The role of the Hague Convention in today's world revisited. Significant attention today focusses on heritage destruction, but the key international laws prohibiting it - the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict and its First and Second Protocols (1954/1999) - lay out two core strands to limit the damage: the measures of respect for armed forces, and the safeguarding measures states parties should put in place in peacetime. This volume incorporates wide-ranging international perspectives from those in the academy, together with practitioner insights from the armed forces and heritage professionals, to explore the safeguarding regime. Its contributors consider such questions as whether state parties have truly taken "all possible steps", as the Convention tasks them; what we can learn from past practice, and how the Convention is implemented today; the implications of new trends in heritage law and management - such as the rise of the World Heritage Convention, and in the increasing focus on safe havens rather than refuges; whether new methods of heritage management such as Risk Assessment theory can be applied; and, in a Convention specifically focussed on state parties, what of their opponents, armed non-state actors. Topics range from leadership and the role of the State Party Representative, to the responsibilities of armed non-state groups in safeguarding, to explorations of past and current practice in different countries. Using a mix of case studies and theoretical explorations of new and existing methodologies, the contributions cover a broad timespan from World War II to today, with examples from Europe, the Middle East, and Africa. Overall, the volume's purpose is to promote wider understanding of the practical effectiveness of the Convention in the contemporary world, by investigating the perceived opportunities and constraints the Convention offers today to protect cultural property in armed conflict, and firmly establishing that such protection must begin in peace. CONTRIBUTORS: Maamoun Abdulkarim, Laura Albisetti, Pascal Bongard, Brittni Bradford, Rino Buchel, Emma Cunliffe, Philip Deans, Joanne Dingwall McCafferty, Paul Fox, Kristin Hausler, Stavros-Evdokimos Pantazopoulos, Nikolaus Paumgartner, Nigel Pollard, Lee Rotherham, Valentina Sabucco, Peter Stone, Raphael Zingg.

Dan is on a steep learning curve. It is not just that he is in his final year of school. When his parents go to Europe he moves in with his 22-year-old, bass-playing aunt Jacq and her friend Naomi. He should be concentrating on calculus and the fish-tank scene in Romeo and Juliet, but in a desperate bid to impress Naomi, Dan secretly starts memorising some more obscure information. Adapted from Nick Earls' award-winning novel, this is a gently comic tale of intimacy, ornithology and fresh pesto (2 male; 2 female).

Alex has eighteen days until he finds out if he got into Arts Law, a week in Caloundra to sleep, swim and watch the cricket, and a mother with a keen interest in his sex life. Fortuna keeps bees, has a nose-ring, and a father who likes to do pottery in the nude. When this unlikely pair meet, the results are both hilarious and heart-warming. And for both of them it means that things will never be the same after January. Adapted by Philip Dean from Nick Earls' award-winning novel, After January is a play for people of all ages about what happens when someone stops waiting for life to happen and begins instead to live it. (1 act: 2 women, 2 men)

A chronological set of poetry albums focusing on young romance, betrayal and an important search for redemption. A sequel to the critically aclaimed compilation of poetry, A Butterfly Effect.