Human rights and conflict resolution have been traditionally perceived as two separate fields, with contradictory principles and conflicting approaches toward achieving peace. This essay aims to understand these two fields in a more integrative way, showing how a human rights perspective can enrich the theory and practice of conflict resolution. It clarifies the main characteristics of a human rights approach to conflict resolution and identifies a set of human rights standards guiding its implementation: a normative legal framework; structural conditions for peace; participation and inclusion; and accountability and redress. The essay also briefly applies a human rights approach to the Colombian peace process and to the Oslo Accords between Israel and the Palestine Liberation Organization. The conclusion addresses one of the main criticisms of this approach and its principal challenges.

Diplomats, officials, scientists and other actors working with the Antarctic Treaty System have not simply negotiated a range of measures for regulating human access to the region in a physical sense. They are also continually negotiating a cultural order, one in which time is central. Antarctic actors are aware that the Treaty did not once exist and may cease to exist sometime in the future. They are conscious of environmental change. Each actor tries to elevate their standing and power in the system by deploying temporal ideas and discourses in their interactions with each other: bringing their histories into negotiations, trying to control the idea of the future. This article will map three temporalities within Treaty history: first, the deployment and potency of histories and futures, their relative rhythms and lengths; second, permanence and expiration, the questions and politics of how long the Treaty should or might last; and third, the periodisation of the Treaty period, both among actors themselves and among scholars studying Antarctica.

The visual arts have played an increasingly important role in examining and critiquing past and present human activities in Antarctica as governed by the Antarctic Treaty and its Protocol on Environmental protection. This paper analyses the work of six artists who have contributed to this scrutiny, awakening us to fabrications and helping to enrich Antarctic cultures beyond the scientific and the environmental. It encourages all signatory nations to the Antarctic Treaty System to embrace and empower a more diverse artistic engagement with Antarctica and suggests that artists find new ways to address threats to the Antarctic, whether they come from within and from without.

Barton Peninsula is an ice-free area located in the southwest corner of King George Island (South Shetland Islands, Antarctica). Following the Last Glacial Maximum, several geomorphological features developed in newly exposed ice-free terrain and their distribution provide insights about past environmental evolution of the area. Three moraine systems are indicative of three main glacial phases within the long-term glacial retreat, which also favoured the development of numerous lakes. Five of these lakes were cored to understand in greater detail the pattern of deglaciation through the study of lacustrine records. Radiocarbon dates from basal lacustrine sediments enabled the reconstruction of the chronology of Holocene glacial retreat. Tephra layers present in lake sediments provided additional independent age constraints on environmental changes based on geochemical and geochronological correlation with Deception Island-derived tephra. Shrinking of the Collins Glacier exposed the southern coastal fringe of Barton Peninsula at 8 cal ky BP. After a period of relative stability during the mid-Holocene, the ice cap started retreating northwards after 3.7 cal ky BP, confining some glaciers within valleys as shown by moraine systems. Lake sediments confirm a period of relative glacial stability during the last 2.4 cal ky BP.

PolarTREC-Teachers and Researchers Exploring and Collaborating (PolarTREC) has provided the opportunity for over 160 K-12 teachers and informal science educators from the USA to work directly with scientists in the Arctic and the Antarctic. As a Teacher Research Experience (TRE), PolarTREC has engaged teachers with a unique professional development opportunity to increase their teacher content knowledge and learn about the polar regions by partnering with academic polar scientists who are conducting scientific research in the field. Stimulated by the IPY 2007–2008, PolarTREC has sent teachers on field expeditions for over a decade, and during that time has witnessed teachers not only experiencing the polar regions and bringing that experience back into their classrooms but also seeing their students learn more about the polar regions and become more interested in polar science. It is this secondary effect that is truly inspiring. This article profiles the journey to the polar regions of four PolarTREC teachers through their own perspectives and how they translated that experience into educational outreach opportunities.

Ever since the publication in 1948 of Sylvia Thrupp's seminal book, The Merchant Class of Medieval London, successive generations of historians of English cities have advanced two central claims about the distinctiveness of the English urban landscape. First, ‘urban dynasties’ in late medieval England very rarely survived beyond two or three generations. Secondly, their weakness was a ‘peculiarly English’ phenomenon and a fundamental difference between English and continental towns. The article explores the historiographical significance of this thesis, the strength of which rests upon its explanatory role within a much wider narrative of English exceptionalism. It argues that the thesis has implications for the study of cities in continental Europe and, finally, it suggests that the English evidence might reveal a much more interesting picture of elite reproduction, when we think more critically and comparatively about how urban elites conceptualized ‘lineage’.

This is a response to Arjun Appadurai’s article “The Ready-Made Pleasures of Déjà Vu: Repeat Viewing of Bollywood Films.”1 Repetition as a concept is discussed here in relation to Deleuze, genre, remakes of older films, tradition, cultural regimentation, and individual desire.

This article calls attention to the categorical confinement of Algerian novelist, historian, and feminist Assia Djebar (1936–2015), and argues that the politicization of Djebar’s text has contributed to the relative obscurity of her work. Following a call by Françoise Lionnet to reimagine the relationship between politics and aesthetics in critical response, I analyze modified repetition—rhyme, recall, echo, imitation, and mirror—as a formal device in L’Amour, la fantasia. In its third section, this paper, drawing from Rita Felski’s discussion of the four types of activities in which academics engage, argues for the importance of formal comparison in postcolonial scholarship. In attending to the particulars of Djebar’s text, so as to privilege connection, postcolonial scholars might increase her exposure and broaden the reach of postcolonial theory.