Andrew Jackson rejected a strong national government as well as national investments such as in roadways as he sought to bring power to the people. This message was popular among the relatively prosperous farmers, small merchants, and others, who did recognize the role of government in creating this relative equality. Despite his anti-government sentiments, Jackson and his successors continued existing and started new government programs to expand the economy. Abraham Lincoln, elected by anti-slavery voters, is best known for fighting the Civil War and eliminating slavery, but he also returned the federal government to more visible efforts to promote economic development and in the process committed the country to building a middle class. It was Lincoln’s idea that all Americans should have a fair chance in life. A key part of this program was the expansion of public education.

To ascertain soldiers’ potential status as wage labourers, this chapter discusses the process of initial enlistment and the ensuing terms of service, questioning especially whether soldiers enlisted of their own accord and retained their free status. It emerges that, from the reforms by Philip II of Macedonia onwards, political circumstances dictated a strong drift towards greater and at times complete reliance on so-called voluntary troops, who enlisted in exchange for pay. Thus, while the bulk of troops under Philip and Alexander were conscripts, these armies from the outset encouraged the enlistment of hired, voluntary troops in both elite and ordinary divisions. The lines between different troop types were blurred significantly under Alexander, whose conscript forces re-enlisted as hired men mid-way through his campaign. The Successors, whose often fickle claims to territory complicated the conscription of troops, were almost wholly reliant on voluntary troops. Accordingly, it is at this point that the epigraphic record attests military contracts, in which soldiers’ continued freedom of movement is guaranteed, alongside other terms of service. In the subsequent Hellenistic kingdoms, we see a return to conscription, especially in times of greatest need, alongside an enduring preference for professional, hired soldiers to man the standing armies.

Amidst the popularizations of eco-crisis in movie and television media in the past two decades, the internationally vaunted eco-fiction film “Don’t Look Up” (2021) stands as a recent, explicit near-term allegory for political-economic culpabilities, technocratic infatuations, and social-ecological consequences of anthropogenic climate change. How might this contemporary, culturally acclaimed allegory help to illuminate some of the textures of environmental violence as proposed by Marcantonio and Fuentes; and how might notions of climate coloniality challenge the allegorical presentation of climate crisis in Don’t Look Up? Drawing on ecocinemacriticism, literary ecocriticism, contemporary Indigenous studies, and social theory, this chapter assesses the presumptive Whiteness of vaunted mainstream ecocinema as a form of cultural narrative; the generally myopic coloniality of apocalypse narratives; and linkages to other forms of spectacle in an international polity dependent on neoliberal political economics and structures of extraction. If these dynamics are interwoven with legacies of colonialism and racism, what are the implications for media representations of environmental violence?

How do we think creatively about creating markets with new business models? This chapter examines the role that business models play in the development of new markets. This chapter provides an overview of the theory of market creation, and the logics of competition, and discusses some of the appropriate frameworks in the context of business model innovation. The chapter will also address how senior management could refresh the cognitive framing of the dominant design in order to identify and enable business model innovation.

The chapter charts the topography of English imaginative writing in the period leading up the publication of Gulliver’s Travels in 1726. A substantial opening section focuses on works for which Swift’s literary circle were responsible, including works by his fellow Scriblerians as well as Matthew Prior, Joseph Addison, and Richard Steele. The three following sections focus, respectively, on significant publications in prose, poetry, and drama that Swift would have noticed.

As early as 1826, John Herschel wrote, “astronomers are seldom draftsmen, and have hitherto … contented themselves with very general and hasty sketches.”1 This was more than a passing complaint with past depictions of astronomical objects. It was an exhortation to a generation of astronomers to begin taking draftsmanship seriously. With its increasing focus on the physical features of astronomical bodies like the Sun, the planets, comets, and the Moon, as well as the intricate physical complexities of the Milky Way, celestial nebulae, and clusters of stars, the astronomy of the nineteenth century demanded a new and systematic focus on draftsmanship as a means of observation. In this way, astronomy was very much in line with other observational sciences of the period like geology and minerology, botany and zoology, archaeology and ethnography, all of which required, alongside detailed descriptions, more exact pictures of their respective subject matter.2 As the act of drawing became embedded into routine scientific recordkeeping practices, it also became closely tied to what counted as proper scientific observation. Herschel was not just in tune with these important developments, he exemplified them in his own observational performances. This is evinced by his exquisite skills and techniques in drawing in the service of science and, above all, astronomy. Herschel’s observational practices were embodied in a set of visualizing instruments, techniques, and materials. What follows is a survey of some of these practices as they range over a lifetime of carefully observing and drawing many sorts of phenomena.

It is the physical representation of the divinity (i.e., the statue or the iconic representation) that become central for developing forms of religious beliefs among ancient Mesopotamian societies, because the deity was considered present through his/her iconic representation.

This chapter will therefore investigate the importance of the materiality of the divine essence through its representation in statues and other forms of visual depiction in ancient Mesopotamia.

We study the continuous viscosity solutions of the evolutionary Hamilton–Jacobi equation ∂t U (t, x) + H (x , ∂x U (x, t)) = 0 on [0, + ∞[xM, where H is a Tonelli Hamiltonian on the noncompact manifold M. We establish that all such solutions are given by the Lax–Oleinik formula. Moreover, we show that a finite everywhere Lax–Oleinik evolution is necessarily continuous and a viscosity solution on [0, + ∞ [xM. The goal is also to provide a convenient reference for the evolutionary Hamilton–Jacobi equation for Tonelli Hamiltonians on noncompact manifolds.