The introduction offers a historical overview of terrorism through the ages and describes the development of international counterterrorism law. It discusses the interplay between terrorism and international crimes such as genocide and crimes against humanity. It also introduces some of the controversy surrounding terrorism as a term.

The resurrection of Jesus, pivotal to Christian history and praxis, is universally attested in early Christian sources, even if often critiqued or sidelined as myth or apologetics in modern scholarship. Paul’s letters and of the Gospels in their narrative diversity document the resurrection’s transformative and abiding impact on Jesus’s followers. In bringing the aspirations of myth and metaphor to fruition in time, the resurrection of Jesus is both an event in history and yet constitutes a new reality that transcends the register of available language and analogy.

In his chapter on “Art” in Roman Britain and the English Settlements, Collingwood attempts to explain the revival of Celtic art that occurred in Britain after a period of Roman art of almost four hundred years. In his Autobiography he declared this was “a chapter which I would gladly leave as the sole memorial of my Romano-British studies, and the best example I can give to posterity of how to solve a much-debated problem in history, not by discovering fresh evidence, but by reconsidering questions of principle.” This chapter has received little attention from archaeologists and historians (and even less from philosophers), exception from Martin Henig in his book The Art of Roman Britain. I defend Collingwood from Henig’s criticisms and try to make his explanation more understandable by placing it in his own historical context. Here I follow Collingwood’s advice that we may better understand an explanation when we understand the context from which it originates. This is not to say Collingwood’s explanation is without shortcomings. I demonstrate how these are brought to light when his explanation for the revival of Celtic art is compared to more recent treatments of this phenomenon.

In “The Book of Isaiah in the Neo-Assyrian Period,” Michael Chan offers an overview of the centuries of Assyrian dominance in the Levant. He takes five exegetical case studies that demonstrate the historical and literary impact of that Mesopotamian power on Isaiah and his successors in the eighth and seventh centuries bce. In particular, he observes how Assyrian imperial propaganda was subverted by the prophets in various ways.

This introductory chapter, encyclopaedic in nature, covers the main aspects of catastrophe (CAT) risk from a qualitative perspective, offering an overview of what will be explored in quantitative terms in the subsequent chapters. It starts with the definition of the fundamental terms and concepts, such as peril, hazard, risk, uncertainty, probability, and CAT model. It then describes the historical development of catastrophe risk science, which was often influenced by the societal impact of some infamous catastrophes. The main periods are as follows: from ancient myths to medieval texts, mathematization (eighteenth and nineteenth centuries) and computerization (twentieth century). Finally, it provides an exhaustive list of perils categorized by their physical origin, including geophysical, hydrological, meteorological, climatological, biological, extraterrestrial, technological, and socio-economic perils. In total, 42 perils are covered, with historical examples and consequences for people and structures discussed for each one of them.

Interest in the pupil of the eye dates back well over 2,000 years. The prominent philosophers of ancient Greece and Persia had ideas of why the pupil was necessary for vision. Some of the greatest thinkers of the Middle Ages and the Renaissance such as Leonardo da Vinci, Johannes Kepler, Robert Whytt, and Roger Bacon thought about the pupil and presented ideas relating to its function. Slowly but incrementally, our modern ideas of the pupil were formulated by these early pioneers of pupillary physiology.

Why and how we age are deep and enduring questions. The quest for a theoretical framework explaining the evolutionary origins and proximate mechanisms of ageing has led to the elaboration of hundreds of theories of very diverse kinds. The aim of this chapter is twofold. First, it will provide an historical perspective of the numerous theories of ageing. Second, it will emphasize the need for a unified framework merging both evolutionary and mechanistic theories by demonstrating that such theoretical frameworks are required to promote innovative research projects involving the joint effort of multiple research disciplines.

This chapter delves into the profound interplay between Haitian revolutionary history, literature, and the broader context of global romanticism. Drawing on the pivotal work Le Romantisme en Haïti: La vie intellectuelle, 1804-1915 by Dolcé, Dorval, and Casthely, it critiques the dominance of Western thought and the triumph of Eurocentrism in global romanticism. Through a meticulous exploration of Haiti’s post-independence history and its relationship to French colonialism, it asserts the emergence of a distinctly national form of romanticism deeply entrenched in the country’s intellectual and literary evolution. Tracing the trajectory of Haitian romanticism from its roots in the Haitian Acte de l’Indépendance to the commencement of the US Occupation, it argues that Haitian poets’ blending of politics, history, and literary creation resonated with, at the same time as it transcended, romantic ideals popular in the British and French traditions. Fusing historical scholarship and literary critique, the chapter aims to reshape perceptions of Haitian intellectual history, unearthing the obscured ties between revolutionary actions, poetic expression, and the global romantic movement.

This chapter explores the history and present of the singles charts, and the phenomenon of the number one single, in a specifically Australian context. The history of the Australian singles charts are explored, from their beginnings in Go-Set magazine in 1966, based on sales of physical product, to the present-day situation, where the ARIA singles charts are primarily based on listens on streaming services. The chapter goes on to discuss the ways in which these differing consumption methods over the years affects the composition of the charts. While the charts in Australia often reflect overseas success by international artists, the particular music industry ecosystem in Australia can affect the success of different music.Similarly, the number one singles by Australian artists from the last decade are discussed, suggesting that it is increasingly difficult to have Australian chart success without international success.

The performance of ‘Chinese music’ in Australian has a long and varied history. Performances of sonic arts which display a Chinese origin or connection range across various genres including classical, folk, opera, popular and sacred music. The performers are and have been equally diverse, including immigrants, international students, visiting artists and cosmopolitans from mainland China, the Sinosphere and the population of ‘Chinese overseas’, as well as people born or permanently residing in Australia of both Chinese and non-Chinese heritage. This chapter focuses on contemporary practice of different genres and on ethnographic examples from our own experience, but as space and historical records allow, we also look back in time. Our discussion illustrates some of the main ways that music has served to enhance social connections within and beyond Australia’s Chinese community, including within an Australian sociocultural fabric that has increasingly acknowledged and valued cultural diversity and multiplicities of cultural identity.

This chapter briefly surveys the Australian Electronic Dance Music (EDM) scene throughout the 1990s. It examines the impact of financial investments from major labels and how this provided a fertile ground for specialist EDM labels to create scenes that connected back to the techno, rave, and club communities. Brief histories of Sydney, Melbourne, Canberra, Brisbane, and Adelaide are provided, noting their different characteristics and prominent players in the field. Links between the post-punk electronic music scene and how they impacted the first wave of EDM creatives are also discussed. As one-half of Sydney techno band Itch-E & Scratch-E, the author (aka Paul Mac) provides a personal, practice-based, lived history of the period.

The Introduction delineates the types of manga and anime addressed in this Companion and how they are approached, before outlining the individual contributions in the order of their appearance, as well as their interrelations. It begins with the terms used for “manga” and “anime” in Japanese whose scope is narrowed to the globally recognizable types in order to accommodate their correlation within this book. Historical, aesthetic, demographic, subcultural, and industrial commonalities of the two media forms are mentioned. This is followed by a brief explanation of the book’s prevailing new-formalist approach, which manifests in its structure: nine sections on specific aspects that are addressed from the perspectives of manga studies and anime studies respectively. Finally, the decision to do without a particular history chapter, and having historical commentary be interspersed throughout the volume instead, is clarified.

The electric guitar is often presented as a novel but straightforward solution to a particular problem: amplification. It is remarkable, then, that histories of the instrument focus mainly on the iconic six-string itself. No electric guitar is complete without an amplifier, and no companion to the electric guitar is complete without a corresponding history of electronic amplification. This chapter is about certain tendencies and possibilities that have existed around electric guitar amplification. It covers the historical development of the amplifier, focusing less on a loudness teleology than the instrument’s social and political construction. It also discusses the history of amplification in relation to recent scholarly interests in signal chains and supply chains. The chapter concludes with a discussion of electric guitar amplification and the problem of electricity—suggesting that the power of the amplifier has never been found in loudness alone.