This book provides an international legal analysis of the most important questions regarding Iran's nuclear program since 2002. Setting these legal questions in their historical and diplomatic context, this book aims to clarify how the relevant sources of international law - including primarily the 1968 Nuclear Non-proliferation Treaty and IAEA treaty law - should be properly applied in the context of the Iran case. It provides an instructional case study of the application of these sources of international law, the lessons which can be applied to inform both the on-going legal and diplomatic dynamics surrounding the Iran nuclear dispute itself, as well as similar future cases. Some questions raised regard the watershed diplomatic accord reached between Iran and Western states in July, 2015, known as the Joint Comprehensive Program of Action. The answers will be of interests to diplomats and academics, as well as to anyone who is interested in understanding international law's application to this sensitive dispute in international relations.

Italian comedians attracted audiences to performances at every level, from the magnificent Italian, German and French court festival appearances of Orlando di Lasso or Isabella Andreini, to the humble street trestle lazzi of anonymous quacks. The characters they inspired continue to exercise a profound cultural influence, and an understanding of the commedia dell'arte and its visual record is fundamental for scholars of post-1550 European drama, literature, art and music. The 340 plates presented here are considered in the light of the rise and spread of commedia stock types, and especially Harlequin, Zanni and the actresses. Intensively researched in public and private collections in Oxford, Munich, Florence, Venice, Paris and elsewhere, they complement the familiar images of Jacques Callot and the Stockholm Recueil Fossard within a framework of hundreds of significant pictures still virtually unknown in this context. These range from anonymous popular prints to pictures by artists such as Ambrogio Brambilla, Sebastian Vrancx, Jan Bruegel, Louis de Caulery, Marten de Vos, and members of the Valckenborch and Francken clans. This volume, essential for commedia dell'arte specialists, represents an invaluable reference resource for scholars, students, theatre practitioners and artists concerned with commedia-related aspects of visual, dramatic and festival culture, in and beyond Italy.

In the early 1900s the motor-vehicle (car, bus, lorry or motor-cycle) was introduced in sub-Saharan Africa. Initially the plaything and symbol of colonial domination, the motor-vehicle transformed the economic and social life of the continent. Indeed, the motor-vehicle is arguably the single most important factor for change in Africa in the twentieth century. A factor for change that thus far has been neglected in research and literature. Yet its impact extends across the totality of human existence; from ecological devastation to economic advancement, from cultural transformation to political change, through to a myriad of other themes. This edited volume of eleven contributions by historians, anthropologists and social and political scientists explores aspects of the social history and anthropology of the motor-vehicle in Africa.

How did past communities and individuals remember through social and ritual practices? How important were mortuary practices in processes of remembering and forgetting the past? This innovative new research work focuses upon identifying strategies of remembrance. Evidence can be found in a range of archaeological remains including the adornment and alteration of the body in life and death, the production, exchange, consumption and destruction of material culture, the construction, use and reuse of monuments, and the social ordering of architectural space and the landscape. This book shows how in the past, as today, shared memories are important and defining aspects of social and ritual traditions, and the practical actions of dealing with and disposing of the dead can form a central focus for the definition of social memory.

To many outsiders, mathematicians appear to think like computers, grimly grinding away with a strict formal logic and moving methodically--even algorithmically--from one black-and-white deduction to another. Yet mathematicians often describe their most important breakthroughs as creative, intuitive responses to ambiguity, contradiction, and paradox. A unique examination of this less-familiar aspect of mathematics, How Mathematicians Think reveals that mathematics is a profoundly creative activity and not just a body of formalized rules and results. Nonlogical qualities, William Byers shows, play an essential role in mathematics. Ambiguities, contradictions, and paradoxes can arise when ideas developed in different contexts come into contact. Uncertainties and conflicts do not impede but rather spur the development of mathematics. Creativity often means bringing apparently incompatible perspectives together as complementary aspects of a new, more subtle theory. The secret of mathematics is not to be found only in its logical structure. The creative dimensions of mathematical work have great implications for our notions of mathematical and scientific truth, and How Mathematicians Think provides a novel approach to many fundamental questions. Is mathematics objectively true? Is it discovered or invented? And is there such a thing as a "final" scientific theory? Ultimately, How Mathematicians Think shows that the nature of mathematical thinking can teach us a great deal about the human condition itself.