This study examines how selected authors of the late 20th and early 21st centuries write about their creative processes in old age and thus purposefully produce a late style of their own. Late-life creativity has not always been viewed favourably. Prevalent "peak-and-decline" models suggest that artists, as they grow old, cease to produce highquality work. Aiming to counter such ageist discourses, the present study proposes a new ethics of reading literary texts by elderly authors. For this purpose, it develops a methodology that consolidates textual analysis with cultural gerontology.

According to the doctrine of the Trinity, the Father, Son, and Spirit are supposed to be distinct from each other, and yet be one and the same God. As if that were not perplexing enough, there is also supposed to be an internal process of production that gives rise to the Son and Spirit: the Son is said to be 'begotten' by the Father, while the Spirit is said to 'proceed' either from the Father and the Son together, or from the Father, but through the Son. One might wonder, though, just how this sort of divine production is supposed to work. Does the Father, for instance, fashion the Son out of materials, or does he conjure up the Son out of nothing? Is there a middle ground one could take here, or is the whole idea of divine production simply unintelligible? In the late 13th and early 14th centuries, scholastic theologians subjected these questions to detailed philosophical analysis, and those discussions make up one of the most important, and one of the most neglected, aspects of late medieval trinitarian theology. This book examines the central ideas and arguments that defined this debate, namely those of Henry of Ghent, John Duns Scotus, and William Ockham. Their discussions are significant not only for the history of trinitarian theology, but also for the history of philosophy, especially regarding the notions of production and causal powers.

Wine was an ever-present commodity that permeated the Mediterranean throughout antiquity. This book analyses the viticulture of two settlements, Antiochia ad Cragum and Delos, using results stemming from surface survey and excavation to assess their potential integration within the now well-known agricultural boom of the 5th-7th centuries AD.

This book sheds some necessary light on local economies from the (late) Hellenistic to the Late Roman period. The concepts of regions and regionality are employed to explore the complexity of ancient economies and (ceramic) variability and change in Boeotia (Central Greece), largely on the basis of the survey data generated by the Boeotia Project.

A provocative case for historical ambiguity in architecture by one of the field's leading theorists Conceptions of modernity in architecture are often expressed in the idea of the zeitgeist, or "spirit of the age," an attitude toward architectural form that is embedded in a belief in progressive time. Lateness explores how architecture can work against these linear currents in startling and compelling ways. In this incisive book, internationally renowned architect Peter Eisenman, with Elisa Iturbe, proposes a different perspective on form and time in architecture, one that circumvents the temporal constraints on style that require it to be "of the times"—lateness. He focuses on three twentieth-century architects who exhibited the qualities of lateness in their designs: Adolf Loos, Aldo Rossi, and John Hejduk. Drawing on the critical theory of Theodor Adorno and his study of Beethoven's final works, Eisenman shows how the architecture of these canonical figures was temporally out of sync with conventions and expectations, and how lateness can serve as a form of release from the restraints of the moment. Bringing together architecture, music, and philosophy, and drawing on illuminating examples from the Renaissance and Baroque periods, Lateness demonstrates how today's architecture can use the concept of lateness to break free of stylistic limitations, expand architecture's critical capacity, and provide a new mode of analysis.

In this bold reinterpretation of Women's changing labor status during the late medieval and early modern period, Martha C. Howell argues that women's work was the product of the intersection of two systems, one cultural and one economic. Howell shows forcefully that patriarchal family structure, not capitalist development per se, was a decisive factor in determining women's work. Women could enjoy high labor status if they worked within a family production unit or if their labor did not interfere with their domestic responsibilities or threaten male control of a craft or trade.