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"Shame is a deeply problematic emotion that causes much trouble and pain in our lives, interrupting our immediate mode of being in the world and making us feel bad about who we are. Nevertheless, we use it in many contexts to discipline others, impede personal development, regulate participation in communities, and instil in others commonly accepted norms and values. All these uses of shame suggest to some that it is a phenomenon with positive attributes, despite its darker sides.

Many who study shame do so from the vantage point of a single scholarly discipline. This book is an exception. Its authors approach shame from multiple perspectives, seeking a more nuanced picture of its various roles in human life and its impact on social interaction.

This book explores shame from an interdisciplinary perspective that looks into psychology, philosophy, evolutionary theory, theology and religious studies, and moral theory. The theoretical insights are then applied to understand shame's workings in relation to embodiment, religion, and morality. Hence, Shame's Unwelcome Interruption and Responsive Movements. Body, Religion, Morality – an Interdisciplinary Study will be of value to anyone who is interested in approaching shame from a comprehensive, scholarly perspective."

Sápmi, the Sámi area, is transnational; it transcends four nation states, Norway, Sweden, Finland, and Russia. Art and art history has been considered natural parts of a nation state's inventory at least since the 19th century and has contributed to the production and maintenance of national identities and narratives. What is the role of the nation state in art history, and how has the national paradigm affected the presentation of Sámi art, historically and today? Focusing on the discipline of art history in Norway, the volume exposes the prevailing representation of Sámi art, duodji, and dáidda as ethnographic material and relates it to the politics of nation building in the nineteenth and early twentieth century. The book examines the representation of Sámi art, artefacts, practices, materialites, actors, concepts, and themes in Norwegian Art History, to uncover some of the established disciplinary mechanisms and narratives. The central method is historiography in combination with fieldwork in archives and museums, aimed at doing art historiography in the expanded field – to move beyond the traditional textual focus and question naturalized institutional and disciplinary boundaries. This is one of very few historiographical studies of the art historical discipline in Norway, and the only one that does this by centring on Sámi traditions, items, actors, and conceptualizations.

The Arctic has been home to Indigenous peoples since long before the international legal system of sovereign states came into existence. International law has increasingly recognized the rights of Indigenous peoples, who also have status as Permanent Participants in the Arctic Council. In northern Canada, the majority of those who live in the Arctic are recognized as Indigenous. However, in northern Russia, a much smaller percentage of the population is identified as Indigenous, as legal recognition is only accorded to groups with a small population size. This article will compare Russian and Canadian approaches to recognition of Indigenous peoples and Indigenous rights in the Arctic with attention to the implications for Arctic Ocean governance.
The article first introduces international legal instruments of importance to Indigenous peoples and their rights in the Arctic. Then it considers the domestic legal and policy frameworks that define Indigenous rights and interests in Russia and Canada. Despite both states being members of the Arctic Council and parties to the United Nations Convention on the Law of the Sea, there are many differences in their treatment of Indigenous peoples with implications for Arctic Ocean governance.