This chapter outlines the more than century-long impact of the Left on African American poetry and vice versa from the Industrial Workers of the World (IWW) and the Bolshevik Revolution in the early twentieth century to Black Lives Matter in the early twenty-first. This is an exchange with deep formal and thematic consequences for the development of Black poetry and a crucial mode for the circulation of Black Left ideas, practices, concerns, tropes, and so on, in US society, marking US politics and culture, and, to a significant degree, keeping the Left alive in the contemporary moment when the Left is more a sensibility and culture inspiring relatively loose and ephemeral association rather than consisting of stable and coherent parties and internationals.

This chapter develops a conceptual framework for understanding the Right to Repair (R2R) and its intersection with upcycling within contemporary intellectual property and sustainability discourse. It argues that the right to repair encompasses both negative and positive rights: the former protecting individual freedom from interference in repairing owned goods (‘freedom to repair’), and the latter requiring institutional and manufacturer support to ensure ‘repairability’. These differing conceptions manifest in contrasting policy models. Decentralized, market-oriented approaches in the US emphasizing ownership and autonomy, and centralized, circular economy frameworks in the EU prioritizing product design, durability, and extended producer responsibility.

This chapter provides a comprehensive review of benign hematopoietic disorders affecting white blood cells and platelets. The chapter focuses on acquired and inherited conditions that lead to qualitative and quantitative defects in neutrophils, monocytes, and platelets. Topics include reactive neutrophilia and lymphocytosis, acquired and congenital neutropenia, inherited bone marrow failure syndromes associated with neutropenia and/or thrombocytopenia, and sources of laboratory error in automated white blood cell and platelet counts.

To inform how we think about EU media law in the future, this chapter traces the understandings of harm evident in EU media laws, their proposal documents, and explanatory notes since the 1989 Television Without Frontiers Directive. It identifies a shift from concern with individual harm from exposure to content, to addressing a variety of sources of harm to individual consumers, collectives, and societal systems. It demonstrates that a link between assumptions about control over risk and responsibility remains persistent and shows how responsibility for preventing harm has been increasingly distributed among various actors as changes in the technology and design of services and in the harms being addressed have affected control over the risk. This chapter argues that future thinking in EU media law needs to focus on how the institutional architecture can support effective cooperative responsibility, including addressing imbalances of power and information asymmetries.

Previous discussions of pointing have largely evaded a central question: How is an act of pointing recognized as communicative in the first place? Here it is argued – building on classic and recent work in pragmatics – that pointing is designed to deviate minimally from mere attending. This basic design is found throughout the diverse universe of human pointing, from the most familiar, conventional forms to the most exotic and ad hoc, and may even extend to cases of pointing in nonhuman animals. Further, the chapter shows that this framework lights up promising avenues for further research on the interpretation of pointing, as well as on the emergence of pointing on developmental, cultural, and evolutionary timescales.

This chapter provides an overview of music in Spain during the Age of Enlightenment. It first focuses on several transversal aspects, such as musicians’ professional profiles, networks of circulation and mobility, and the reinterpretation of popular music as a symbol of Spanish cultural identity. It then examines the principal musical genres, along with their most significant works and authors, such as Domenico Scarlatti, José de Nebra, or Luigi Boccherini, among others. On the one hand, sacred music, which held great importance in such a Catholic country, reflected the tension between continuity and aesthetic change. On the other hand, a rich variety of stage genres flourished in the theatrical sphere, including the zarzuela, although a distinct ‘Spanish opera’ never emerged. In these, the dramaturgy inherited from the Golden Age was enriched through the influence of imported European models. Finally, instrumental genres first gained prominence in keyboard repertoire, before expanding into chamber music and orchestral works, as instrumental music became increasingly autonomous in the final third of the century.

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.

As a country situated in the Himalayan belt, Nepal is prone to various natural disasters, from earthquakes and landslides to floods and famines. For Sabrina Regmi, who works on gender and disaster in rural Nepal, it is the unique topography of the country that makes it prone to disasters like landslides in the mountainous areas, floods in the lowlands, and earthquakes in the hills (Regmi 2016: 224). Indeed, who can forget the massive earthquake in 2015 that alarmed and alerted the world to the dangers of inhabiting this Himalayan zone. If these natural disasters that have led to Nepal being ranked 20th in the highly disasterprone zones of the world (Khanal 2020: 7) were not enough, then the country has had to contend with various man-made disasters in the form of the Maoist civil war that lasted for nearly a decade (1996–2006). Therefore, it is no surprise if disaster emerges as a major theme in contemporary fiction from Nepal, be it in Nepali or the English language. Nepali writers such as Maheshbikram Shah, winner of the Madan Puraskar, the highest literary honor in Nepal, and journalist, filmmaker, and writer Sushma Joshi, in her debut collection of English-language short stories, depict various natural and man-made disasters plaguing Nepali society. Sushma Joshi's English-language collection of short stories titled The End of the World (2008) contains stories about the plight of the urban poor within the city of Kathmandu. Maheshbikram Shah's collection titled Chapamar ko Choro (2006), which translates as “The Guerrilla's Son,” depicts narratives about the plight of ordinary people in rural Nepal, drawn from Shah's own experience of working as a police officer within the Nepali state. These short stories by Shah and Joshi depict different kinds of disasters, from floods, famines, and imagined apocalypse to war, while placing women at the center of these disintegrating worlds. This chapter aims to understand what placing women as central protagonists within a rapidly disintegrating world means.