Includes current work of 38 renowned contributors that details the diversity of thought in the fields of commutative algebra and multiplicative ideal theory. Summarizes recent findings on classes of going-down domains and the going-down property, emphasizing new characterizations and applications, as well as generalizations for commutative rings with zero divisors.

The contents in this work are taken from both the University of Iowa's Conference on Factorization in Integral Domains, and the 909th Meeting of the American Mathematical Society's Special Session in Commutative Ring Theory held in Iowa City. The text gathers current work on factorization in integral domains and monoids, and the theory of divisibility, emphasizing possible different lengths of factorization into irreducible elements.

The contents in this work are taken from both the University of Iowa's Conference on Factorization in Integral Domains, and the 909th Meeting of the American Mathematical Society's Special Session in Commutative Ring Theory held in Iowa City. The text gathers current work on factorization in integral domains and monoids, and the theory of divisibility, emphasizing possible different lengths of factorization into irreducible elements.

The poems in The Night Guard at the Wilberforce Hotel navigate the evanescent boundaries between the public and the private self. Daniel Anderson's settings are often social but never fail to turn inward, drowning out the chatter of conversation to quietly observe the truths that we simultaneously share and withhold from one another - even as we visit friends, celebrate a young couple's union, or eavesdrop on the conversations of others. These twenty poems include meditations on teaching hungover undergraduates, wine tasting among snobs, and engaging the war on terror from the comfort of the suburbs. They are alternately driven by ornamental language that seeks to clarify and crystallize the beauties of our common world and the poet's faith that fellowship ultimately trumps partisanship. Even as they weigh and measure the darkness of the heart and the sometimes rash and stingy movements of the mind, the poems refrain from pronouncing judgment on their characters. As much as they ponder, they also celebrate in exact, careful, and loving terms the haunting and bracing stimuli from which they originate.

The Body in the Group has been structured around the formation of a group analytic concept of sexuality, using the archaeology of Michel Foucault to move away from psychoanalytic theory, with its association to heteronormativity and pathology, on which group analysis has historically relied. The failure of group analysis to have its own theory of sexuality is, in fact, its greatest potential. It is a psychosocial theory that is able to contain failure in language and gaps in discourse, and, furthermore, can mobilise its creative potential in relation to the discourse of sexuality. Furthermore, using queer theory enables the failure of the term 'homosexual' by disrupting its association to heteronormativity and psychopathology that traditional psychoanalysis has emphasised. The potential of the group analytic matrix to disrupt and change discourse by conceiving of it using figurations and their associated political radicalism within language and discourse permits a radical conception of space and time. Bi-logic removes the potentially unhelpful competitive splits in power associated with the politics of sexuality and gender and, by doing so, enables multiple and contradictory positions of sexuality and gender to be held simultaneously. In addition, group analysis radically alters typical notions of ethics by being able to conceive of a psychosocial form of ethics. Likewise, queer theory raises an awareness for group analysis of the potential violence of its textual representation. Finally, analytic groups are 'figurations in action' when terms such as group polyphony, embodiment, discursive gaps, and norms (or no-norms) are mobilised alongside spatio-temporality and bi-logic. The group analytic literature so far has delimited sexuality and gender by over-reliance on psychoanalysis. Daniel Anderson, by utilising group analytic theory alongside the archaeology of Foucault and feminist, queer and education theory, has created an exciting and innovative way of working with sexuality in a group analysis setting.

During the African American cultural resurgence of the 1920s and 1930s, professional athletes shared the spotlight with artists and intellectuals. Negro League baseball teams played in New York City's major-league stadiums and basketball clubs shared the bill with jazz bands at late night casinos. Yet sports remain conspicuously absent from much of the literature on the popular culture of the Harlem Renaissance. Although the black intelligentsia largely dismissed the popularity of sports, the press celebrated athletics as a means to participate in the debates of the day. A few prominent writers, such as Claude McKay and James Weldon Johnson, used sports in distinctive ways to communicate their vision of the Renaissance. Meanwhile, the writers of the Harlem press promoted sports with community consciousness, insightful analysis and a playful love of language, and argued for their importance in the fight for racial equality.

Accessible and wry, at times comic, and often mournful, Daniel Anderson's poetry is relentlessly attentive to the splendors of the natural world. But the poems collected here -- previously published in such leading literary journals as Poetry, The Kenyon Review, The Southern Review, The Yale Review, New England Review, and Southwest Review -- are not relegated simply to the realm of pastoral meditation. They give voice to the sorrowful and sometimes unfortunate things we say and think. They chronicle, with both precision and care, the many ways in which jubilation and lament frequently reverse themselves. Above all else, each poem crystallizes in its wake a freshly minted moment, one that articulates an experience that reaches beyond the poet's own time and place.

Sunflowers drenched in early evening sun; icy blue, explosive waves along the rocky shores of Maine; September cotton "like strange anachronistic snow" in Tennessee -- Anderson forges these images into deep ruminations on love, shame, delight, loss, and estrangement.