M. M. McCabe presents a selection of her essays which explore the ways in which the Platonic method of conversation may inform how we understand both the Platonic dialogues and the work of his predecessors and his successors. The centrality of conversation to philosophical method is taken here to account both for how we should read the ancients and for the connections between argument, knowledge, and virtue in the texts in question. The book argues that we should attend, consequently, to the reflective dimension of reading and thought; and that this reflection explains both how we should think about the conditions for perception and knowledge, and how those conditions, in turn, inform the theories of value of both Plato and Aristotle.

Adaptation persists as a major area of inquiry in both film and literary studies. Over the past two decades, scholars have extended the debate well beyond George Bluestone's influential Novels into Film (1957) by taking into account such concerns as intertextuality and different forms of narrative enabled through new media. A dominant trend has been to dispense straight away with questions of fidelity and "faithfulness," the assumption being that such views are naive, moralistic, and rooted in a cultural prejudice against the audiovisual. While acknowledging the merits of this position-namely its complication of the one-way "page-to-screen" perspective-this collection seeks to put the question of fidelity back into play. The essays explore the ways in which the newer, more sophisticated approaches can still accommodate forms of fidelity between two or more texts without having to reinscribe untenable distinctions between "original" and "copy," and without having to argue from a strict media essentialist position that stages an impasse between linguistic and cinematic means of articulation. In addition, the scholars in this volume seek to recognize and account for fidelity's cultural currency among filmmakers and audiences alike, no matter how impossible fidelity might be in a literal sense. The selected essays offer an opportunity to showcase both well established adaptation scholars (Laura Mulvey, Dudley Andrew, Tom Gunning and James Naremore) and emerging voices in the field.

In the decade following the housing crisis, Americans remain enthusiastic about the prospect of owning a home. Homeownership is a symbol of status attainment in the United States, and for many Americans, buying a home is the most important financial investment they will ever make. We are deeply committed to an ideology of homeownership that presents homeownership as a tool for building stronger communities and crafting better citizens. However, in No Place Like Home, Brian McCabe argues that such beliefs about the public benefits of homeownership are deeply mischaracterized. As owning a home has emerged as the most important way to build wealth in the United States, it has also reshaped the way citizens become involved in their communities. Rather than engaging as public-spirited stewards of civic life, McCabe demonstrates that homeowners often engage in their communities as a way to protect their property values. This involvement contributes to the politics of exclusion, and prevents particular citizens from gaining access to high-opportunity neighborhoods, thereby reinforcing patterns of residential segregation. A thorough analysis of the politics of homeownership, No Place Like Home prompts readers to reconsider the power of homeownership to strengthen citizenship and build better communities.

Written by a team of international experts, the forty-two essays in The Oxford Handbook of Edmund Spenser examine the entire canon of Spenser's work and the social and intellectual environments in which it was produced, providing new readings of the texts, extensive analysis of former criticism, and up-to-date bibliographies. Section I, 'Contexts', elucidates the circumstances in which the poetry and prose were written, and suggests some of the major political, social, and professional issues with which the work engages. Section 2, 'Works', presents a series of new readings of the canon informed by the most recent scholarship. Section 3, 'Poetic Craft', provides a detailed analysis of what Spenser termed the poet's 'cunning', the linguistic, rhetorical, and stylistic skills that distinguish his writing. Section 4, 'Sources and Influences', examines a wide range of subtexts, intertexts, and analogues that contextualise the works within the literary conventions, traditions and genres upon which Spenser draws and not infrequently subverts. Section 5, 'Reception', grapples with the issue of Spenser's effect on succeeding generations of editors, writers, painters, and book-illustrators, while also attempting to identify the most salient and influential strands in the critical tradition. The volume serves as both companion and herald to the Oxford University Press edition of Spenser's Complete Works. No 'agreed' view of Spenser emerges from this work or is intended to. The contributors approach the texts from a variety of viewpoints and employ diverse methods of critical interpretation with a view to stimulating informed discussion and future scholarship.

Look at your data Now available with Macmillan's online learning platform Achieve, The Practice of Statistics for Business and Economics (PSBE) helps students develop a working knowledge of data production and interpretation in a business and economics context, giving them the practical tools they need to make data-informed, real-world business decisions from the first day of class. Achieve for The Practice of Statistics for Business and Economics connects the problem-solving approach and real-world examples in the book to rich digital resources that foster further understanding and application of statistics. Assets in Achieve support learning before, during, and after class for students, while providing instructors with class performance analytics in an easy-to-use interface.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.