Asked about queer work in international relations, most IR scholars would almost certainly answer that queer studies is a non-issue for the subdiscipline - a topic beyond the scope and understanding of international politics. Yet queer work tackles problems that IR scholars themselves believe are central to their discipline: questions about political economies, the geopolitics of war and terror, and the national manifestations of sexual, racial, and gendered hierarchies, not to mention their implications for empire, globalization, neoliberalism, sovereignty, and terrorism. And since the introduction of queer work in the 1980s, IR scholars have used queer concepts like "performativity" or "crossing" in relation to important issues like sovereignty and security without acknowledging either their queer sources or their queer function. This agenda-setting book asks how "sexuality" and "queer" are constituted as domains of international political practice and mobilized so that they bear on questions of state and nation formation, war and peace, and international political economy. How are sovereignty and sexuality entangled in contemporary international politics? What understandings of sovereignty and sexuality inform contemporary theories and foreign policies on development, immigration, terrorism, human rights, and regional integration? How specifically is "the homosexual" figured in these theories and policies to support or contest traditional understandings of sovereignty? Queer International Relations puts international relations scholarship and transnational/global queer studies scholarship in conversation to address these questions and their implications for contemporary international politics.

Political theory, from antiquity to the present, has been divided over the relationship between the requirements of justice and the limitations of persons and institutions to meet those requirements. Some theorists hold that a theory of justice should be utopian or idealistic-that the derivation of the correct principles of justice should not take into account human and institutional limitations. Others insist on a realist or non-utopian view, according to which feasibility-facts about what is possible given human and institutional limitations-is a constraint on principles of justice. In recent years, the relationship between the ideal and the real has become the subject of renewed scholarly interest. This anthology aims to represent the contemporary state of this classic debate. By and large, contributors to the volume deny that the choice between realism and idealism is binary. Rather, there is a continuum between realism and idealism that locates these extremes of each view at opposite poles. The contributors, therefore, tend to occupy middle positions, only leaning in the ideal or non-ideal direction. Together, their contributions not only represent a wide array of attractive positions in the new literature on the topic, but also collectively advance how we understand the difference between idealism and realism itself.

Joseph Gordon-Levitt and Zooey Deschanel star in this offbeat romantic comedy, the feature debut of music video director Marc Webb, which chronicles 500 days in the on/off relationship of Summer (Deschanel) and Tom (Gordon-Levitt). While Summer steadfastly refuses to believe in true love, asserting that real life will always get in the way in the end, Tom has thrown caution to the wind and fallen hook, line and sinker in love with her. Where can their so-called relationship lead?

In all groups - from couples to nation-states - people influence one another. Much of this influence is benign, for example giving advice to friends or serving as role models for our children and students. Some forms of influence, however, are clearly morally suspect, such as threats of violence and blackmail. A great deal of attention has been paid to one form of morally suspect influence, namely coercion. Less attention has been paid to what might be a more pervasive form of influence: manipulation. The essays in this volume address this relative imbalance by focusing on manipulation, examining its nature, moral status, and its significance in personal and social life. They address a number of central questions: What counts as manipulation? How is it distinguished from coercion and ordinary rational persuasion? Is it always wrong, or can it sometimes be justified, and if so, when? Is manipulative influence more benign than coercion? Can one manipulate unintentionally? How does being manipulated to act bear on one's moral responsibly for so acting? Given various answers to these questions, what should we think of practices such as advertising and seduction?

The world's most comprehensive reference for clinical and forensic toxicologists has once more been extensively updated: 2,000 data sets have been added for a total of 10,430 spectra of potentially harmful substances, including 7,800 from metabolites. In two hardbound volumes, the printed atlas contains a comprehensive listing of full reference mass spectra in order or molecular mass with the structural formula, exact mass, GC retention times and other experimental data that are relevant to the analytical toxicologist. To aid in compound identification, all substances are classified according to their toxicological categories. In addition, volume 1 contains an overview on experimental methods, plus a compound index by name. An electronic database for use with all major mass spectrometers is also available. For details, please visit www.wiley.com/go/databases.

Hood drama follows single dad trying to retrieve abducted son. Former gang-banging single dad O2 (Tyrese Gibson) is suddenly plunged into a do-or-die situation; trying to go straight for his son, Junior's sake, this recently paroled ex-con is forced to go back outside the law after his son is kidnapped in a carjacking. The resulting chase and shootout have left Junior in the hands of Meat (The Game), the vicious leader of the Outlaw Syndicate. O2's shady cousin Lucky (Larenz Tate) tries to mediate, but is torn between criminal and family loyalties. The only person willing to help O2 get his son back is wily street-smart hustler Coco (Meagan Good), whose path fatefully crossed O2's just moments before the kidnapping. When Lucky gets word to O2 that Meat expects $100,000 for Junior's freedom, O2 and Coco seize the opportunity to pit rival elements of the South Los Angeles underworld against each other. 'It's either all or nothing,' realizes O2. With the clock ticking down, the heat between O2 and Coco rises as they become a lawbreaking couple, on a tear through a range of Los Angeles neighborhoods. Can they outwit the underworld and save Junior and themselves?

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.

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.