This interdisciplinary volume explains the phenomenon of nationalism in nineteenth-century Europe through the prism of Graeco-Roman antiquity. Through a series of case studies covering a broad range of source material, it demonstrates the different purposes the heritage of the classical world was put to during a turbulent period in European history. Contributors include classicists, historians, archaeologists, art historians and others.

Jake Banyon is satisfied when he arrives at his new cabin in the quiet town of Lakeview, Oregon. A former investigative reporter for a major East Coast newspaper, he's relieved to escape the drama of his past. But his reverie doesn't last long. While standing on his balcony admiring the view, he's shot in the head and left there to die. When Jake regains consciousness, he has no recollection of who he is or where he is. His only connection to his past and present are Janine Delany and her daughters Mellissa and Roxanne who own the dude ranch next door; they found him and saved his life. When his hospital nurse is killed during the second attempt on his life, the sheriff doubts Jake's claim of amnesia and pegs him as a major criminal who has brought trouble to Lakeview. As Jake digs deep to discover his identity, the evidence points to a larger conspiracy-a scheme that envelops the people of this remote region into criminal activity the local sheriff's office can't handle.

Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns - sexuality, death and the nature of art - its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations. The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.

Taking a multi-disciplinary perspective, and one grounded in human rights, Unaccompanied young migrants explores in-depth the journeys migrant youths take through the UK legal and care systems. Arriving with little agency, what becomes of these children as they grow and assume new roles and identities, only to risk losing legal protection as they reach eighteen? Through international studies and crucially the voices of the young migrants themselves, the book examines the narratives they present and the frameworks of culture and legislation into which they are placed. It challenges existing policy and questions, from a social justice perspective, what the treatment of this group tells us about our systems and the cultural presuppositions on which they depend.

This book explores Symbolist artists' fascination with ancient Greek art and myth, and how the erotic played a major role in this. For a brief period at the end of the 19th century the Symbolist movement inspired artists to turn inwards to the unconscious mind, endeavouring to unveil the secrets of human nature through their symbolic art. But above all their greatest interest, and fear, was man (and woman's) sexuality. Building upon the traditions of Academic neoclassicism, but fired with a new zeal, they turned back to Greek art and myth for inspiration. That classical legacy was once again a vehicle for artists to express their dreams, ideas and revelries. And so too their anxieties. For at times the frightening spectre of the sexual unconscious drove them to a new and innovative engagement with antiquity, including in ways never before tried in the history of the classical tradition. The unnerving sirens of Gustave Moreau, unearthly heroines of Odilon Redon, or leering fauns of Felicien Rops all played their role, among others, in this novel and unprecedented chapter in that tradition. This book shows how in their painting, drawing and sculpture the Symbolists re-invented Greek statuary and transposed it to new and unwonted contexts, as the imaginary inner worlds of artists were mapped onto the landscapes of Greek myth. It shows how they made of the Greek body, whether female, male, androgyne or sexual other, at once an object of beauty, desire, fear, and - at times - of horror.

This concise handbook looks at psoriasis and psoriatic arthritis as separate but often related conditions, focusing on a background around the indications, such as disease overview and epidemiology; going on to look at the etiology and immunopathogenesis of each indication; looking at the clinical presentation and diagnosis; before focusing on the current and emerging treatment options, including a brief section on the issues of quality of life and comorbidities associated with these indications.

Taking a multi-disciplinary perspective, and one grounded in human rights, Unaccompanied young migrants explores in-depth the journeys migrant youths take through the UK legal and care systems. Arriving with little agency, what becomes of these children as they grow and assume new roles and identities, only to risk losing legal protection as they reach eighteen? Through international studies and crucially the voices of the young migrants themselves, the book examines the narratives they present and the frameworks of culture and legislation into which they are placed. It challenges existing policy and questions, from a social justice perspective, what the treatment of this group tells us about our systems and the cultural presuppositions on which they depend.

This book explores Symbolist artists’ fascination with ancient Greek art and myth, and how the erotic played a major role in this. For a brief period at the end of the 19th century the Symbolist movement inspired artists to turn inwards to the unconscious mind, endeavouring to unveil the secrets of human nature through their symbolic art. But above all their greatest interest, and fear, was man (and woman’s) sexuality. Building upon the traditions of Academic neoclassicism, but fired with a new zeal, they turned back to Greek art and myth for inspiration. That classical legacy was once again a vehicle for artists to express their dreams, ideas and revelries. And so too their anxieties. For at times the frightening spectre of the sexual unconscious drove them to a new and innovative engagement with antiquity, including in ways never before tried in the history of the classical tradition. The unnerving sirens of Gustave Moreau, unearthly heroines of Odilon Redon, or leering fauns of Felicien Rops all played their role, among others, in this novel and unprecedented chapter in that tradition. This book shows how in their painting, drawing and sculpture the Symbolists re-invented Greek statuary and transposed it to new and unwonted contexts, as the imaginary inner worlds of artists were mapped onto the landscapes of Greek myth. It shows how they made of the Greek body, whether female, male, androgyne or sexual other, at once an object of beauty, desire, fear, and - at times - of horror.

Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns - sexuality, death and the nature of art - its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations. The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.