Kirjahaku

Until relatively recently, almost all contracts were domestic: both the consumer and the supplier were from the same country and the situation involved no substantial foreign elements. Technological changes (in terms of international travel, means of communication and information technology) have meant that it is a more frequent occurrence for consumer contracts to involve a cross-border dimension. This book explores the legal regimes which seek to deal with disputes which arise out of such cross-border consumer contracts. In terms of private international law, English law traditionally treated consumer contracts no differently from commercial contracts. However, at European level, jurisdictional and choice of law issues arising out of certain consumer contracts are subject to specific rules. The first part of the book focuses on these European developments and seeks to explain why the private litigation model for the resolution of disputes arising out of cross-border consumer contracts has failed to deal adequately with the problems generated by such contracts. Subsequent to these failures, alternative mechanisms for resolving contractual disputes have a particular significance in the consumer context. The second part of the book focuses on an evaluation of these alternative dispute resolution mechanisms, including online dispute resolution.

Drawing on the work of a wide range of architects, artists and writers, this book considers the relations between the architect and the user, which it compares to the relations between the artist and viewer and the author and reader. The book's thesis is informed by the text 'The Death of the Author', in which Roland Barthes argues for a writer aware of the creativity of the reader. Actions of Architecture begins with a critique of strategies that define the user as passive and predictable, such as contemplation and functionalism. Subsequently it considers how an awareness of user creativity informs architecture, architects and concepts of authorship in architectural design. Identifying strategies that recognize user creativity, such as appropriation, collaboration, disjunction, DIY, montage, polyvalence and uselessness, Actions of Architecture states that the creative user should be the central concern of architectural design.

Drawing on the work of a wide range of architects, artists and writers, this book considers the relations between the architect and the user, which it compares to the relations between the artist and viewer and the author and reader. The book's thesis is informed by the text 'The Death of the Author', in which Roland Barthes argues for a writer aware of the creativity of the reader. Actions of Architecture begins with a critique of strategies that define the user as passive and predictable, such as contemplation and functionalism. Subsequently it considers how an awareness of user creativity informs architecture, architects and concepts of authorship in architectural design. Identifying strategies that recognize user creativity, such as appropriation, collaboration, disjunction, DIY, montage, polyvalence and uselessness, Actions of Architecture states that the creative user should be the central concern of architectural design.

This fascinating argument from Jonathan Hill presents the case for the significance and importance of the immaterial in architecture.Architecture is generally perceived as the solid, physical matter that it unarguably creates, but what of the spaces it creates? This issue drives Hill's explorative look at the immaterial aspects of architecture. The book discusses the pressures on architecture and the architectural profession to be respectively solid matter and solid practice and considers concepts that align architecture with the immaterial, such as the superiority of ideas over matter, command of drawing and design of spaces and surfaces.Focusing on immaterial architecture as the perceived absence of matter, Hill devises new means to explore the creativity of both the user and the architect, advocating an architecture that fuses the immaterial and the material and considers its consequences, challenging preconceptions about architecture, its practice, purpose, matter and use.This is a useful and innovative read that encourages architects and students to think beyond established theory and practice.

This fascinating argument from Jonathan Hill presents the case for the significance and importance of the immaterial in architecture.Architecture is generally perceived as the solid, physical matter that it unarguably creates, but what of the spaces it creates? This issue drives Hill's explorative look at the immaterial aspects of architecture. The book discusses the pressures on architecture and the architectural profession to be respectively solid matter and solid practice and considers concepts that align architecture with the immaterial, such as the superiority of ideas over matter, command of drawing and design of spaces and surfaces.Focusing on immaterial architecture as the perceived absence of matter, Hill devises new means to explore the creativity of both the user and the architect, advocating an architecture that fuses the immaterial and the material and considers its consequences, challenging preconceptions about architecture, its practice, purpose, matter and use.This is a useful and innovative read that encourages architects and students to think beyond established theory and practice.

Weather Architecture further extends Jonathan Hill’s investigation of authorship by recognising the creativity of the weather. At a time when environmental awareness is of growing relevance, the overriding aim is to understand a history of architecture as a history of weather and thus to consider the weather as an architectural author that affects design, construction and use in a creative dialogue with other authors such as the architect and user.Environmental discussions in architecture tend to focus on the practical or the poetic but here they are considered together. Rather than investigate architecture’s relations to the weather in isolation, they are integrated into a wider discussion of cultural and social influences on architecture. The analysis of weather’s effects on the design and experience of specific buildings and gardens is interwoven with a historical survey of changing attitudes to the weather in the arts, sciences and society, leading to a critical re-evaluation of contemporary responses to climate change.

Weather Architecture further extends Jonathan Hill’s investigation of authorship by recognising the creativity of the weather. At a time when environmental awareness is of growing relevance, the overriding aim is to understand a history of architecture as a history of weather and thus to consider the weather as an architectural author that affects design, construction and use in a creative dialogue with other authors such as the architect and user.Environmental discussions in architecture tend to focus on the practical or the poetic but here they are considered together. Rather than investigate architecture’s relations to the weather in isolation, they are integrated into a wider discussion of cultural and social influences on architecture. The analysis of weather’s effects on the design and experience of specific buildings and gardens is interwoven with a historical survey of changing attitudes to the weather in the arts, sciences and society, leading to a critical re-evaluation of contemporary responses to climate change.

A society with no grasp of its history is like a person without a memory. This is particularly true of the history of ideas. This book is an ideal introduction to the thinkers who have shaped Christian history and the culture of much of the world. Writing in a lively, accessible style, Jonathan Hill takes us on an enlightening journey from the first to the twenty first centuries. He shows us the key Christian thinkers through the ages - ranging from Irenaeus, Origen, Augustine and Aquinas through to Luther, Wesley, Kierkegaard and Barth - placing them in their historical context and assessing their contribution to the development of Christianity.

Jonathan Hill explores how Christian thinkers, as well as selected philosophers and other religious leaders, have addressed key issues over the centuries. Considering the arguments for and against each position, he encourages readers to think the issues through for themselves in this enjoyable, discursive book. Questions include: - How can we believe in God when there is so much suffering? - Does science mean the end of religion? - Does life after death really exist? - Is freedom just an illusion? - Is there such a thing as evil? - Have we any good reason to believe in God? - What is the ultimate goal of life? - What does it mean to lead a good life?

Today Christianity is the largest religion in the world, its influence felt in every corner of the globe. But where did this religion come from? How did it take shape and formulate its beliefs? This enthralling book takes us back to the beginnings, setting us in the world of the Roman Empire and assessing the dominant philosophies of the time. How was the New Testament written and determined? How, after the first century AD, did Christianity set out on the road to an intellectually coherent account of its faith? How did it relate to the other main religion that grew up at the same time - Gnosticism. In The Crucible of Christianity, we see the battle lines drawn and understand how notions of orthodoxy and heresy emerged. We meet the key thinkers who forged Christianity out of the crucible of dispute and conflict.

Jonathan Hill's comprehensive survey covers the entire geographical sweep of Christianity as well as its 2,000 years. The main narrative is supplemented by articles on key topics by 40 international experts from the UK, US, Italy, France, Africa, Belgium, Canada, the Netherlands, Japan and Singapore. Beautifully illustrated throughout, this new flexiback edition makes it available to an even wider audience. Areas covered include: Christian beginnings; the Church Fathers; expansion to Africa and the Middle East; the Byzantine Empire; the Dark Ages; the High Middle Ages; the Reformation; Russia and the east; the new age of exploration to Africa, South and North America, India and the Far East from the 15th to 17th centuries; the Enlightenment; the age of Colonialism; the modern world.

The first 400 years after the death of Christ saw huge developments and changes in the emerging faith. Christianity spread from Jerusalem to much of the known world; it became the official religion of the British empire; its key texts were written and its core ideas and beliefs were shaped and formalized.Much of this happened under huge pressure, from both within and without. Jonathan Hill charts the fascinating history of this crucial period in the development of Christianity. He shows how and why certain ideas triumphed over others; introduces the key figures, both within the faith and among its opponents, and their intellectual struggles; covers the main battles, often bitterly fought, both of ideas and of weapons; describes the lives of ordinary Christians and their worship and how each influenced the other. Occasionally murky, often thrilling and always compelling, the story Hill tells recounts the ways in which a new religion - centred on a single man executed in the Roman Middle East - first struggled, and then spread, to become the dominant belief system of the world.

The radio has been part of home entertainment for over 75 years and generations of listeners have enjoyed their favourite music or programmes, or sat enthralled as an historic event unfolded through the radio's loudspeakers. This book explores the development of the radio from the late Victorian era until the late 1960s, including photographs of rare and unusual styles. A surprising number of early radios have survived to this day, some of which were made before broadcasting was introduced in the early 1920s, and the author discusses these old sets as well as the different and improving models over the years.

Why read about the history of Christian thought? Because, if you are Christian yourself, it helps you to understand the faith--addressing everything from where Christians got their ideas of the Trinity and how Christ can be both human and divine to what they think about issues like feminism, globalization and social justice. And because, even if you are not, all Western society has been shaped by the influence of thinkers like Augustine, Aquinas and Luther. You can't understand the world as it is without knowing something about Christian thought.Jonathan Hill has the uncanny ability to sketch portraits of his subjects--whether early church apologists, medieval doctors of the church, Reformation giants, nineteenth-century philosophical behemoths or contemporary feminist scholars--that are simultaneously lively, brief and revealing. Similarly, he ably penetrates to the nub of their thought, combining apt description with pithy quotations from their work. Significant events, councils, movements and terms are introduced and explained, which put the cast of characters in context and illumine their place within the development of Christian thought. Not content to merely describe, Hill offers pertinent assessments that highlight the strengths and weaknesses of his subjects' contributions to Christian thinking and spurs you to reflect on significant issues for yourself.A society with no grasp of its history is like a person without a memory. So Hill, in this lively and accessible introduction, offers you a wealth of insight on the history of Christian thought and the colorful personalities of those who gave it shape and form.

The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture.Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a ‘physical novelist’ as well as a ‘physical historian’. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin’s incomplete and broken forms expand architecture’s allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.

The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present and the future in a single architecture.Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a ‘physical novelist’ as well as a ‘physical historian’. Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin’s incomplete and broken forms expand architecture’s allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.

Architecture can be analogous to a history, a fiction, and a landscape. We expect a history or a novel to be written in words, but they can also be cast in concrete or seeded in soil. The catalyst to this tradition was the simultaneous and interdependent emergence in the eighteenth century of new art forms: the picturesque landscape, the analytical history, and the English novel. Each of them instigated a creative and questioning response to empiricism’s detailed investigation of subjective experience and the natural world, and together they stimulated a design practice and lyrical environmentalism that profoundly influenced subsequent centuries.Associating the changing natural world with journeys in self-understanding, and the design process with a visual and spatial autobiography, this book describes journeys between London and the North Sea in successive centuries, analysing an enduring and evolving tradition from the picturesque and romanticism to modernism. Creative architects have often looked to the past to understand the present and imagine the future. Twenty-first-century architects need to appreciate the shock of the old as well as the shock of the new.

I hope that from this book, families who implement its basic instruction can learn to become more tightly knit units and less fragmented solo and wandering pockets of individuals, before leaving this earth. I hope that people who have been parenting in the dark will allow true love to become their own repetitive ignition upon understanding the benefits that this book can allow them to create from a positive parenting experience. I hope that the children that have been victims of parents who have misunderstood correct parenting will be forgiving towards their parents now, and in the future, and not to become so damaged that upon being parents themselves, that they replicate the wrong that was done to them in application to their own children. I truly hope that truth can become accepted in the way that it should be applied, with a true, rich and meaningful coexistence between all that has been created in this universe, for the benefit of all that will reciprocate its essence!!!