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Cover -- Title Page -- Copyright -- Contents -- Introduction -- Fear of Differences -- Xenophobia Around the World -- The Consequences of Xenophobia -- Taking a Stand Against Xenophobia -- Celebrating Diversity -- Glossary -- For More Information -- For Further Reading -- Bibliography -- Index -- Back Cover

Cover -- Title Page -- Copyright Page -- Table of Contents -- Introduction -- Chapter One: What Does It Mean To Be Transgender -- Chapter Two: Mental and Emotional Health -- Chapter Three: Gender Dysphoria -- Chapter Four: Hormone Replacement Therapy and Gender Affirmation Surgeries -- Chapter Five: The Pursuit of Health and Happiness -- Glossary -- For More Information -- For Further Reading -- Bibliography -- Index -- About the Author -- Back Cover

With the rise of the Internet and the explosion of Web-based entertainment, digital piracy has become a startlingly common crime and a huge problem that robs companies, artists, and other content creators of their creative and financial due. The fundamentally unfair nature of the crime and the harsh consequences of this illegal behavior need to be brought home to teens in a very visceral, high-impact way. By framing the discussion as property theft pure and simple and putting a human face on the victims, who are the very people teens respect and idolize-musicians, actors, directors, authors, gamers, programmers--this text does exactly that. Steeped as it is in digital literacy, suitable as a source for research projects, and serving up an argument whose structure, development, and effectiveness can be analyzed by readers, this is an excellent example of an informational text that conforms to many of the reading standards of the Common Core Curriculum

The world's oceans have been slowly rising for many years because of factors related to global warming, this poses future threats of sea water surging into coastal cities, leading to devastating flooding and catastrophic water damage. Currently, there are 643 million people around the world living in low-lying coastal areas at risk from climate change-related flooding. Readers are provided with outlines of current research to adapt to these new challenges, including new flood-control infrastructures and technologies. Efforts to slow the process of global warming are also investigated. What you as an individual, community member, and citizen of the world can do to help reverse everyday habits and practices that have resulted in global climate change is revealed

Cover -- Title -- Copyright -- Contents -- Introduction -- Chapter One: Types Of Economic Data -- Chapter Two: Major Economic Indicators -- Chapter Three: Economic Data And The Ecomomy -- Chapter Four: The Anatomy Of a Graph -- Chapter Five: Economic Data Affects You -- Glossary -- For More Information -- For Further Reading -- Bibliography -- Index

David Barnhill stel 'n nuwe benadering tot natuurgesentreerde skryfwerk voor. Op grond van bepaalde nadele in die sisteme van klassifikasie waarop meestal gesteun word in die beskrywing van natuurgerigte skryfwerk, stel Barnhill voor dat 'n natuurgesentreerde woordwerk beskou word as 'n ekosisteem. Die kategorieë waarin natuurgerigte skryfwerk geplaas word wanneer die taksonomie-benadering gevolg word, word beskou as veelvoudige elemente wat in individuele werke saam- of op mekaar inwerk, soos die organismes in 'n ekosisteem. Dié benadering het ten doel om die interne kompleksiteit en diversiteit van die werk te onleed en sodoende tot 'n genuanseerde beskrywing daarvan te kom. In die vorige afdeling van hierdie studie, wat in die Desemberuitgawe van hierdie tydskrif gepubliseer is, is 'n deeglike teoretiese begronding vir Barhnill se benadering gebied. In hierdie afdeling word die teoretiese gereedskap wat Barnhill se benadering bied, getoets. Schalk Schoombie se debuutroman, Boomkastele: 'n sprokie van 'n stadsmens (2015) word bestudeer vanuit die hipotetiese uitgangspunt dat die teks 'n ekosisteem is ten opsigte van die kenmerkende elemente van natuurgesentreerde skryfwerk daarin. Verskillende elemente wat aan natuurgesentreerde skryfwerk sy unieke aard gee, word in Boomkastele geïdentifiseer en die besonderhede omtrent hierdie elemente word verken. Aandag word geskenk aan die interaktiewe samehang tussen hulle, aan hoe elk van die elemente ontwikkel en met sekere anderes geïntegreer word. Hieruit word sigbaar hoe die beeld van 'n ekosisteem uit die roman te voorskyn tree. Uit die toepassing van Barnhill se benadering vloei 'n verskerpte bewustheid van die aard van natuurgerigte skryfwerk asook waardering vir Boomkastele as 'n ryk geskakeerde roman ; In the first part of the present study, published in the December edition of this journal, I explored the theoretical underpinning of a new concept of viewing nature writing, introduced by David Barnhill. Barnhill attempts to improve on taxonomies of nature writing that do not acknowledge the inner complexity and diversity of individual works. He calls his scheme an ecosystem, reminding us that such a system involves the interactions between a community and its non-living environment as well as interactions between the elements in it. According to Barnhill (2010:279) each piece of nature writing is an ecosystem in which various elements of nature writing are developed and integrated in a unique way. The abstract categories into which works are placed in a taxonomy become multiple elements within individual works, working in concert with or influencing each other, such as the organisms in an ecosystem. The internal qualities of such works are analysed and described in order to discover the interplay between different elements and how the character of an ecosystem emerges from this. Barnhill (2010:279-282) distinguishes several elements of nature writing: accounts or descriptions of nature, personal experience in nature, social experience of nature, philosophy of nature, spirituality in nature experiences, ecological consciousness, concern with language in representing nature, and ecosocial politics – the latter a term reflecting the interconnectedness of environmental and social issues. Boomkastele: 'n sprokie vir 'n stadsmens (2015) is Schalk Schoombie's first novel and Barnhill's theoretical approach to nature writing is directly relevant to studying this novel. A prominent narrative line is constructed around Hannes Moerdyk, the researcher in the novel, and his affectionate ties with the trees in his backyard in suburban Johannesburg. These trees, which grow on the boundary between his and his neighbour's premises, are unexpectedly cut down to make way for the new flats that the neighbour is planning to build and lease. This enrages the researcher, who estimates the trees to be more than half a century old and blames the neighbour for his short-sightedness and his financial greed. This incident leads to a private war; the researcher sets his heart on avenging the death of the trees and this obsession eventually comes to dominate his mind. This analysis of Boomkastele puts Barnhill's theoretical instrument to the test. The hypothetical point of departure is that the novel resembles an ecosystem comprising the characteristic elements of nature writing found in it. This method of approximation focuses on analysing the internal complexity and diversity of Schoombie's novel and arriving at a more complete understanding and a more nuanced description of this work. This investigation firstly aims at determining which elements of nature writing are presented in Boomkastele. Close attention is paid to the content and detail of these elements, the relative emphasis of each, the interrelationships among them and the way in which each element is developed and integrated in the whole of the ecosystem to be found in the novel. Eco-social criticism, a dominant element in Boomkastele, functions in support of various other elements. Criticism against the destruction of trees is linked with the researcher's personal experience of nature: trees are his friends and he obsessively focuses on avenging their death. The eco-social criticism in this novel also emphasises the description of trees as treasures of nature. The significance of trees, which are described as having limbs and lives, is being ironised by the criticism on their fate, namely losing those lives and limbs because of man's short-sightedness. The researcher decides to plant new trees and to build a wooden cabin in one of them as a way to celebrate the splendour of trees and to bring back something of a glorious partnership between humans and trees. The construction process of this cabin is planned carefully so as not to harm the tree at all; it will sit like a nest between the branches and will naturally mingle with the tree itself. The eco-social ideals that are included in this tree-friendly way of building a cabin, function in support of another element, namely ecological consciousness. This is expressed in the novel by means of details about the researcher's growing identification with and deep-felt respect for the trees. The element of eco-social critique is also integrated strongly with the focus on language to represent unique experiences in nature, especially when the wounding of the trees is depicted. Barnhill's approach to nature writing creates a sharpened awareness of the qualities that characterise this genre. Applying his method of describing and evaluating texts to Boomkastele has led to the discovery of the interactive connection between diverse elements in the novel, which lends it the nature of an ecosystem and affirms its multifaceted character

As teoretiese raamwerk vir die bestudering van die mens-plant-verbintenisse in Die sideboard word vertrek vanaf die teoretiese beginsels van die nuwe materialisme. Die konsep materie verwys na sowel menslike as niemenslike liggaamlikheid, na sowel organiese as anorganiese substansies en kragte. Natuurelemente word beskou as in besit van aktiewe krag en nie as passiewe sosiale konstruksies en objekte vir menslike uitbuiting nie. Die afgelope tyd het 'n fokusverskuiwing in die omskrywing en gebruik van die konsep materialiteit plaasgevind – die klem val nou op verhoudings as konteks vir die interaksie tussen magte van beïnvloeding en die substansies wat beïnvloed word, op vorme van vervlegting of netwerke eerder as op individuele kragte van lewende of nielewende aard. Hierdie onlangse neiging in die nuwe-materialisme-benadering is rigtinggewend vir die huidige ondersoek. Die doel daarvan is die ontleding en beskrywing van relasionele aspekte in die uitbeelding van die mens-plant-verbintenisse in die roman Die sideboard (2014) van Simon Bruinders. Só word gepoog om literêre bevestiging te vind van die teoretiese standpunt dat plante as vorme van aktiewe of beïnvloedende krag kan optree binne die konteks van interafhanklike verbintenisse met die mens. Die ontrafeling en beskrywing van die mens-plant-interaksie in die roman lei tot interessante insigte. Die hooffiguur en groenteboer, Abraham, blyk op 'n veel ingrypender wyse beïnvloed te word deur die gewasse wat hy kweek as ten opsigte van sy finansiële welstand. 'n Ooglopende aanhanklikheid van hierdie plante en 'n subtiele beïnvloeding van sy psige, lewe én lewensingesteldheid daardeur word uitgebeeld. Die roman belig op genuanseerde wyse verskeie vorme en aspekte van die vervlegting wat ontstaan wanneer mense en plante in kontak tree. Dit open nuwe perspektiewe op die rol van plante in die mens se lewe. In Die sideboard word verhoudingsdimensies geïllustreer wat antroposentriese beheer as aanvaarde uitgangspunt in die hantering van plante uitdaag ; Die sideboard (2014), Simon Bruinders's first novel, is about Abraham de Bruin who grows vegetables on his mother's rented plot near George in 1939. His dream of owning land is crushed by the political system of the time. An interesting aspect of the novel is the role that Abraham's farming with vegetables, even on a small scale, plays in his life. It becomes clear that the crops Abraham grows have a much more profound influence on his psyche than on his income. The portrayal of nuanced or meaningful relations with plants is rare in Afrikaans narratives. The influence of plants as portrayed in Die sideboard involves a form of positive contribution to Abraham's (and later his whole family's) life and well-being, on a psychological level as much as regarding their physical needs. Relational aspects emerge that highlight the importance of plants to people in a way that's different from the anthropocentric perspective of nature's being a passive servant of man. This novel offers fertile ground to explore the real roles given to man and plant. As a theoretical framework for studying the plant-people relationships in Die sideboard the principles of ecocriticism are used. Ecocriticism can be described as "a cross-disciplinary initiative that aims to explore the environmental dimensions of literature and other creative media in a spirit of environmental concern not limited to any one method or commitment" (Buell, Heise and Thornber 2011:418). Marijke van der Veen's article "The materiality of plants: plant-people entanglements", published in World Archaeology in 2014, emphasises the central place of plants in man's life and forms the theoretical basis for studying Die sideboard. Van der Veen uses the concept of materiality and the idea of "plant agency" to investigate man-plant relationships. The focus of her research falls on intricate forms of entanglement or meshworks that are created, often unintentionally, when plants and people interact. Van der Veen's research is supported by the new materialism as a theoretical field within which the concept of materiality is rethought. Matter is viewed as including "human and nonhuman bodies, organic and inorganic substances and forces" (Oppermann 2013:71), so that the strict dualisms of living/non-living, human/non-human are discarded, and also the idea that elements of nature are passive social constructions. Oppermann (2013:72) states: "The new materialists perceive nature as an active, signifying force; an agent in its own terms [.]. Being thus liberated from its previous conceptualizations as a blank, silent source for the exploits of culture [.] nature is discussed as a significant participatory force field in the entanglement of meaning and matter." Van der Veen (2014:799) stresses the fact that the concept of materiality has changed over recent years in terms of its precise definition and use: "(It) has changed from an initial focus on the agency of objects, that is the recognition of material and non-human agency, to a greater emphasis on relationships, networks and meshworks, rather than on the individual agency of either person or object." This observation is endorsed by several other researchers. Robb (2016:505) describes the property of agency as always relational and contextual: "(I)t is always defined in the context of a relationship between an agent and a recipient. Hence material things can be agents as long as humans interact meaningfully with them. [.] The idea of material [.] makes perfect sense within a relational view of agency; people act within relationships with things as much as with other individuals and groups." Coole and Frost (2010:9) also pertinently include the aspect of relationality in their description of matter as "a force, vitality, relationality". Ingold (2016:14) sees the environment as a world that is continually unfolding in relation to the beings who make a living in it. He is convinced that "its reality is not of material objects but for its inhabitants". Ingold (2016:14) concludes: "Thus the properties of materials, regarded as constituents of an environment, cannot be identified as fixed, essential attributes of things, but are rather processual and relational." This study follows the most recent trend in the new materialism approach to the understanding of the agency of plants. The purpose of this investigation is the tracing, analysis and description of relational characteristics in the depiction of the plant-people interactions in Die sideboard. It is guided by a sharp focus on the phenomenon of interdependent relationships in this novel, on the ways in which man becomes entangled with plants in body and mind, and how people are influenced by plants at the levels of the psyche and identity. This is an attempt to find confirmation for the theoretical view that plants act as agents, as forms of an active force, within the context of dynamic relationships with man. If approached from the latest premise that matter should be viewed within the context of networks and relationships, Die sideboard becomes a fascinating text for the purpose of literary investigation. It is clear that Abraham's dream of a patch of land becomes much more than the mere desire to manage a piece of land profitably. Several dimensions of the relationship between farmer and plant are revealed in this novel. These relationships are portrayed in a way that challenges anthropocentric control as the accepted point of departure in the handling of plants and offers a new perspective on the role of plants. Van der Veen (2014:806) refers to "webs of relationality" between man and plant, and explains: "Both plants and humans become caught up or trapped in the relationships: humans get caught up in a double-bind, depending on things (plants) that depend on humans." The results of the unravelling and description of the plant-people relationships in Die sideboard are instructive. This novel illuminates in a nuanced way the phenomenon that is the focal point of the investigation: the literary embodiment of the idea that man and plant influence each other and function in a strong relational context. Aspects of plant-people interdependence and of the interwovenness of human and non-human existence are powerfully illustrated in this novel. These are central concepts in the contemporary way of thinking about and emphasising the relational dimensions that have recently begun to emerge in the field of the new materialism. It becomes evident that Abraham grows vegetables not only for his family's use, or to earn something. There are relational elements that come into play. A form of devotion to the processes of planting and witnessing growth is portrayed. In addition to that, an obvious dependency on plants as well as signs of the subtle influencing by plants of the character's mind, life and attitude towards life are depicted. Being busy with planting and harvesting also has an impact on Abraham's realisation and confirmation of his identity. He finds it possible to express himself through pampering his plants. The novel also clearly illustrates how this self-interpretation manifests in the demonstration of his self-esteem, beliefs, pride and behaviour. Abraham's interaction with plants and an awareness of his life's intertwinement with the rhythm and routine that plants and caring for them require, inspire the will to rise above personal misfortune and disruption. This is of vital importance in the process of adaptation after each episode of uprooting in his life. The novel opens new perspectives on opinions about the place and role of plants in man's life. This is particularly significant in an era in which anthropocentric views are influencing us to see plants in their subservient role with regard to people: as passive objects within the context of farming, trade and nutritional needs. The findings from this study support Van der Veen's (2014:799) argument that "concepts such as materiality and entanglement help us not only to foreground the vital importance of plants in human life, but to appreciate that these plants are best studied within the complex webs of relationships that exist between plants, environments and people". Between the pages of Die sideboard man and plant indeed live as if interwoven in a web of relationality

Enter any additional information or requests for the Library here. ; In betreklik onlangse navorsing deur David Barnhill word 'n nuwe benadering tot natuurgesentreerde skryfwerk voorgestel. Sy navorsing dui eerstens aan dat daar in die beskrywing van die aard van natuurgesentreerde skryfwerk hoofsaaklik gesteun word op sisteme van klassifikasie. Barnhill wys egter op nadele in die taksonomie-benadering en stel voor dat 'n spesifieke natuurgesentreerde woordwerk beskou word as 'n ekosisteem. Daarmee word bedoel dat die kategorieë waarin natuurgerigte skryfwerk geplaas word wanneer die taksonomie- benadering gevolg word, veelvoudige elemente word in individuele werke en dat hierdie elemente binne elke teks saam- of op mekaar inwerk, soos die organismes in 'n ekosisteem. In hierdie ondersoek word Barnhill se teoretiese gereedskap in Deel 1 uiteengesit en in Deel 2, wat gepubliseer word in die Maart 2017-uitgawe van die tydskrif, getoets. Schalk Schoombie se debuutroman, Boomkastele: 'n sprokie van 'n stadsmens (2015) word bestudeer vanuit die hipotetiese uitgangspunt dat die teks 'n ekosisteem is ten opsigte van die kenmerkende elemente van natuurgesentreerde skryfwerk daarin ; In the first part of the present study, I explore a new concept of viewing nature writing, introduced by David Barnhill in a relatively recent article titled "Surveying the Landscape: A New Approach to Nature Writing" (2010). In the second part of the study, to be published in the March 2017 edition of this journal, Barnhill's theoretical instrument is put to the test in an analysis of Schalk Schoombie's narrative text Boomkastele. Nature writing is a prominent genre in the tradition of ecocriticism, which is the study of literature and the environment from an interdisciplinary point of view, where literature scholars analyse texts that illustrate environmental concerns and examine the various ways in which literature treats the subject of nature. Henry David Thoreau's system of describing nature writing and its qualities has been used extensively, while Thomas Lyon and Patrick Murphy have extended Thoreau's system by developing taxonomies of nature writing. They distinguish a number of main categories of nature writing situated along a spectrum, on one end of which lie those works mostly concerned with information about the natural world and on the other those engaging in more personal, philosophical reflection (Lyon 1989:3-7; Murphy 2005:5). These taxonomies map the rich diversity in this genre, but Barnhill also considers the taxonomy approach of classifying nature writing a disadvantage in that it does not acknowledge the inner complexity and diversity of individual works of writing. Hence the challenge to improve on these taxonomies. Barnhill calls his scheme an ecosystem, reminding us that such a system involves the interactions between a community and its non-living environment as well as interactions between the elements in it. According to Barnhill (2010:279) each piece of nature writing is an ecosystem in which various elements of nature writing are developed and integrated in a unique way. The abstract categories into which works are placed in a taxonomy become multiple elements within individual works, working in concert with or influencing each other, such as the organisms in an ecosystem. The work of nature rather than the abstract categories takes centre stage. The internal qualities of such works are analysed and described in order to discover the interplay between different elements and how the character of an ecosystem emerges from this. Barnhill (2010:279-282) distinguishes several elements of nature writing: accounts or descriptions of nature, personal experience in nature, social experience of nature, philosophy of nature, spirituality in nature experiences, ecological consciousness, concern with language in representing nature, and ecosocial politics - the latter a term reflecting the interconnectedness of environmental and social issues. In Part 2 of the study an analysis of Boomkastele puts Barnhill's theoretical instrument to the test. The hypothetical point of departure is that the novel resembles an ecosystem comprising the characteristic elements of nature writing found in it. This method ofapproximation focuses on analysing the internal complexity and diversity of Schoombie's novel and arriving at a more complete understanding and a more nuanced description of this work. Ecosocial criticism is found to be a dominant element in Boomkastele, functioning in support ofvarious other elements, such as ecological consciousness and ecosocial critique. Barnhill's approach to nature writing creates a sharpened awareness of the qualities that characterise this genre. Applying his method of describing and evaluating texts to Boomkastele has led to the discovery of the interactive connection between diverse elements in the novel, which lends it the nature of an ecosystem and affirms its multifaceted character

Abstract
In Book 3 of Plato's Laws, we read that a legislator must aim to endow the polis with a trio of properties: freedom, wisdom, and internal friendship (philia). This paper explores what such freedom consists in, with a focus on the so-called doctrine of the mixed constitution. It argues that such freedom is a constitutional matter; that it is not to be identified with 'voluntary servitude to the laws' cultivated by persuasive preludes to the laws; nor is it the rational self-control essential to virtuous character, or citizens' ability to decide and act for themselves; nor is it a restriction on the size of individual political authority. Rather, it is a freedom based on equality: a polis is free to the extent that its constitution mitigates the inherent inequality between rulers (archontes) and ruled (archomenoi), between those who wield political authority and those who are subject to that authority.

Introduction: Moral responsibility and Aristotle's concerns -- 1. Moral responsibility and moral character -- 2. Voluntariness, praiseworthiness, and character -- 3. The dialectical inquiry into voluntariness -- 4. Force, compulsion, and the internal origin of action --5. Responsibility for character: its scope and significance --6. Moral agency and the origination of action -- App. I. Varieties of knowledge and ignorance -- App. II. "Up to us" and the internal origin