The final season of "Lost" took everyone on one last, cross-dimensional ride towards eternity. We saw how being a candidate can be deadly, found a new way to reunite with the dead, and discovered a new meaning for the phrase "Man in Black." Months later, we're either just starting to reflect on it all, or cursing that we ever looked for answers in the first place. For those who still don't regret the last six years, "Lost: It Only Ends Once" takes one final look at the end, and all that came after. The author of "Lost Episode Guide For Others" and "Lost: The Island's Greatest Hits" helps sum up the final 18 1/2 hours, and updates his list of the 42 greatest episodes, characters and scenes of all time. In the process, he shares his own journey inside the Lost fandom, and helps fellow Losties heed the show's final message "To remember....and to let go."

Mythology for centuries has served as humanity's window into understanding its distant past. In our modern world, storytelling creates its own myths and legends, in media ranging from the world of television and cinema to literature and comic books, that help us make sense of the world we live in today. What is the "Mytharc"? How did it arise? How does it inform modern long-form storytelling? How does the classical hero's journey intersect with modern myths and narratives? And where might the storytelling of tomorrow take readers and viewers as we imagine our future? From The X-Files to H.P. Lovecraft, from Lost to the Marvel cinematic universe and many worlds beyond, this study explores our modern storytelling mythology and where it may lead us.

This is the first of a series of national reports on basic issues concerning the acquisition and loss of ownership of movable assets. The series is planned to cover 27 European legal systems, distributed over six volumes, as a product of the research activities of the working group "Transfer of Movables" within the "Study Group on a European Civil Code". Starting with general property law issues like the concepts of ownership and possession employed in the respective legal systems, and the related means of protection, the reports primarily deal with the "derivative" transfer of ownership, but extend to good faith acquisition from a non-owner, acquisitive prescription, processing and commingling, and further related issues. The reports provide the reader with detailed information about the respective rules, case law and legal literature, prepared by national property law experts. These reports are a starting point for further comparative research in property law and also a tool for practitioners searching for information on foreign legal systems. Where available and as far as reasonable, the reports include translations of the most important statutory provisions either in the text or in an annex. All reports include a table of literature and a table of abbreviations, which shall facilitate carrying out further research.

Health Economics and Financing What are the metaphysics of time travel? How can Hurley exist in two places at the same time? What does it mean for something to be possibly true in the flash-sideways universe? Does Jack have a moral obligation to his father? What is the Tao of John Locke? Dude. So there’s, like, this island? And a bunch of us were on Oceanic flight 815 and we crashed on it. I kinda thought it was my fault, because of those numbers. I thought they were bad luck. We’ve seen the craziest things here, like a polar bear and a Smoke Monster, and we traveled through time back to the 1970s. And we met the Dharma dudes. Arzt even blew himself up. For a long time, I thought I was crazy. But now, I think it might have been destiny. The island’s made me question a lot of things. Like, why is it that Locke and Desmond have the same names as real philosophers? Why do so many of us have trouble with our dads? Did Jack have a choice in becoming our leader? And what’s up with Vincent? I mean, he’s gotta be more than just a dog, right? I dunno. We’ve all felt pretty lost. I just hope we can trust Jacob, otherwise ... whoa. With its sixth-season series finale, Lost did more than end its run as one of the most talked-about TV programs of all time; it left in its wake a complex labyrinth of philosophical questions and issues to be explored. Revenge, redemption, love, loss, identity, morality—all of Lost’s key themes are examined in this fully updated guide, which reveals the deeper meaning behind every twist and turn in this historic, one-of-a-kind show.

Partisans on both the left and right wings of America's theory class and political spectrum believe we're in trouble, big trouble. The economy is limping along. Inequality has reached unprecedented levels. And we seem to be on the verge of being overwhelmed by immigrants who don't look and act anything like our grandparents did much less the men and women who founded our country. Angry, scared, disengaged and distrustful when we aren't openly antagonistic toward each other, Americans can't figure out who we are as a people and openly fret about our best days being behind us. To make matters worse, our political system, the one place we're supposed to be able to work on behalf of a broader public good with people who aren't like us, appears even more broken than these other parts of our culture. There's some unexpected good news, however, and it's coming from one of the last places in America you'd expect different people to be getting along: Boston. Bostonians -- well known for their unwelcoming and sometimes violent treatment of newcomers and unwillingness to find common ground with people deemed outsiders -- aren't acting broken or taking their resentments out on each other these days. They've turned instead to calmer ways of talking about each other and treating each other in public. Far from being disconnected and afraid, people in Boston are better connected and more respectful of each other, and their city is better organized and more orderly than at any time in its long and storied history. Bostonians have learned to get along with the strangers among them in ways their ancestors never knew or expected the rest of us would be willing to entertain much less master. They have their civic act together. Engaging Strangers explores how the people of Boston have learned to practice a more congenial and respectful set of civic virtues. In this book, the author provides a model for civic conduct for the rest of America to study and follow.

The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival