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Why be lenient towards children who commit crimes? Reflection on the grounds for such leniency is the entry point into the development, in this book, of a theory of the nature of criminal responsibility and desert of punishment for crime. Gideon Yaffe argues that child criminals are owed lesser punishments than adults thanks not to their psychological, behavioural, or neural immaturity but, instead, because they are denied the vote. This conclusion is reached through accounts of the nature of criminal culpability, desert for wrongdoing, strength of legal reasons, and what it is to have a say over the law. The centrepiece of this discussion is the theory of criminal culpability. To be criminally culpable is for one's criminal act to manifest a failure to grant sufficient weight to the legal reasons to refrain. The stronger the legal reasons, then, the greater the criminal culpability. Those who lack a say over the law, it is argued, have weaker legal reasons to refrain from crime than those who have a say. They are therefore reduced in criminal culpability and deserve lesser punishment for their crimes. Children are owed leniency, then, because of the political meaning of age rather than because of its psychological meaning. This position has implications for criminal justice policy, with respect to, among other things, the interrogation of children suspected of crimes and the enfranchisement of adult felons.
A moving portrait of a father and daughter relationship and a case for late-stage creativity from Emily Urquhart, the bestselling author of Beyond the Pale: Folklore, Family, and the Mystery of Our Hidden Genes. “The fundamental misunderstanding of our time is that we belong to one age group or another. We all grow old. There is no us and them. There was only ever an us.” — from The Age of Creativity It has long been thought that artistic output declines in old age. When Emily Urquhart and her family celebrated the eightieth birthday of her father, the illustrious painter Tony Urquhart, she found it remarkable that, although his pace had slowed, he was continuing his daily art practice of drawing, painting, and constructing large-scale sculptures, and was even innovating his style. Was he defying the odds, or is it possible that some assumptions about the elderly are flat-out wrong? After all, many well-known visual artists completed their best work in the last decade of their lives, Turner, Monet, and Cézanne among them. With the eye of a memoirist and the curiosity of a journalist, Urquhart began an investigation into late-stage creativity, asking: Is it possible that our best work is ahead of us? Is there an expiry date on creativity? Do we ever really know when we’ve done anything for the last time? The Age of Creativity is a graceful, intimate blend of research on ageing and creativity, including on progressive senior-led organizations, such as a home for elderly theatre performers and a gallery in New York City that only represents artists over sixty, and her experiences living and travelling with her father. Emily Urquhart reveals how creative work, both amateur and professional, sustains people in the third act of their lives, and tells a new story about the possibilities of elder-hood.
This book is an approachable and comprehensive guide to ageing well in eight simple steps. Bursting with bite-sized tips and inspirational quotes, each chapter is a joyful treasure-trove for anyone who wants to live a full and happy life. "I commend this book to everyone of all ages, and let us all Age Joyfully!" Dame Judi Dench Getting older should be something to enjoy and celebrate. And it can be. Research shows that we can make a big difference to how well we age. From staying active to connecting with others, this uplifting book shares the secrets to ageing well in eight steps, to help keep you healthy and happy. Each step has easy-to-follow tips, alongside inspiring words both ancient and modern... and more! Whether you choose to follow some of the advice or all, this is the perfect guide for living a more fulfilled, healthy and joyful life.
The Giver, the 1994 Newbery Medal winner, has become one of the most influential novels of our time. The haunting story centers on twelve-year-old Jonas, who lives in a seemingly ideal, if colorless, world of conformity and contentment. Not until he is given his life assignment as the Receiver of Memory does he begin to understand the dark, complex secrets behind his fragile community. This movie tie-in edition features cover art from the movie and exclusive Q&A with members of the cast, including Taylor Swift, Brenton Thwaites and Cameron Monaghan.
In the last quarter of the twentieth century, the ideas that most Americans lived by started to fragment. Mid-century concepts of national consensus, managed markets, gender and racial identities, citizen obligation, and historical memory became more fluid. Flexible markets pushed aside Keynesian macroeconomic structures. Racial and gender solidarity divided into multiple identities; community responsibility shrank to smaller circles. In this wide-ranging narrative, Daniel Rodgers shows how the collective purposes and meanings that had framed social debate became unhinged and uncertain. Age of Fracture offers a powerful reinterpretation of the ways in which the decades surrounding the 1980s changed America. Through a contagion of visions and metaphors, on both the intellectual right and the intellectual left, earlier notions of history and society that stressed solidity, collective institutions, and social circumstances gave way to a more individualized human nature that emphasized choice, agency, performance, and desire. On a broad canvas that includes Michel Foucault, Ronald Reagan, Judith Butler, Charles Murray, Jeffrey Sachs, and many more, Rodgers explains how structures of power came to seem less important than market choice and fluid selves. Cutting across the social and political arenas of late-twentieth-century life and thought, from economic theory and the culture wars to disputes over poverty, color-blindness, and sisterhood, Rodgers reveals how our categories of social reality have been fractured and destabilized. As we survey the intellectual wreckage of this war of ideas, we better understand the emergence of our present age of uncertainty.
We stopped at a roadside diner. People asked if I was his daughter. They ask all the time. Hoping, accusing. We never say yes, and we never say no. We ate our food at a booth in a hungry, self-conscious rush, straight out of the wrappers. They didn't have plates. We left a tip, just change. The waitress scooped it up straight away as we slid out of the booth. She was middle-aged and bulgy, in a proper matronly waitress's dress. She shot us what I suppose was intended to be a look of gratitude. She really only managed a weak glare. I guess that's the countryside for you. People are a little edgy.' Across the heartless expanse of middle America, a teenaged girl is riding shotgun with an older man. She watches him; she sees her fascination tallied in the black looks of waitresses, the knowing smiles of motel clerks. The man can see no proper way of conducting this relationship but is bound to her by concern and tenderness; perhaps desire. The girl craves only closeness. She knows the Ice Age is coming, and we will need to huddle together for warmth. Kirsten Reed's debut novel, with its echoes of Nabokov, Kerouac and Bret Easton Ellis, captures the translucent moment at the end of childhood in all its awkwardness, sincerity and heedless vulnerability. In prose both lyrical and earthy, comic and darkly harrowing, this extraordinary young writer creates a journey of irresistible momentum and tragic possibility. It will leave you with the sense that you have met someone significant; and you will not soon forget her.
"A love letter to readers who've ever been made to feel weird for loving daddy kink. Dangerfield is a bold, brilliant, captivating voice who should be at the very top of your TBR." - New York Times bestselling author Tessa Bailey All Kate 'Middleton' McGrath wants is a man to call 'Daddy' in bed. But kinks aren't for everyone. She gets it. They're definitely not going to be for her grumpaholic boss, Mr Henderson. But a girl can dream, can't she? Especially when he's always so stern with her… "Fresh, sexy and fun. Act Your Age is Australian erotic romance at its best." - New York Times bestselling author Kylie Scott Tyler Henderson is a golden boy who's lost his shine. He's old, his dream career is over, his fiancée left him. Now all the former firefighter can do is bury his troubles in paperwork and hard liquor... and try to keep Middleton out of his head. He's not going anywhere near that girl. He's done with sweet and innocent. And things don't come much sweeter or more innocent than a cupcake-baking engineer who knits her own hats. "It's 2am and this book is everything and I. Am. Dead. If you have to read one daddy book-read this one." - New York Times bestselling author L.J. Shen When a case of mistaken identity brings Kate and Ty together, they soon realize they have more in common, and more to lose, than either of them dreamed… ACT YOUR AGE is a full-length contemporary novel by critically acclaimed author Eve Dangerfield.
In The Age of Entanglement, Louisa Gilder brings to life one of the pivotal debates in twentieth century physics. In 1935, Albert Einstein famously showed that, according to the quantum theory, separated particles could act as if intimately connected–a phenomenon which he derisively described as “spooky action at a distance.” In that same year, Erwin Schrödinger christened this correlation “entanglement.” Yet its existence was mostly ignored until 1964, when the Irish physicist John Bell demonstrated just how strange this entanglement really was. Drawing on the papers, letters, and memoirs of the twentieth century’s greatest physicists, Gilder both humanizes and dramatizes the story by employing the scientists’ own words in imagined face-to-face dialogues. The result is a richly illuminating exploration of one of the most exciting concepts of quantum physics.
A richly detailed history of Britain at its imperial zenith, revealing the simmering tensions and explosive rivalries beneath the opulent surface of the late Victorian and Edwardian eras. The popular memory of Britain in the years before the Great War is of a powerful, contented, orderly, and thriving country. Britain commanded a vast empire: she bestrode international commerce. Her citizens were living longer, profiting from civil liberties their grandparents only dreamed of and enjoying an expanding range of comforts and pastimes. The mood of pride and self-confidence can be seen in Edward Elgar’s Pomp and Circumstance marches, newsreels of George V’s coronation, and London’s great Edwardian palaces. Yet beneath the surface things were very different In The Age of Decadence, Simon Heffer exposes the contradictions of late-Victorian and Edwardian Britain. He explains how, despite the nation’s massive power, a mismanaged war against the Boers in South Africa created profound doubts about her imperial destiny. He shows how attempts to secure vital social reforms prompted the twentieth century’s gravest constitutional crisis—and coincided with the worst industrial unrest in British history. He describes how politicians who conceded the vote to millions more men disregarded women so utterly that female suffragists’ public protest bordered on terrorism. He depicts a ruling class that fell prey to degeneracy and scandal. He analyses a national psyche that embraced the motor-car, the sensationalist press, and the science fiction of H. G. Wells, but also the nostalgia of A. E. Housman.
"A picture book biography of John Roy Lynch, one of the first African-Americans elected into the United States Congress"--Provided by publisher.