This study establishes that the political, economic and military-technological changes that transform the international system also alter the way in which a state views its and others' responsibilities and burdens for responding to international crises. It assesses the distribution of the costs of raising and supporting arms of service, the risks of deploying them overseas and using them in combat or peace operations, and the extent to which members have a responsibility for maintaining international order in the context of three instances of multinational military intervention: the Multinational Force deployment in Lebanon in 1982-83; the first Persian Gulf War in 1990-91; and the UN and NATO intervention in Bosnia-Herzegovina.

This study establishes that the political, economic and military-technological changes that transform the international system also alter the way in which a state views its and others' responsibilities and burdens for responding to international crises. It assesses the distribution of the costs of raising and supporting arms of service, the risks of deploying them overseas and using them in combat or peace operations, and the extent to which members have a responsibility for maintaining international order in the context of three instances of multinational military intervention: the Multinational Force deployment in Lebanon in 1982-83; the first Persian Gulf War in 1990-91; and the UN and NATO intervention in Bosnia-Herzegovina.

Data from molecular genetics have changed our views on the origin, spread and timescale of our species across this planet. But how can we reveal more detail about the demography of ancient human populations? For example, is it possible to determine when and how many people arrived at a certain continent, and which route they took from a choice of geographically plausible options? One of the most promising tools for such investigation is computer simulation incorporating various demographic scenarios. The simulation outcomes must be evaluated by teams with archaeological expertise, since archaeological evidence is generally the best evidence currently available on the population histories of geographical regions. This book is a summary of the landmark conference held in Cambridge in 2005, where specialists in simulations and molecular genetics as well as archaeologists came together to present and evaluate the state of the art, and to discuss future possibilities.

Evolutionary ('phylogenetic') trees were first used to infer lost histories nearly two centuries ago by manuscript scholars reconstructing original texts. Today, computer methods are enabling phylogenetic trees to transform genetics, historical linguistics and even the archaeological study of artefact shapes and styles. But which phylogenetic methods are best suited to retracing the evolution of languages? And which types of language data are most informative about deep prehistory? In this book, leading specialists engage with these key questions. Essential reading for linguists, geneticists, and archaeologists, these studies demonstrate how phylogenetic tools are illuminating previously intractable questions about language prehistory. This innovative volume arose from a conference of linguists, geneticists, and archaeologists held at Cambridge in 2004.

Water: metaphor for a healing element or symbol of a destructive primal force? In the works of Art Nouveau, breathtaking, rolling waves, fish, jellyfish, and mussels or creatures from mythological stories give rise to a space for the imagination that fulfills people's desires and dreams on the one hand and makes one shudder as a mysterious parallel world on the other. Water as a place of longing is presented by means of 250 works: Japonesque-like works, the dazzling ceramics of a Emile Galle, and somber mythological paintings like that of the German artist Fidus visualize the idea of a total work of art with incredible diversity. Light is thus shed on the topic of "water in Art Nouveau" from an international, regional, and interdisciplinary perspective: for instance with a view to literature, music, or historical contexts.

Founded in the 19th century Museum Wiesbaden is especially committed to the art of this period. In the gallery of the 19th century the manifold artistic developments of this time and up to Art Nouveau are lined up like beads in a necklace: Portraits, genre painting, landscape depictions, animal motifs, historical painting by great names such as Max Klinger, Ludwig Knaus, Hans von Marees, Hans Markart, Moritz von Schwind, Carl Spitzweg, Hans Thoma or Heinrich Vogeler and more besides. These artists but also many others that can be discovered in this book demonstrate to us the unique creative skills of artists of this epoch.

Aus der britischen Arts-and-Crafts-Bewegung erwuchs Ende des 19. Jahrhunderts eine neue naturbezogene Stilrichtung, die bis heute durch ihre Schönheit fasziniert: der Jugendstil. Das erklärte Ziel einer Verschränkung von Leben und Kunst offenbart auch die hochkarätige Jugendstil-Sammlung von Ferdinand Wolfgang Neess, die in diesem Band vollständig dokumentiert ist. Sie vereint Möbel, Gemälde, Pastelle, Aquarelle, Skulpturen, Objekte aus Glas, Porzellan wie Keramik und bietet damit einen höchst repräsentativen Querschnitt sämtlicher Gattungen und meisterhafter Künstler-/innen zwischen Jugendstil und Symbolismus. Die Publikation zeigt über 700 Werke von Peter Behrens, Émile Gallé, Gustav Klimt, Alfons Mucha oder Richard Riemerschmid in hervorragenden Neuaufnahmen und begleitet die dauerhafte Präsentation der Sammlung im Museum Wiesbaden.

Bipolar In Order is based on a very simple premise: we can learn and grow to the point that we see our condition as an advantage in our lives. Wootton takes on the goals of treatment, basic misunderstandings, and assumptions that are in the way of achieving Bipolar In Order. Living with bipolar and depressive conditions is never underestimated in Tom Wootton's books. By examining all states of depression, mixed states, and mania unflinchingly and deeply he arrives at conclusions that challenge the current paradigm. The author insists on a higher level of Insight, Freedom, Stability, Self-mastery, and Equanimity as end goals that are achievable. Asked time and again why someone would resist treatment, Wootton states that the most important thing to offer is a life worth living Expecting someone to park their brain in the garage like an unused Ferrari is not an appealing treatment model. Rather than receiving the training, therapy, mind skills and behavioral control that is the foundation of real stability, current models of "avoidance therapy" try to mask and remove symptoms that will never go away. Living in fear of the wide ranging states of consciousness and mood that those with mental conditions experience is not a life worth living. Confronting these conditions head on, identifying one's strengths and learning self mastery is a more viable solution proposed by Bipolar In Order.

A superb example of the bookmaker's and translator's art, this new edition of Plato's Symposium exhibits aesthetic, literary, and intellectual excellences rarely found together in a single volume. Tom Griffith's translation of this foundation work of Western culture is unsurpassed for the balance it achieves between readability and fidelity to Plato's Greek. For felicity of phrasing, freshness, care to match the sense of the Greek rather than its wording, and for its idiomatic rendering of the spoken word, it has no peer. Originally published in a limited edition with facing Greek and color wood engravings, Griffith's translation is here presented in reduced format that retains the aesthetic quality of the original version at an affordable price.

Jan and Friederike Baechle themselves describe their collection with the words "small but excellent." They thus describe the core aspect of the collection that they have carefully developed over decades. The "long nineteenth century" with all its various facets was central to their interest as collectors. The list of the artists who produced the twenty-seven works includes significant positions in the art of the nineteenth century, and as a testamentary gift to the Museum Wiesbaden represent an ideal addition to the existing holdings and a further stroke of luck within the context of a planned "gallery of the nineteenth century." The book presents selected works from the nineteenth century from the museum, including works by Eugen Bracht, Ferdinand Brutt, Karl Hofer, Max Liebermann, Alfred N. Oppenheim, Eugen Spiro, Hans Thoma, Wilhelm Trubner, and Ernst Wilhelm Nay.

Ludwig Knaus, who was born in Wiesbaden in 1829 and died, highly respected, in Berlin in 1910, is one of the most important German artists of the nineteenth century. With his works, which were successful both in Germany and abroad, he shaped a genre and helped genre painting achieve a unique popularity. He thus set new standards, but was also very successful as a portraitist. With the exhibition at the Museum Wiesbaden and the accompanying catalogue, a link is made to the zenith of Ludwig Knaus's career. The fact that important major works by the artists were sold to the United States during his lifetime plays a central role in this. It becomes clear how formative Knaus's work was for the understanding of art in the second half of the nineteenth century. His captivating drawings of outstanding quality published in the catalogue, most of them for the first time, can by all means be regarded as equal to his those of Adolph von Menzel, a colleague of his at the academy in Berlin; they provide important insights into the genesis of his paintings and contribute to understanding Knaus's artistic cosmos.