Chapter 5 begins with export controls and then moves to the domestic regulation of art and architecture in common law countries, with the removal of a Tiffany mosaic as the test case. Finally, it examines a ‘compositional’ reason to reintegrate the Parthenon frieze.

The Mycenaean Greeks borrowed the Linear A script and used it to write in Greek; their customized version of the script is called Linear B. Linear B was brilliantly deciphered in the 1950s by a British architect named Michael Ventris. We therefore know how to pronounce its signs, and by extension how to pronounce the corresponding signs in Linear A, making it possible to investigate the phonology (spoken sounds) of the Minoan language that Linear A encodes. Chapter 3 presents a thorough investigation of Minoan phonology, progressing systematically through each spoken sound represented by the Linear A signs, and discussing the potential pronunciations of each sound. Evidence is drawn from the Linear B tablets, as they contain many Minoan words and names, as well as from later records in alphabetic Greek, as many Minoan words were borrowed into the Greek language. Odd or alternating spellings of these borrowed words in Greek can yield hints as to how the original Minoan word may have been pronounced. The chapter ends by positing a set of twenty-three spoken sounds for the Minoan language—eighteen consonants and five vowels.

The chapter challenges the essentialist ethnic assumptions which underpin some interpretations of the conflict, instead, exploring the political and social construction of ethnic tension in Kosovo. Following on from this, the chapter identifies a number of key processes and actors which contributed to the marginalisation of Kosovo between 1989-99 and thus to the development of violent conflict. This historical and contextual account highlights missed opportunities for dialogue or non-violent engagement prior to 1999 and picks up the theme of inclusion/exclusion. Set against the conventional narrative of events within the Security Council, the justification of last resort drawn on in 1998-99 to permit the shift to the use of force by NATO is problematised.

Chapter 3 offers a sweeping exploration of how civilizations transform. It begins with the transition from hunter-gatherer groups to civilizations, highlighting how certain organizational structures—hierarchy, centralized power, and shared belief systems—emerge as natural attractors. Civilizations, however, are inherently unstable and often collapse due to compounded internal and external pressures, including climate stress, inequality, and elite conflict. The concept of “senescence” suggests that societies grow more fragile with age, making them prone to systemic failure. Examples range from the Late Bronze Age collapse to the Progressive Era in the USA, showcasing both destructive collapses and constructive reforms. Norm shifts—such as the abolition of slavery, women’s suffrage, and anti-smoking movements—are explored as nonviolent transformations driven by activism and shifting values. Technological revolutions, from fire to the Green Revolution, are seen as double-edged, solving problems while creating new ones.

This chapter seeks to explicate something of the effect of 'being there', of being at performance work that in some way addresses trauma within the trauma-tragic mode. Much like the 'reality' of Performance Art, many of the writers employ compositional and dramaturgical styles which intentionally try to create a constant sense of traumatic presence, a traumatic 'reality' through theatricality. The chapter considers three performances that are different sorts of aesthetic object. They are Blasted, His Dark Materials, and Untitled (Syncope). Each of the performances explored uses differing performance mechanisms which stimulate a visceral, corporeal experience of the live event; each performance is able to stimulate an embodied reaction within the audience. By choosing to position these three different performances side by side, the chapter suggests that the presence effect can be created in any theatrical setting, rather than to propose a certain genre of production which might achieve it.

This chapter outlines the aims of the book. It contextualises these aims within a thematic review of ageing studies in anthropology and cognate disciplines. It highlights the lack to date of an ethnographic account of the experiences of ageing in a non-institutionalised Western context and then lays out a new framework for the anthropology of ageing. The chapter focuses on the ways in which theoretical anthropological perspectives on selfhood, temporality and narrativity can inform a fuller account of experiences of ageing. Reciprocally, it also introduces the notion that such bodies of literature can be enriched by considering the distinctive positionality of older people themselves. The chapter concludes with a summary of the book’s chapters.

In this chapter, we take a leisurely path that begins with a conventional mathematical method of describing computer systems and ends with the definition of almost all of TLA. Along the way, you will learn how to describe the safety part of an abstract program, how to prove it satisfies invariance properties, and the temporal logic that will be used to describe its safety and liveness properties as a single formula.

Women officers played a key role in enforcing child protection legislation in the years before integration as they carved out a role at the intersection of policing and social work. As the sociologist Anne Witz has demonstrated, women adopted a range of professionalisation strategies as they moved into new occupations in the late nineteenth and early twentieth centuries. Strategies based on gender difference were double-edged in that they reinforced conventional stereotypes while creating distinct spaces and opportunities for women. Women officers had demonstrated their utility in relation to 'specialist' or 'welfare' work. This confidence had enabled them to argue for a place in Criminal Investigations Department (CID) and Special Branch work as well as an active and visible presence in all stations. Women officers had been strongly associated with a 'community policing role' prior to 1968/1969.

The 2023 BBNJ treaty’s provisions on marine biodiversity may undermine both biological and military security, preventing states from joining the agreement. The treaty, formally titled the Agreement under UNCLOS on the Conservation and Sustainable Use of Marine Biodiversity of Areas Beyond National Jurisdiction, is commonly known as the BBNJ Treaty. Adopted on June 19, 2023, it protects biodiversity in areas beyond national jurisdiction (BBNJ). The United States signed the agreement on September 20, 2023, to expand marine-protected areas. The treaty regulates marine genetic resources (MGR), which implicates biotechnology. Biotechnology involves companies developing products from marine genetic resources. MGRs have commercial and scientific uses, including cancer treatments and drugs like remdesivir to fight COVID and azidothymidine (AZT). The treaty mandates data sharing through the “Clearing House Mechanism” (ClHM). But the treaty excludes intellectual property rights, forcing U.S. marine biotech firms to share trade secrets, benefiting foreign competitors and raising economic and security concerns. The U.S. Office of Naval Research (ONR) and the Defense Advanced Research Projects Agency (DARPA) have also disclosed high seas research programs. Amid economic competition with China, the US accelerates innovation, transparency goals clash with the prevailing imperative of security.

This chapter unpacks Jean Genet's theory and practice of political theatre. It concentrates on his writings and explains how his metaphor of the wound discloses an oblique notion of aesthetic politics that evades accepted models of art politique. Genet's desire to make the world unrecognisable explains why he studiously banishes everything real and naturalistic from the stage. The chapter suggests that Genet's blend of negative aesthetics and anti-aesthetics creates a doubly political theatre which disorients spectators. Responding to a question posed by Michèle Manceaux about the possible direction his writing might take in the light of his political commitment to the Black Panther Party, Genet was quick to distance his theatre from that of Brecht. Although Genet's notion of political theatre has little in common with existing models of commitment, his insistence on autonomy and negativity is close to that of Theodor Adorno.