Wesley Newcomb Hohfeld, born in 1879, died prematurely in 1918. He left only a few law journal articles as his published work. His 'Fundamental Legal Conceptions', originally published as two articles in the 'Yale Law Journal' for 1913 and 1917 and left incompletely revised at his death is, however, one of the principal foundations of analytic jurisprudence. The analysis of rights that Hohfeld offers is still regularly cited and relied upon by both lawyers and philosophers, and it is treated as a source of insight into the nature of moral rights as well as the legal rights that were Hohfeld's own focus of concern. Although some of his analytical distinctions were anticipated by earlier jurists, their insights were fragmentary and imperfect by comparison. Hohfeld's systematic and exhaustive (yet concise) treatment is generally regarded as unsurpassed. This is not to say that he has not been criticized, but his book forms the essential starting point for any discussion of the nature and structure of rights. 'Fundamental Legal Conceptions' has long been difficult to obtain. This new edition makes this classic of analytic jurisprudence available with a comprehensive introduction by Dr. N.E. Simmonds of Corpus Christi, University of Cambridge, UK.

Christian Wolff is a composer who has followed a distinctive path often at the centre of avant-garde activity working alongside figures such as John Cage, Merce Cunningham, and Cornelius Cardew. In a career spanning sixty years, he has produced a significant and influential body of work that has aimed to address, in a searching and provocative manner, what it means to be an experimental and socially aware artist. This book provides a wide-ranging introduction to a composer often overlooked despite his influence upon many of the major figures in new music since the 1950s from Cage to John Zorn to the new wave of experimentalists across the globe. As the first detailed analysis of the music of this prolific and highly individual composer, Changing the System: The Music of Christian Wolff contains contributions from leading experts in the field of new and experimental music, as well as from performers and composers who have worked with Wolff. The reception of Wolff's music is discussed in relation to the European avant-garde and also within the context of Wolff's association with Cage and Feldman. Music from his earliest compositions of the 1950s, the highly indeterminate scores, the politically-inspired pieces up to the most recent works are discussed in detail, both in relation to their compositional techniques, general aesthetic development, and matters of performance. The particular challenges and aesthetic issues arising from Wolff's idiosyncratic notations and the implications for performers are a central theme. Likewise, the ways in which Wolff's political persuasions - which arguably account for some of the notational methods he chooses - have been worked out through his music, are examined. With a foreword by his close associate Michael Parsons, this is a valuable addition to experimental music literature.

Summarizes various approaches to schizophrenia and points to their weaknesses and strengths. To gain a better understanding of the condition, the text considers factors including deprivation, cultural influences and brain function. It also challenges over-reliance on 19th century phenomenology.

Christian Wolff is a composer who has followed a distinctive path often at the centre of avant-garde activity working alongside figures such as John Cage, Merce Cunningham, and Cornelius Cardew. In a career spanning sixty years, he has produced a significant and influential body of work that has aimed to address, in a searching and provocative manner, what it means to be an experimental and socially aware artist. This book provides a wide-ranging introduction to a composer often overlooked despite his influence upon many of the major figures in new music since the 1950s from Cage to John Zorn to the new wave of experimentalists across the globe. As the first detailed analysis of the music of this prolific and highly individual composer, Changing the System: The Music of Christian Wolff contains contributions from leading experts in the field of new and experimental music, as well as from performers and composers who have worked with Wolff. The reception of Wolff's music is discussed in relation to the European avant-garde and also within the context of Wolff's association with Cage and Feldman. Music from his earliest compositions of the 1950s, the highly indeterminate scores, the politically-inspired pieces up to the most recent works are discussed in detail, both in relation to their compositional techniques, general aesthetic development, and matters of performance. The particular challenges and aesthetic issues arising from Wolff's idiosyncratic notations and the implications for performers are a central theme. Likewise, the ways in which Wolff's political persuasions - which arguably account for some of the notational methods he chooses - have been worked out through his music, are examined. With a foreword by his close associate Michael Parsons, this is a valuable addition to experimental music literature.

Records of people experiencing verbal hallucinations or hearing voices can be found throughout history. Voices of Reason, Voices of Insanity examines almost 2,800 years of these reports including Socrates, Schreber and Pierre Janet's "Marcelle", to provide a clear understanding of the experience and how it may have changed over the millenia.
Through six cases of historical and contemporary voice hearers, Leudar and Thomas demonstrate how the experience has metamorphosed from being a sign of virtue to a sign of insanity, signalling such illnesses as schizophrenia or dissociation. They argue that the experience is interpreted by the voice hearer according to social categories conveyed through language, and is therefore best studied as a matter of language use. Controversially, they conclude that 'hearing voices' is an ordinary human experience which is unfortunately either mystified or pathologised.
Voices of Reason, Voices of Insanity offers a fresh perspective on this enigmatic experience and will be of interest to students, researchers and clinicians alike.

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Wesley Newcomb Hohfeld, born in 1879, died prematurely in 1918. He left only a few law journal articles as his published work. His 'Fundamental Legal Conceptions', originally published as two articles in the 'Yale Law Journal' for 1913 and 1917 and left incompletely revised at his death is, however, one of the principal foundations of analytic jurisprudence. The analysis of rights that Hohfeld offers is still regularly cited and relied upon by both lawyers and philosophers, and it is treated as a source of insight into the nature of moral rights as well as the legal rights that were Hohfeld's own focus of concern. Although some of his analytical distinctions were anticipated by earlier jurists, their insights were fragmentary and imperfect by comparison. Hohfeld's systematic and exhaustive (yet concise) treatment is generally regarded as unsurpassed. This is not to say that he has not been criticized, but his book forms the essential starting point for any discussion of the nature and structure of rights. 'Fundamental Legal Conceptions' has long been difficult to obtain. This new edition makes this classic of analytic jurisprudence available with a comprehensive introduction by Dr. N.E. Simmonds of Corpus Christi, University of Cambridge, UK.

How is life possible in a world of evil, suffering, and chaos? Christians have historically been inept at offering adequate answers as to why people's lives are derailed by sudden chaos and, even worse, at equipping people to live in the throes, or aftermath, of that same chaos. Underlying this confusion is an assumption that evil is a formidable chink in the armor of God's creation. The book of Job challenges such thinking, but its meaning often remains hidden because of a long-standing belief in Christian hermeneutics that the book is about why bad things happen to good people, or about why suffering happens. This is not the case. With In a Vision of the Night Philip Thomas offers a fresh perspective into the book of Job by reading it alongside the fiction of Cormac McCarthy. While some critics have previously identified Joban overtones in McCarthy's work, Thomas argues for something far stronger: a recurrent Joban resonance throughout McCarthy's works. McCarthy's rejection of philosophical theodicy, his anti-anthropocentric vision of the world, his assumed presence of chaotic figures, and the quietly persistent note of hope that runs throughout his books reveal the Joban influence. Thomas contends that knowledge of the book of Job gives insight into McCarthy's literary output; conversely, reading Job through a McCarthyite lens enables proper apprehension of the scriptural text. Through a thematically based theological reading of McCarthy and Job, In a Vision of the Night draws out often overlooked aspects of the book of Job. Further, it reveals that McCarthy, like the Joban author, constructs a theodicy that both rejects the easy stance of a detached and generalized answer to the question of why chaos comes and advances the more pressing question of how life continues in the face of chaos.

"An eye opening reappraisal of what really happened during the Alamo siege, final assault and aftermath. . . . Tucker's well researched account dramatically rewrites long-accepted history and shatters some of the most cherished and enduring myths about the 1836 battle." -Armchair General "A work likely to stir much controversy in some circles, and a necessary read for anyone interested in the Texas war for independence." - Strategy Page "...demonstrates a mastery and understanding...Readers who enjoy detailed battle writing should like Tucker's text...members who are interested in the story of the Alamo and on the creation and veneration of myth in American History should read..."- Journal of America's Military Past Contrary to movie and legend, we now know that the defenders of the Alamo in the war for Texan independence did not die under brilliant sunlight, defending their stations against hordes of Mexican infantry. Instead the Mexicans launched a predawn attack, surmounting the walls in darkness, forcing a wild melee inside the fort before many of its defenders had even awoken. In this book, Dr. Tucker, after deep research into Mexican accounts and the forensic evidence, informs us that the traditional myth of the Alamo is even more off-base: most of the Alamo's defenders died in breakouts from the fort, cut down by Santa Anna's cavalry that had been pre-positioned to intercept the escapees. About the Author Phillip Thomas Tucker, winner of the Douglas Southall Freeman Award in 1993, is an historian for the United States Air Force in Washington, D.C., and lives in Maryland.