The archaeology of Byzantium is the archaeology of an empire whose chronological bounds, broadly speaking, spanned the fourth through fifteenth century CE. The authors whose works are collected in this handbook examine methods and practice of Byzantine archaeology as well as the materials typically encountered in artifacts produced within the imperial boundaries. Byzantine archaeology is still a relatively young discipline, and, while vast in its scope and ambition, work in the field tends to be challenging to access. This volume aims to remedy this situation by providing current views of the nature of Byzantine archaeology, exploring crucial studies which elucidate salient features of the empire’s people, as well offering glimpses of how things may develop in the near future.

Both John Milton and Andrew Marvell have been revaluated in recent years. Yet this is the first sustained scholarly work to compare the two great seventeenth-century poets. In his new book, which stands as the culmination of a distinguished academic career, Warren Chernaik examines the relationship of the two writers and their complex responses to their troubled times. The poets were close friends, yet the trajectory of their careers and their posthumous reputations differed significantly. As well as taking an active part in the major political and religious upheavals of their times, both poets engaged seriously with classical, Christian, and humanist thought. Combining close readings of their poetry and prose with detailed consideration of historical and intellectual context, Chernaik sheds fresh light on the enduring works of poets whose words still resonate strongly with today’s readers.

We perform detailed analysis of the phonon modes, their dispersion, and symmetry analysis in a wide variety of minerals. We study both metallic and insulating minerals, with simple, highly symmetric structures or with large asymmetric unit cells. We compare minerals with topological similarities but different chemistries. We interpret dynamical instabilities.

This chapter defines Black feminist poetics as being a "miracle" rather than a "luxury" in that poetic articulation becomes a way to confront how ideas of US citizenship and personhood are predicated on positing Black women as a necessary "rapeable other." It identifes key moments of collaboration and key poetic premises – non-hierarchy, survival, poetry as essential to self-concept and imagining alternative social relations – by which Black women poets have articulated critical alternatives to social norms in order to capture the beauty of their own being.

Chapter 8 assesses the remarkable musical achievements of Opus 4 – the composers Milimir Drašković, Miodrag Lazarov Pashu, Miroslav Savić, and Vladimir Tošić – and their peers as champions of minimalism, conceptual art, performance art, and Fluxus. This analytic-stylistic commentary, with score excerpts and compelling photographs, illustrates the influence that US minimalists and experimentalists, especially Steve Reich, Terry Riley, and John Cage, had on these young composers. The chapter examines Miloš Raičković’s approach to minimalism and the development of his “new classicism,” the conceptual approach in Drašković’s music, Lazarov Pashu’s ideosemas and action-composition, Savić’s theatrical “body art,” and Tošić’s reductionist control of limited pitch and rhythmic materials. This chapter examines the Yugoslav “neo-avant-garde” scene that developed at the Student Cultural Center in Belgrade, with appropriate emphasis on Fluxus as a link between Western and Eastern blocs.

Blame and indignation are an inevitable part of politics, central to motivating participation. They identify villains whom we loath and fear and attempt to defeat or constrain. In a world of disagreement and politics, these hostile emotions are strategically useful whether or not they are morally justified. This is especially true in a society that lacks a shared moral foundation, which I fear is more hope than reality. One category of emotions consist of long-run affective commitments, including both feelings towards groups and sources of moral admiration and disapproval. These emotions are impossible to dismiss as irrational. I examine both ‘hate groups’ and anti-hate groups to show that they are both driven by affective commitments, closely tied to cognitive elaboration. If nothing else, hostile emotions towards outsiders or scapegoats may strengthen the collective identity of one’s own group.

The efforts among dozens of editors to reprint and thus circulate compositions by Black poets in anthologies across the decades constitute an extraordinary ongoing saga in the production of African American literature. Without collections bringing together large groups of Black poets in the pages of individual books, the view of an interconnected Black literary tradition may have been far more difficult to realize. Further, the presence of Black poets in primarily white anthologies diversified the racial and cultural hegemony of those collections and extended the readership of African American writers.

The book’s challenge is to carve out a literary-critical approach that brings all sides of Lawrence’s verbal art forms together as a recognisable whole, but not by the traditional means of defining an underlying philosophy. Instead a bio-bibliographically informed approach traces Lawrence’s developing imaginary, his unfolding intellectual project, along highways and byways alike until his broader oeuvre-in-process becomes the object of study. The book analyses work-versions, where significant developments are materially witnessed, rather than confining attention to the works’ published forms. Zooming in to focus on changed patterns and wordings on this manuscript or that typescript is followed by a pulling back to survey the wider patterning and stylistic shift. Cross-currents from his reading, marriage and friendships circulated through his contemporaneous writings in all its forms. This shifting repertoire of image and idea was increasingly organised by a structural habit of projecting polarised fundamentals into staged encounters with his subject matter. A text-gambler, Lawrence would trust this performative approach to dictate the movement of idea and attitude.

The archaeology of Byzantium is the archaeology of an empire whose chronological bounds, broadly speaking, spanned the fourth through fifteenth century CE. The authors whose works are collected in this handbook examine methods and practice of Byzantine archaeology as well as the materials typically encountered in artifacts produced within the imperial boundaries. Byzantine archaeology is still a relatively young discipline, and, while vast in its scope and ambition, work in the field tends to be challenging to access. This volume aims to remedy this situation by providing current views of the nature of Byzantine archaeology, exploring crucial studies which elucidate salient features of the empire’s people, as well offering glimpses of how things may develop in the near future.