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Ideas of justice have traditionally focused on what individuals owe to one another and have drawn our attention to what is considered fair – what one of us owes to another is justly matched by what the other owes to them. However, what does justice require us to do for past and future generations? In Justice Back and Forth, award-winning author Richard Vernon explores the possibility of justice in cases where time makes reciprocity impossible. This “temporal justice” is examined in ten controversial cases including the duty to return historical artifacts, the ethics and politics of parenting, the punishment of historical offences, the right to procreate, and the imposition of constitutions on future citizens. By deftly weaving together discussions on historical redress and justice for future generations, Vernon reveals that these two opposing topics can in fact be used to illuminate each other. In doing so, he concludes that reciprocity can be adapted to serve intergenerational cases.
When two friends at Jackson State University sleep together, the lives of four people take an unexpected turn.
'Back And Forth' is a poetry collection that explores four different emotions and leaves you, as the reader, to decide which one is the most powerful. The emotions mentioned are: insecurity, regret, love and courage. This book encourages you to think deeper about your feelings and takes on the challenge of helping you realise that emotions are a lot more complicated than what you have been led to believe.
Simple text and photographs provide examples of back and forth movement, including the pendulum in a clock, a child in a rocking chair, and tree in the wind.
Back and Forth The 100 plus new abstract canvases, carefully reproduced in this book with its unusual format, are the result of one of the most intensive phases of work by Günther Förg in recent years, which took place between Autumn 2008 and Spring 2009. The artist places a sequence of calculated colour fields into a basic grid, which changes from format to format, each individual painting having its own tonal rhythm characterised in turn by a high degree of physical concentration. It is then no coincidence that Rudi Fuchs' linguistically stirring yet acutely observed text discerns an affinity between this work and Piet Mondrians's last und most unusual painting, »Victory Boogie Woogie«. However, the way the palette of colours is organised, supplemented by the structure of each individual colour field, substantially differentiates Günther Förg's endeavour from that his predecessor. In fact it is the free flow of the brushstrokes, the delicate upward and more forceful downward movement alongside the choice of colours, which together propel each individual composition beyond the scope of all previously known abstraction. Or as Rudi Fuch's puts it: »Whether he painted vibrating colour fields, irregular grids comprising raw, fibrous lines, he always had clever interruptive strategies in the implementation. Figuration had to give way in order to release the primordial energy of the brushstroke in its purest form: vigorous abstraction«.
Location exerts one very important influence on our lives. The specific landscape, structure, weather and people of a cityscape combine to create a unique culture of place; a place' that can define us as succinctly as we might like to think we control our own definitions of self. Aviation allows many of us to live, almost simultaneously, in distant places and to indulge in the complexities of multiple lives. "Back + Forth" examines the attendant possibility of entrapment, between two such distant places and two, very different, times. "Back + Forth" examines what it means to belong, to assimilate, to be distant, and to challenge the constraints of time and space in the juggling act that we all call life. Series editor George A. Walker is renowned as an illustrator (for American novelist Neil Gaiman, and others), a wood engraver, and a private press printer and publisher. Walker is also senior designer at Firefly Books, and moonlights teaching at the Ontario College of Art and Design.
Ethan loves both his mom and his dad, but going back and forth between two homes is hard! Joint custody allows children whose parents are divorced or separated lots of time with each parent, but the actual transitions back and forth can be tough. Children will relate to Ethan's changing feelings as he goes from his dad's house to his mom's house. Parents get nice modeling on how to help their children.
Translated from the French, this book is an introduction to first-order model theory. Starting from scratch, it quickly reaches the essentials, namely, the back-and-forth method and compactness, which are illustrated with examples taken from algebra. It also introduces logic via the study of the models of arithmetic, and it gives complete but accessible exposition of stability theory.
#1 NEW YORK TIMES BESTSELLER • A special 25th anniversary edition of the beloved book that has changed millions of lives with the story of an unforgettable friendship, the timeless wisdom of older generations, and healing lessons on loss and grief—featuring a new afterword by the author “A wonderful book, a story of the heart told by a writer with soul.”—Los Angeles Times “The most important thing in life is to learn how to give out love, and to let it come in.” Maybe it was a grandparent, or a teacher, or a colleague. Someone older, patient and wise, who understood you when you were young and searching, helped you see the world as a more profound place, gave you sound advice to help you make your way through it. For Mitch Albom, that person was his college professor Morrie Schwartz. Maybe, like Mitch, you lost track of this mentor as you made your way, and the insights faded, and the world seemed colder. Wouldn’t you like to see that person again, ask the bigger questions that still haunt you, receive wisdom for your busy life today the way you once did when you were younger? Mitch Albom had that second chance. He rediscovered Morrie in the last months of the older man’s life. Knowing he was dying, Morrie visited with Mitch in his study every Tuesday, just as they used to back in college. Their rekindled relationship turned into one final “class”: lessons in how to live. “The truth is, Mitch,” he said, “once you learn how to die, you learn how to live.” Tuesdays with Morrie is a magical chronicle of their time together, through which Mitch shares Morrie’s lasting gift with the world.
Forth and Back broadens the scope of Hispanic trans-Atlantic studies by shifting its focus to Spain’s trans-literary exchange with the United States at the end of the twentieth century. Santana analyzes the translation “boom” of U.S. literature that marked literary production in Spain after Franco’s death, and the central position that U.S. writing came to occupy within the Spanish literary system. Santana examines the economic and literary motives that underlay the phenomenon, as well as the particular socio-cultural appeal that U.S. “dirty realist” writers—which in Spain included authors as diverse as Charles Bukowski, Raymond Carver, and Bret Easton Ellis—held for Spaniards in the 1980s. Santana also studies the subsequent appropriation of this writing by a polemic group of young Spanish writers in the 1990s whoself-consciously and insistently associated themselves with the U.S. Forth and Back illustrates that literary movements do not unilaterally spread; rather, those that flourish take root in fertile soil and are transformed in their travel by the desires, creative choices, and practical constraints of their differing producers and consumers. It is precisely in the crossing of these currents that plots thicken. The translation of dirty realism, its reception in Spain, and its cultural legacy as appropriated by the young Spanish writers, serve to interrogate a perceived U.S. hegemony. If Spanish realismo sucio has been said to be symptomatic of the globalization of literature, Forth and Back argues that the Spanish works in question posed a subtle reaffirmation of Spanish literature’s strong ties to realist fiction, a gesture of continuity in a decade that seemed to presence the undoing of much of Spain’s “Spanish-ness.” Ultimately, this project asks an ambitious pair of questions at the heart of human culture: how do we “read” each other, quite literally, across geography and language? How do we construct others and ourselves vis-à-vis those readings?