideas and new thinking regarding the conduct of lawyers and the moral and social responsibility of the legal profession. The contributions also consider the topic of dynamism. Over the last decade significant developments in both the expectations of professional conduct and the regulation of the profession has been experienced in all jurisdictions, which has seen traditional, and once sacred, conceptions of lawyering challenged and re-evaluated. The contributors also look at the theme of affirmation. Within an increasingly complex environment of change and dynamism, this volume reaffirms that there is value within the field of legal ethics. That is the project of reflecting on the unique ethical and conduct requirements of lawyering can not be submerged into a broader field of applied philosophy, management or regulatory studies. While this volume does not deny the opportunities that exist for interdisciplinary engagement with philosophy, social science or politics, it affirms legal ethics as a legitimate and highly relevant field of inquiry.

It has been over thirty years since the founding crises that birthed legal ethics as both a field of study and a discrete field of law. In that time thinking about the ethical dimension of legal practice has taken several turns: from justifications of zealous advocacy, to questions of process and connections to specifically legal values, to more recently consideration of legal conduct as part of a wider field of virtue. Parallel to this dynamism of thought, there has also been significant changes in how legal professions, especially within those that possess a common law heritage, have been regulated and the values and conceptions of legitimate conduct that has informed this regulation.This volume represents an opportunity for a comprehensive review of legal ethics as an international movement. Contributors include many of the key participants to the legal ethics field from the United States, United Kingdom, Canada, Australia, New Zealand and South Africa, including David Luban and Deborah Rhode, as well as many of the recognised emerging thinkers. The theme of the book is taking stock of the last thirty years of legal ethics practice and scholarship and also a forum for new ideas and new thinking regarding the conduct of lawyers and the moral and social responsibility of the legal profession. The contributions also consider the topic of dynamism. Over the last decade significant developments in both the expectations of professional conduct and the regulation of the profession has been experienced in all jurisdictions, which has seen traditional, and once sacred, conceptions of lawyering challenged and re-evaluated. The contributors also look at the theme of affirmation. Within an increasingly complex environment of change and dynamism, this volume reaffirms that there is value within the field of legal ethics. That is the project of reflecting on the unique ethical and conduct requirements of lawyering can not be submerged into a broader field of applied philosophy, management or regulatory studies. While this volume does not deny the opportunities that exist for interdisciplinary engagement with philosophy, social science or politics, it affirms legal ethics as a legitimate and highly relevant field of inquiry.

The contributions in this volume suggest that "the ethics project in legal education" is increasingly an international one. Even though the strength of commitment by both the profession and the legal academy to "ethics learning" within law schools varies, two fundamental questions confront all who work in this area. First, what is it that we want our students to learn (or, perhaps, in what manner do we want our students to develop) from the teaching of "legal ethics"? Second, how can we create a learning environment that will encourage the nature and quality of learning we think is important? All the contributors to this volume take a strong stand on the importance of ethical legal practice and the role of law schools in developing students’ capacities in this area. They share a belief in the essential need to encourage law students to engage with the moral dimensions of legal practice. The questions that these scholars grapple with are therefore not of the "should we be teaching this?" variety, but "how might we best to go about doing this, so that our efforts within law schools really make some difference?" Each of the chapters in this volume adds uniquely to our understanding of these matters.

Foundations of Clinical Psychiatry is the trusted introductory text for students of medicine and other health professions, including psychiatric nursing, psychology, social work and occupational therapy. It has also been the essential reference for family doctors for over quarter of a century.Foundations of Clinical Psychiatry: Fourth Edition has been revised and updated by five editors, leaders in their fields, in collaboration with a new generation of expert psychiatrists. The four-part structure—an introduction to clinical psychiatry; conditions encountered; specific patient groups and clinical settings; and principles and details of typical clinical services, and of biological and psychological treatments—provides a clear overview of clinical practice. It also explores the causes of mental illness and the ethical aspects of its treatment, and covers the full range of psychiatric disorders encountered by health practitioners.The fourth edition emphasises biological, psychological and social factors in assessing and treating patients, includes the integrated use of DSM-5 classification, and provides further reading suggestions. It is richly illustrated with dozens of clinical stories.

Despite his protests, Anne Gilchrist, distinguished woman of letters, moved her entire household from London to Philadelphia in an effort to marry him. John Addington Symonds, historian and theorist of sexual inversion, sent him avid fan mail for twenty years. And volunteer assistant Horace Traubel kept a record of their daily conversations, producing a nine-volume compilation. Who could inspire so much devotion? Worshipping Walt is the first book on the Whitman disciples--the fascinating, eclectic group of nineteenth-century men and women who regarded Walt Whitman not simply as a poet but as a religious prophet. Long before Whitman was established in the canon of American poetry, feminists, socialists, spiritual seekers, and supporters of same-sex passion saw him as an enlightened figure who fulfilled their religious, political, and erotic yearnings. To his disciples Whitman was variously an ideal husband, radical lover, socialist icon, or bohemian saint. In this transatlantic group biography, Michael Robertson explores the highly charged connections between Whitman and his followers, including Canadian psychiatrist R. M.Bucke, American nature writer John Burroughs, British activist Edward Carpenter, and the notorious Oscar Wilde. Despite their particular needs, they all viewed Whitman as the author of a new poetic scripture and prophet of a modern liberal spirituality. Worshipping Walt presents a colorful portrait of an era of intense religious, political, and sexual passions, shedding new light on why Whitman's work continues to appeal to so many.

The entertaining story of four utopian writers—Edward Bellamy, William Morris, Edward Carpenter, and Charlotte Perkins Gilman—and their continuing influence todayFor readers reared on the dystopian visions of Nineteen Eighty-Four and The Handmaid's Tale, the idea of a perfect society may sound more sinister than enticing. In this lively literary history of a time before "Orwellian" entered the cultural lexicon, Michael Robertson reintroduces us to a vital strain of utopianism that seized the imaginations of late nineteenth-century American and British writers.The Last Utopians delves into the biographies of four key figures--Edward Bellamy, William Morris, Edward Carpenter, and Charlotte Perkins Gilman—who lived during an extraordinary period of literary and social experimentation. The publication of Bellamy's Looking Backward in 1888 opened the floodgates of an unprecedented wave of utopian writing. Morris, the Arts and Crafts pioneer, was a committed socialist whose News from Nowhere envisions a workers' Arcadia. Carpenter boldly argued that homosexuals constitute a utopian vanguard. Gilman, a women's rights activist and the author of "The Yellow Wallpaper," wrote numerous utopian fictions, including Herland, a visionary tale of an all-female society.These writers, Robertson shows, shared a belief in radical equality, imagining an end to class and gender hierarchies and envisioning new forms of familial and romantic relationships. They held liberal religious beliefs about a universal spirit uniting humanity. They believed in social transformation through nonviolent means and were committed to living a simple life rooted in a restored natural world. And their legacy remains with us today, as Robertson describes in entertaining firsthand accounts of contemporary utopianism, ranging from Occupy Wall Street to a Radical Faerie retreat.

The entertaining story of four utopian writers—Edward Bellamy, William Morris, Edward Carpenter, and Charlotte Perkins Gilman—and their continuing influence todayIn this lively literary history, Michael Robertson introduces readers to a vital strain of utopianism that seized the imaginations of four American and British writers during an extraordinary period of literary and social experiment. The publication of Edward Bellamy's Looking Backward in 1888 opened the floodgates to an unprecedented wave of utopian writing. William Morris, the Arts and Crafts pioneer, was a committed socialist whose News from Nowhere envisions a workers' Arcadia. Edward Carpenter boldly argued that homosexuals constitute a utopian vanguard. Charlotte Perkins Gilman, a women's rights activist and the author of "The Yellow Wallpaper," wrote numerous utopian fictions, including Herland, a visionary tale of an all-female society. These writers believed in radical gender and class equality, envisioning new forms of familial and romantic relationships, and were committed to living a simple life rooted in a restored natural world. And their legacy remains with us today, from Occupy Wall Street to the Radical Faeries.

Dance music at the courts of seventeenth-century Germany is a genre that is still largely unknown. Dr Michael Robertson sets out to redress the balance and study the ensemble dance suites that were played at the German courts between the end of the Thirty Years War and the early years of the eighteenth century. At many German courts during this time, it was fashionable to emulate everything that was French. As part of this process, German musicians visited Paris throughout the second half of the seventeenth century, and brought French courtly music back with them on their return. For the last two decades of the century, this meant the works of Jean-Baptiste Lully, and his music and its influence spread rapidly through the courts of Europe. Extracts from Lully's dramatic stage works were circulated in both published editions and manuscript. These extracts are considered in some detail, especially in terms of their relationship to the suite. The nobility also played their part in this process: French musicians and German players with specialist knowledge were often hired to coach their German colleagues in the art of playing in the French manner, the französischer Art. The book examines the dissemination of dance music, instrumentation and performance practice, and the differences between the French and Italian styles. It also studies the courtly suites before the advent of Lullism and the differences between the suites of court composers and town musicians. With the possible exception of Georg Muffat's two Florilegium collections of suites, much of the dance music of the German Lullists is largely unknown; court composers such as Cousser, Erlebach, Johann Fischer and Johann Caspar Ferdinand Fischer all wrote fine collections of ensemble suites, and these are examined in detail. Examples from these suites, some published for the first time, are given throughout the book in order to demonstrate the music's quality and show that its neglect is completely unjustified.

Fish's writings on philosophy, politics and law comprise numerous books and articles produced over many decades. This book connects those dots in order to reveal the overall structure of his argument and to demonstrate how his work in politics and law flows logically from his philosophical stands on the nature of the self, epistemology and the role of theory. Michael Robertson considers Fish's political critiques of liberalism, critical theory, postmodernism and pragmatism before turning to his observations on political substance and political practice. The detailed analysis of Fish's jurisprudence explores his relationships to legal positivism, legal formalism, legal realism and critical legal studies, as well as his debate with Ronald Dworkin. Gaps and inconsistencies in Fish's arguments are fully explored, and the author provides a description of Fish's own positive account of law and deals with the charge that Fish is an indeterminacy theorist who undermines the rule of law.

Fish's writings on philosophy, politics and law comprise numerous books and articles produced over many decades. This book connects those dots in order to reveal the overall structure of his argument and to demonstrate how his work in politics and law flows logically from his philosophical stands on the nature of the self, epistemology and the role of theory. Michael Robertson considers Fish's political critiques of liberalism, critical theory, postmodernism and pragmatism before turning to his observations on political substance and political practice. The detailed analysis of Fish's jurisprudence explores his relationships to legal positivism, legal formalism, legal realism and critical legal studies, as well as his debate with Ronald Dworkin. Gaps and inconsistencies in Fish's arguments are fully explored, and the author provides a description of Fish's own positive account of law and deals with the charge that Fish is an indeterminacy theorist who undermines the rule of law.

Dance music at the courts of seventeenth-century Germany is a genre that is still largely unknown. Dr Michael Robertson sets out to redress the balance and study the ensemble dance suites that were played at the German courts between the end of the Thirty Years War and the early years of the eighteenth century. At many German courts during this time, it was fashionable to emulate everything that was French. As part of this process, German musicians visited Paris throughout the second half of the seventeenth century, and brought French courtly music back with them on their return. For the last two decades of the century, this meant the works of Jean-Baptiste Lully, and his music and its influence spread rapidly through the courts of Europe. Extracts from Lully's dramatic stage works were circulated in both published editions and manuscript. These extracts are considered in some detail, especially in terms of their relationship to the suite. The nobility also played their part in this process: French musicians and German players with specialist knowledge were often hired to coach their German colleagues in the art of playing in the French manner, the französischer Art. The book examines the dissemination of dance music, instrumentation and performance practice, and the differences between the French and Italian styles. It also studies the courtly suites before the advent of Lullism and the differences between the suites of court composers and town musicians. With the possible exception of Georg Muffat's two Florilegium collections of suites, much of the dance music of the German Lullists is largely unknown; court composers such as Cousser, Erlebach, Johann Fischer and Johann Caspar Ferdinand Fischer all wrote fine collections of ensemble suites, and these are examined in detail. Examples from these suites, some published for the first time, are given throughout the book in order to demonstrate the music's quality and show that its neglect is completely unjustified.

This companion volume to The Courtly Consort Suite in German-Speaking Europe surveys an area of music neglected by modern scholars: the consort suites and dance music by musicians working in the seventeenth-century German towns. Conditions of work in the German towns are examined in detail, as are the problems posed by the many untrained travelling players who were often little more than beggars. The central part of the book explores the organisation, content and assembly of town suites into carefully ordered printed collections, which refutes the concept of the so-called 'classical' suite. The differences between court and town suites are dealt with alongside the often-ignored variation suite from the later decades of the seventeenth century and the separate suite-writing traditions of Leipzig and Hamburg. While the seventeenth-century keyboard suite has received a good deal of attention from modern scholars, its often symbiotic relationship with the consort suite has been ignored. This book aims to redress the balance and to deal with one very important but often ignored aspect of seventeenth-century notation: the use of blackened notes, which are rarely notated in a meaningful way in modern editions, with important implications for performance.

When brothers Reggie and Nigel Heath choose 221B Baker Street as the location for their law office, they don't realize that their new office space comes with one huge stipulation; namely, they must answer the letters sent to Sherlock Holmes, the most famous resident of that address. While Reggie is working on a new case involving one of London's Black Cab drivers, the letters to Sherlock Holmes are piling up. There's even one from someone who claims to be the descendant of Professor James Moriarty. With a case that would have puzzled even Sherlock himself, "The Brothers of Baker Street" is sure to please mystery fans, whatever their address.

This companion volume to The Courtly Consort Suite in German-Speaking Europe surveys an area of music neglected by modern scholars: the consort suites and dance music by musicians working in the seventeenth-century German towns. Conditions of work in the German towns are examined in detail, as are the problems posed by the many untrained travelling players who were often little more than beggars. The central part of the book explores the organisation, content and assembly of town suites into carefully ordered printed collections, which refutes the concept of the so-called 'classical' suite. The differences between court and town suites are dealt with alongside the often-ignored variation suite from the later decades of the seventeenth century and the separate suite-writing traditions of Leipzig and Hamburg. While the seventeenth-century keyboard suite has received a good deal of attention from modern scholars, its often symbiotic relationship with the consort suite has been ignored. This book aims to redress the balance and to deal with one very important but often ignored aspect of seventeenth-century notation: the use of blackened notes, which are rarely notated in a meaningful way in modern editions, with important implications for performance.

'This book provides a very useful and thought-provoking account of a developing form of interpersonal psychotherapy and gives a clear guide for practising clinicians."Psychological MedicineFirst published in 2003, this groundbreaking text firmly established itself as a touchstone for all therapists using interpersonal psychotherapy (IPT). Key features and benefits:• A wealth of clinically-based descriptions and vignettes help bring the theory to life• Numerous case studies highlight the key issues in IPT• Reproducible diagrams and flowcharts for use by therapists and their patients• Comprehensive coverage of key theoretical issues and an up-to-date critical appraisal of IPT researchNew for the second edition:• Extended coverage of the clinical adaptation of IPT to post-traumatic mental health and other new applications of IPT• More on depression and common problems encountered in IPT• Coverage of training and dissemination• How to manage joint sessions and integrate techniques from other approaches and modelsInterpersonal Psychotherapy: a clinician's guide is the international standard for the clinical trainee seeking an introduction to IPT as well as for instructors of psychiatry residents, psychology interns and graduate students, as well as social work students. It is an accessible reference for other mental health providers and primary care practitioners.

The field of ethics is expanding and has assumed new significance as a compulsory part of study for psychiatrists and all mental health professionals. Ethics and Mental Health: The Patient, Profession and Community presents a new approach to these ethical dilemmas that have become an increasing part of modern practice.The book begins by exploring current normative theories of psychiatric ethics. It describes how empirical methods can make codes of conduct more representative of professional values. Considering their previous work, concepts of justice, and the moderate communitarian position, the authors outline their methodology, which argues that mental health professionals exist within a perpetual state of tension, caused by conflicts between the Hippocratic Oath, personal values, notions of social justice, and the potentially harmful influences of their social role.Applying their theory to the area of involuntary psychiatric treatment, the authors address the context of psychiatric practice and the moral agency of psychiatrists. They outline the different influences on the craft of psychiatry to better illustrate the diverse forces that impact moral deliberation and the practice of ethics in mental health. In doing so, they cover areas as diverse as cultural, economic, scientific, and political domains. The final section of the book applies the methodology to contemporary problems in mental health ethics, formulating how mental health clinicians can approach these quandaries. The book brings a new perspective to classic dilemmas from the past, to contemporary challenges, and in anticipation, to new concerns that will inevitably arise in a dynamic and complex professional context.