Risks or vulnerabilities can arise from any death and part of any professional’s role is to be alert to remediating them as part of patient safety. This chapter will look at how to identify these risks. It will also consider what to do when criticism occurs, and how to remediate to allow for a satisfactory or moderated outcome.

Nutrients, frequently phosphorus and/or nitrogen, often limit aquatic primary productivity. The availability of nutrients required by phototrophs varies with chemical and biological species, site and season. A rapidly increasing, resource-demanding human population that uses water as a convenient waste-disposable system has caused widespread nutrient pollution leading to ‘eutrophication’. In conjunction with other multiple pressures such as climate change, this has altered the natural communities in an ecosystem, and caused biodiversity loss. It also causes a cascade of undesirable consequences for human use of water, including the growth of potentially toxic microalgal and macroalgal blooms, and deoxygenation leading to fish kills and the release of nutrients from the sediment to the water. Remediation, driven by legislation, is focused on limiting nutrient losses from agricultural systems while maintaining the ability to produce food sustainably and increasing nutrient capture in works treating domestic and industrial waste and the production of a circular economy for nutrients.

Focusing on the history of Henry Wadsworth Longfellow's 1865 abolitionist poem “Christmas Bells,” this chapter argues that the mediation, reproduction, and circulation of poetry in the digital age are best understood in relation to a longer history of poetry's technological mediation and reproduction by print and older nonprint media. Analyzing how the text of “Christmas Bells” has been edited, cut, reformatted, repurposed, and reproduced for a wide range of media and media platforms over a period of 150 years (via print periodical, postcard, rubber crafting stamp, musical performance, gift tag, television broadcast, YouTube video, dinner menu, souvenir plate, Wikipedia page, and more) reveals not only the common and ongoing mutability of the poetic text in the age of its mechanical reproduction but also the need for new critical models that reassess notions of the poem, author, reader, and book as cardinal points of poetry studies. Reimagining poetry studies in the digital age also means reimagining the study of poetry produced centuries before; it means reconsidering the longer history of poetry's remediation that the digital age inherits, extends, and remakes.

Chapter 1 establishes the contours of the Irish Revival and revivalism as we have come to understand both today. Understood as a constellation of movements, discourses, and practices, the Revival was a modernizing force in a media environment that encouraged multiple visions of Ireland’s past and its future. My discussion of the Irish Revival and revivalism situates Yeats’s literary revivalism within a broader cultural context. I argue that the Revival’s message was often constructed in a modern media environment as part of a process of remediation, whereby revivalist texts, often first published in the daily newspapers, were republished and recontextualized so that they might be recognized anew and with greater understanding. These texts also served a remedial function – that is, they were part of revivalist emphasis on self-improvement. Yeats, in concert with revivalists across a wide political spectrum, helped forge the idea of a national consciousness and a modern national literature in which the legends of ancient Ireland would find a place.

Chapter 5 inquires how the rainforests of Ecuador turned into a profoundly contaminated landscape between the 1970s and 1990s. Recurrent oil spills, discharges of toxic water into rivers, the burning of crude oil and of natural gas, and the use of simple earthen waste pits all contributed to a toxic metamorphosis of the Amazon region. An analysis of Texaco’s internal communication about environmental contamination from 1972 to 1980 gives insights into the intentionality of the company’s handling of hazardous waste. The toxic metamorphosis was the result of practices of externalization in the production and disposal of hazardous waste in the Ecuadorean oil industry. This chapter develops the concept of the toxic ghost acre as a mechanism of the externalization of costs onto the environment and the public health of local populations. The notion of toxic ghost acreage is useful to uncover the transnational and socio-ecological dynamics that turned the Amazon into a cheap sink for hazardous waste. The chapter ends by shedding light on the perpetuation of the toxic ghost acres in Ecuador through Texaco’s insufficient remediation programs in the 1990s.

This chapter covers the establishment, contents and implementation of international environmental liability of the contractor. It argues that the polluter-pays principle applies, the contractor shall assume primary liability for environmental damage caused by DSM activities. However, unlike the existing civil liability treaties which endorse a standard of ‘strict liability’ of the operator, liability in DSM requires an element of ‘internationally wrongful act’ on the part of the contractor. As to the contents of liability, it argues that ecological restoration shall be the primary objective of liability. However, owing to the big unknowns of the deep sea, the practicability of restoration is very uncertain. Other forms of remediation, complementary restoration and compensation, are available. As to the implementation of liability, this chapter argues that the ‘traditional civil liability approach’ of a transnational nature is not suitable to the DSM context, and the parallel existence of implementation methods at both international and national levels weakens the international mechanism and places unnecessary burden on the sponsoring State. Incidentally, it argues that the Enterprise can assume liability independently and a State contractor cannot claim State immunity.

This chapter addresses Muriel Rukeyser’s Depression-era poetics in the context of documentary photography and claims that her poetics rejects the logic by which language became complicit with photography in rendering aestheticized and therefore consumable images of the modern world. Instead, Rukeyser’s poetics envisions a new, hybridized mode in which language, in this case that of the poem, exists in a critical tension with the photographic image. This chapter also argues that “extension,” a concept that relates Rukeyser’s work to commentaries by Lewis Mumford, Vannevar Bush, and Marshall McLuhan, among others, functions as a critical concept describing the process by which poetic language becomes a counterpoint to the public archive of images generated by emerging commercial media and a technocratic state. The final section examines the thematization of photography in “The Book of the Dead” to claim that Rukeyser’s epochal 1936 long poem, which documents a mining disaster in Depression-era West Virginia, scrutinizes the prerogatives of photographic seeing by rendering the photographic apparatus into a visible component of the industrialized rural landscape the poem surveys.

Comics inherently encompass multiple modalities and are published across numerous platforms, whether in print or digital form. In its distinct combinations of words and images, the multimodal medium of comics has encompassed numerous formats throughout its long history – typically appearing in numerous forms simultaneously in any given era. Comics exist in single-panel and multi-panel strips within newspapers and magazines, in single-issue comic books and longer graphic novel formats and in new digital forms such as webcomics and motion comics. Comics have also been adapted to cinema and television, in both live-action and animated incarnations – often drawing on the original words and imagery of their source material in direct ways. This essay traces the history of comics as a multimodal experience from the 1800s through the twenty-first century; it also examines how other media have translated them onto various types of screens while still drawing on the specific formal qualities used by comics to tell stories. Regardless of the particular format through which readers engage with the medium, comics offer amalgamations of two separate modes of content which allow for unique meanings via the unification of words and images.

The people, communities, and companies we feature in this book face uncertain futures. The concluding chapter pulls together the themes of the book and our lessons for scholars, policymakers, companies, and nonprofits. We then dive into enduring challenges that climate and energy transitions will face. For example, we discuss connections between credibility and the clash between free trade and national industrial policies, the uncertain technological future, and the barriers developing countries face in their energy transitions. We also set an agenda for future research areas, including the importance of equity concerns and adaptation to the effects of climate change. Finally, we discuss the outlook for legislation like the Inflation Reduction Act that seeks to overhaul the US energy system in dramatic ways but in a highly partisan environment.

The chapter explores the emergence of the American short story in the context of a “culture of wonder” that dominated the Atlantic world of print prior to Washington Irving. Although ghost stories, and tales of apparitions and witchcraft were often discarded as formless pieces, these “small tales” were widely reprinted in the pages of early transatlantic magazines, fostering sensational effects as well as transgressive stories about individuals whose behavior was outside the norm. The chapter examines the circulation of early short narratives in the context of serialized imprints such as magazines and newspapers. It focuses on popular topics such as ghost stories and sensationalistic tales. Moreover, the chapter unearths the rich archive of transatlantic storytelling, demonstrating how the short form combines oral and textual performances conditioning the nineteenth-century tale as it can be found in the writings of Washington Irving and Edgar Allan Poe.

This chapter illustrates the cycle of adaptation, consumption, and production by which the medieval romance genre has sustained itself over time to remain vital in multiple national traditions: French adaptations of Tristan and Isolde and Arthurian romances, Germany’s continuing engagement with the Siegfried legend, Italian novels, such as those written by Umberto Eco and Italo Calvino, Spanish adaptations of Don Quixote and El Cid, and the long Anglo-American love affair with the medieval past. After an examination of the unique intersection of genre, story world, and media that makes medieval romance so infinitely adaptable, the chapter focuses on a series of post–World War II Anglo-American adaptations of the Arthurian legend. These texts, beginning withThe Adventures of Sir Galahad (1949) and concluding with The Green Knight (2021), each produced at a moment when either cultural context or technological innovation provided the impetus for a new Arthurian adaptation, mobilized the romance genre’s adaptive potential and deployed new media and technologies to attract the attention of audiences and critics. As they did so, they brought the narrative back into the cultural conversation, inspired other producers to seek to capitalize on King Arthur’s popularity, and ensured the continuing vitality of medieval romance.

his chapter will discuss some of the ways that recent scholarship on cultural memory has contributed to thinking about the role of exempla in Roman culture, and particularly to the development of the idea of the ‘site of exemplarity’.1 It will also suggest how insights found in this scholarship might sharpen our appreciation of some of the challenges that face modern scholars who are studying cultural memory in antiquity, especially when it comes to the Roman republic from which so little written testimony survives. These themes will be focused through the discussion of the somewhat obscure case of Vibellius Taurea, a bold native of the city of Capua who clashed with the Romans during the Second Punic War.

Linked Early Modern Drama Online (LEMDO) is an infrastructural project designed to host the New Internet Shakespeare Editions (NISE) and other anthologies of early modern plays. This chapter – the first scholarly piece about LEMDO as a project – begins with a brief overview of the origins of LEMDO and its three principal objectives: to preserve the work of the old ISE and its sibling projects; to build a platform that sets new standards for preparing and preserving digital editions; and to create a networked hub for the study of early modern drama. LEMDO provides tools to view Shakespeare ‘in combination’, serves multiple user groups and supports asynchronous collaboration. Although LEMDO disseminates both digital and print outputs through its partnership with UVic ePublishing, editors agree to leave their editions ‘open’ for future pedagogical annotations so that the edition can capture the performances and criticism that the edition inspires. Students are stakeholders in and co-creators of LEMDO as part of their education, not merely consumers of its outputs. The involvement of students makes long-term preservation an ethical matter.

Media and communication influence, shape, and change our societies. Therefore, this first chapter aims to explain the implications of digital communication for our societies and the relationship between media, technology, and society. The chapter introduces the concept of society from a sociological perspective and explains how societies change because of the effects technological developments have on them, and vice versa. It illustrates this interplay with the example of digital divides.

In order to explain the significance and changes of public communication in a digital society, the chapters zooms in on the media landscape and explicates the difference between new media and old (or traditional) media. It pays particular attention to the ideas of Marshall McLuhan, as his work remains a cornerstone when studying the relationship between media, technology, and society. The chapter then outlines the discipline of media linguistics and explains how media linguistics can help to make digital media and digital communication more tangible. It focuses on three key terms crucial for understanding public digital communication: multimodality, media convergence, and mediatization.