This chapter introduces a bold proposition: reframing mathematics anxiety as a potential catalyst for building student resilience. It delves into the emerging role of Artificial Intelligence (AI) in addressing mathematics anxiety, offering a perspective on technology’s place in mathematics education. Drawing on the author’s unique contributions to mathematics education, the chapter presents evidence-based recommendations for preventing mathematics anxiety and fostering more inclusive, emotionally intelligent learning environments. It is an indispensable resource for educators, researchers, and all those dedicated to reshaping the future of mathematics education.

Chapter 6 looks at the ways in which frenzy was weaponized during the many religio-political upheavals of the period. As a figure of speech, it offered rich material for English polemicists, who knew that questioning their opponents’ sanity was more effective than simply refuting their claims. As a literal diagnosis, frenzy also had a practical use: it could silence politically inconvenient people without making a show. This chapter shows how its conferral was used to justify the incarceration of prophets, mystics, and kings. Yet the diagnosis had one serious drawback: it gave its recipients the gift of innocence. Frantic persons were incapable of crime, and could neither be convicted nor punished for their actions. If a recipient later became not just inconvenient but too dangerous to live, any previous diagnosis – no matter how spurious – had to be redacted from the record. This was a problem for the religious polemicists too: the aim was to pathologize ‘heretics’ ‘papists’, ‘puritans’, and ‘sectarians’, not to excuse them from all wrongdoing. Eventually, this chapter argues, that flaw drove Anglican polemicists to abandon frenzy for a new diagnosis: ‘melancholy enthusiasm’.

Complex fluids can be found all around us, from molten plastics to mayonnaise, and understanding their highly nonlinear dynamics is the subject of much research.

This text introduces a common theoretical framework for understanding and predicting the flow behavior of complex fluids. This framework allows for results including a qualitative understanding of the relationship between a fluid’s behavior at the microscale of particles or macromolecules, and its macroscopic, viscoelastic properties. The author uses a microstructural approach to derive constitutive theories that remain simple enough to allow computational predictions of complicated macroscale flows.

Readers develop their intuition to learn how to approach the description of materials not covered in the book, as well as limits such as higher concentrations that require computational methods for microstructural analysis.

This monograph’s unique breadth and depth make it a valuable resource for researchers and graduate students in fluid mechanics.

This chapter introduces tools for tuning and debugging acceleration techniques.

This chapter proposes global experimentalist governance as an ideal framework for addressing ocean acidification (OA). Global experimentalist governance consists of five elements: identifying a shared problem, setting open-ended goals, delegating solutions to lower governance levels, establishing feedback and peer-review mechanisms, and adjusting goals based on learning. This approach aligns well with OA’s characteristics, which are both scientific and part of a regime complex. The framework accommodates OA’s complexity through recursive learning cycles, multilevel participation, and provisional goal setting that can adapt as scientific understanding advances. A central unit coordinates, but does not control, the process, using ‘penalty defaults’ to encourage reluctant actors to cooperate. Favourable background conditions for experimentalist governance exist for OA, such as strategic uncertainty due to problem complexity and polyarchic power distribution with no single dominant actor. The chapter concludes that this governance approach could leverage OA’s existing regime complex rather than replace it, making it a promising framework for tackling this emerging environmental challenge.

The human body is tied to a distinctive form of natural beauty, for Hegel proposes that there is something about the human body in its given, natural form that makes it uniquely capable of manifesting self-conscious spirit or mind. Since, ontologically speaking, the being of spirit is of a higher order than anything in nonhuman nature, the capacity to give off the distinctive look and sound of a spiritual way of being amounts to the human body’s capacity for a higher, fuller beauty as well. This chapter focuses primarily on the naturally given, predominantly involuntary ways in which the human body allows spirituality to appear. Because Hegel characterizes artworks generally as involving a “spiritualizing” of otherwise natural forms, we are encouraged to think of the human body’s distinctive, spirit-manifesting demeanor as a kind of root aesthetic vocabulary with which all of the more developed “languages” of art are familiar and from which they grow. But it also seems that for Hegel it ultimately takes art, and in particular classical sculpture, to reveal the purportedly natural beauty of the body, and this complicates the sense in which bodily beauty is natural after all.

Mycenae’s LH IIIA2-IIIB palatial stonework was spectacular, and attention is given here to the innovative construction processes and specialized stonecutting tools that elicited awe. A fresh look at Mycenae’s final three tholoi illustrates the strategy of conveying power through stonework. The chapter also assesses the semiotics of the site’s architectural sculpture.

The implications of tool distributions and exceptional building projects in the Argolid and Boeotia are discussed. Substantial gaps remain in the story of transregional craft and political ties, but the present study offers new clues about the political makeup of at least part of the Mycenaean world.

This chapter introduces readers to the lived experience of an anxious student, providing a human lens through which to explore mathematics anxiety – a global, multi-dimensional phenomenon that has evolved over more than seventy years. It offers foundational definitions and situates mathematics anxiety within the context of non-specialist university students, particularly those encountering barriers to engaging with statistics and quantitative research methods. While the discussion is especially relevant to students in the social sciences, the issues addressed also resonate with learners in STEM disciplines. The chapter sets the stage for a pedagogical intervention designed to moderate anxiety and enhance learning, previewing its implementation and key highlights. It concludes with an overview of the book’s structure, guiding readers through themes of inclusive education and emotionally intelligent teaching practices.

This chapter presents a thematic review of past interventions designed to address mathematics anxiety, identifying five key areas of focus: enhancing self-efficacy, implementing blended learning strategies, fostering growth mindsets, supporting working memory and attention, and promoting student-led education. These themes collectively establish a foundation for a forward-looking pedagogical framework. Drawing on students’ reflections about their prior learning experiences, the chapter offers qualitative insights into the emotional and cognitive dimensions of mathematics anxiety. It concludes by articulating the theoretical rationale for a pedagogical intervention underpinned by an innovative overarching theoretical framework ‒ informed by Symbolic Interactionism, a theory not previously applied to mathematics anxiety ‒ described in five subsequent chapters. This intervention responds to gaps in earlier approaches and contributes to the evolving discourse on effective strategies for moderating mathematics anxiety among non-specialist university students.

While we might naturally think that artworks possess sensible and physical properties in the same way that other finite, natural objects do, there is reason to think that on Hegel’s account artworks “work” only insofar as they quite literally suspend their otherwise finite, natural properties, thereby realizing a decidedly infinite and autonomous way of being. This chapter appeals to some of the distinctive insights of Hegel’s idealist metaphysics to develop what is in effect an original, Hegelian-inspired ontology of the artwork. It argues that artworks make an express show of their own suspension of the natural, affirming the birth of their distinctive, autonomous reality in and through a movement that involves the transcending of the otherwise natural terms of their own existence. To experience the beauty of an artwork is to experience this transformative movement, and the chapter argues that what is at issue here is akin to the nature of transformative historical events that on Hegel’s account set the terms of world history.