The fifteen new essays collected in this volume address questions concerning the ethics of self-defense, most centrally when and to what extent the use of defensive force, especially lethal force, can be justified. Scholarly interest in this topic reflects public concern stemming from controversial cases of the use of force by police, and military force exercised in the name of defending against transnational terrorism. The contributors pay special attention to determining when a threat is liable to defensive harm, though doubts about this emphasis are also raised. The legitimacy of so-called "stand your ground" policies and laws is also addressed. This volume will be of great interest to readers in moral, political, and legal philosophy.

A gripping account of the Soviet victories of 1944.

The year 1944 was the turning point of World War Two, and nowhere was this more evident than on the Eastern Front. For three years, following the onslaught of the German Army during Operation Barbarossa in June 1941, the Red Army had retreated and then eventually held, fighting to a stalemate while the Germans occupied and ravaged large parts of the Soviet Union and its republics. Finally, following the breaking of the German siege of Leningrad in January 1944, Stalin and his generals were able to consider striking back. In June, they launched Operation Bagration, during which more than two million Red Army soldiers began an offensive, pushing west. The results were almost immediate and devastating. Within three weeks, Army Group Centre, the core of the German Army, had lost 28 of its 32 divisions. The ending had begun.

Drawing on new sources-some previously untranslated-including accounts from ordinary soldiers and witnesses, Jonathan Dimbleby chronicles this decisive year in what was arguably the most crucial front in the war against Nazi Germany, a front extending 1200 miles. He covers the military, political, and diplomatic aspects in his trademark accessible and evocative style, illuminating the major conflicts as well as the roles played by deception, Partisan fighting, and the war within a war in Ukraine.

Endgame 1944 reveals how the Soviet victories enabled Stalin to dictate the terms of the post-war settlement, laying the foundations for the Cold War.

To describe the complexity of this ever-changing and multi-layered terrain, Kremer creates aesthetic, orderly and beautiful compositions that parallel the defense mechanisms developed to protect Israelis from the painful reality of the current political situation. Rather than confronting the Israeli occupation in the way that it has been absorbed by the world's media, Kremer adopts a more subtle approach. For him, the media's aggressive representation of reality numbs people's sensibilities making them callous to the suffering of others.Instead of shock, Kremer seeks to challenge the viewer, using the landscape as a focus to understand the overwhelming impact of the situation at the deepest of levels. Four decades ago the historian and philosopher, Yeshayahu Leibovich, forewarned that the Israeli occupation was a cancerous disease in the heart of the nation. As Kremer himself says, 'my goal is to reveal how every piece of land has become infected with loaded sediments of the ongoing conflict'.