Forensic psychiatry, of all the specialties in medicine, needs its own strong academic core. Academic forensic psychiatry is founded in scientific research, with its systematic approach to making and recording observations, formulating hypotheses from them, testing those hypotheses with new observations and accumulating the most comprehensive picture possible in a way that is transparent and replicable. An academic approach supports application of scientific principles as strongly in the individual case as in developing relevant collective knowledge, is able to make links between them and can communicate all this effectively within and outside the specialty. This requires highly developed and defined specialist training. Academic forensic psychiatry in this sense is the business of all forensic psychiatrists. In order for forensic psychiatry to thrive, however, it is vital that some forensic psychiatrists further specialise in academic work in terms of additional training, time and immersion in skills that support accurate scientific questioning and testing and, ultimately, the capacity to innovate and keep this cycle active.

As Chapter 5 details, the theatrical promise of courtliness, prestige, and technological innovation attracted talented men and women who sought careers as dramatists. The duopoly, however, severely limited their opportunities, as did the ever growing backlog of old plays. After 1682, only one company remained to which they could sell their product, and overburdened payrolls consumed budgets that could otherwise be spent on new play development. Dramatists thus found themselves in the contradictory position of, on the one hand, affecting the gentility necessary for belonging to this exclusive cultural enterprise, and, on the other, chasing after diminishing opportunities like any common hack. And, finally, the theatre’s embrace of luxury and innovation made scarce another limited resource over which dramatists now competed: sumptuous scenic effects to adorn their scripts. By the end of the century, so deeply felt was disaffection with working conditions that few literary-minded writers took up drama as a profession, thereby establishing a pattern that would continue well into the eighteenth century.

Returning to some of the themes addressed in Chapter 3, this final chapter considers the wider social responsibilities of archaeologists working in southern Africa in the twenty-first century. Matters discussed include gender and racial equity within the discipline itself (especially with respect to South Africa), how best to relate the work done by archaeologists to the wider public, heritage management and conflicts over this (including the restitution of cultural sites, property, and human remains), the roles of contract archaeology, university teaching departments, and museums, the importance of publication, and the potential for developing post-colonial approaches to the interpretation of archaeological evidence. In highlighting possible future research trends, the chapter concludes by emphasising the need for work that is both intellectually sound and socially engaged and by reiterating the global significance of southern Africa’s immensely long and varied archaeological record.

As an archive, the Anne Lister diaries are an extraordinary tale of survival, in that the diaries came close to being destroyed and their coded content was kept hidden until Helena Whitbread, an independent scholar from Halifax, published the first coded extracts with Virago Press in 1988. Gonda’s interview follows Whitbread’s journey of discovery into the coded sections of the diaries and the laborious process of decrypting the diaries by hand, before computers had become generally available. As Whitbread delved deeper into the Lister archive, her sense of its importance increased exponentially and she began to understand the need to have coded extracts from the diaries published as a book available to the public. Whitbread then published a second volume of extracts in 1992 and she discusses what made her decide to focus on Lister’s intimate relationships in the vast five-million-word archive available to her. Currently working on an Anne Lister biography, Whitbread shares her own affective relationship with the Lister diaries over the years and responds to the unprecedented fame Lister has achieved in part as a result of the Gentleman Jack series. This has included key transformations in Whitbread’s own public life as one of the founders of Lister scholarship.

To survive and prosper, researchers must demonstrate a successful record of publications in journals well-regarded by their fields. This chapter discusses how to successfully publish research in journals in the social and behavioral sciences and is organized into four sections. The first section highlights important factors that are routinely involved in the process of publishing a paper in refereed journals. The second section features some factors that are not necessarily required to publish a paper but that, if present, can positively influence scientific productivity. The third section discusses some pitfalls scholars should avoid to protect their scientific career. The last section addresses general publication issues within the science community. We also recommend further resources for those interested in learning more about successfully publishing research.

Article 102 of the UN Charter requires that every treaty shall be registered with the UN Secretariat, and published by it. Over 75,000 treaties have now been registered. The UN General Assembly has drawn up detailed regulations on registration, which the chapter summarises. It also explains the documents which should be submitted to the UN Treaty Section to register a treaty. Where there is a dispute as to whether an instrument is a treaty, the fact that it has been submitted for registration may be evidence of the intention of the states concerned as to its status. But registration is not of itself conclusive of its status. The UN publishes treaties which have been registered in the UN Treaty Series. Each state will also usually have its own treaty series, in which treaties which it has signed or to which it is a party are published. Examples are the UK Treaty Series (UKTS) and the Treaties and Other International Acts (TIAS) of the United States.

Molière’s publishing career highlights the ambiguities and eccentricities of the early modern Parisian book trade, while also demonstrating the author’s concern for his plays’ passage from stage to page. While Molière was initially victimised by unscrupulous booksellers, he eventually became an able participant in the publication process, capable of exploiting print’s possibilities to his own advantage. His career can be roughly divided into three phases: his early and ultimately successful battles against pirated editions that led to a stable publishing approach; his mid career rupture with his initial publishers and the resultant search for new partners; and his subsequent collaboration with Jean Ribou, including the alternative publication measures taken as a result of Ribou’s continued legal troubles. While on occasion Molière disavowed an interest in publication rhetorically, his actual practice reveals an author invested in the circumstances of his works’ printing and inventive in his interactions with Parisian publishers, in some instances even outmanoeuvring the professionals of the book trade. Working in an era prior to modern copyright protections, Molière learned to use publication, the royal privilege system, and personal notoriety to ensure ownership and control over his theatrical corpus.

This new collection enables students and general readers to appreciate Coleridge’s renewed relevance 250 years after his birth. An indispensable guide to his writing for twenty-first-century readers, it contains new perspectives that reframe his work in relation to slavery, race, war, post-traumatic stress disorder and ecological crisis. Through detailed engagement with Coleridge’s pioneering poetry, the reader is invited to explore fundamental questions on themes ranging from nature and trauma to gender and sexuality. Essays by leading Coleridge scholars analyse and render accessible his extraordinarily innovative thinking about dreams, psychoanalysis, genius and symbolism. Coleridge is often a direct and gripping writer, yet he is also elusive and diverse. This Companion’s great achievement is to offer a one-volume entry point into his incomparably rich and varied world.

This new collection enables students and general readers to appreciate Coleridge’s renewed relevance 250 years after his birth. An indispensable guide to his writing for twenty-first-century readers, it contains new perspectives that reframe his work in relation to slavery, race, war, post-traumatic stress disorder and ecological crisis. Through detailed engagement with Coleridge’s pioneering poetry, the reader is invited to explore fundamental questions on themes ranging from nature and trauma to gender and sexuality. Essays by leading Coleridge scholars analyse and render accessible his extraordinarily innovative thinking about dreams, psychoanalysis, genius and symbolism. Coleridge is often a direct and gripping writer, yet he is also elusive and diverse. This Companion’s great achievement is to offer a one-volume entry point into his incomparably rich and varied world.

How do you read a patent and what subject matter is patentable? What is the purpose of a patent? Who is an inventor on the patent if work is done by many people on the project? What is the process of obtaining a patent in my country and globally? Read this chapter to see how you could lose commercialization rights to your own invention. When exactly does an invention or idea become patentable? Once you own a patent, how can you make money from it? What is the process of licensing and the key terms that should be negotiated in such a license agreement? What is the use of a copyright or a trade secret in biotech? What exactly constitutes patent infringement ? These questions and many others are addressed in this chapter on intellectual property.

Publishing short stories: writing websites, print periodicals, competitions. Submission tips. The relationship between agents and editors. How editors make decisions. Targeting and pitching a novel. Understanding and getting value from rejection. Holding your nerve. The writing life: a place to work; a time to work; keeping a notebook; finding a community of writers. Writer’s block and how to avoid it. Set achievable goals. The pleasures of writing.

‘If we believe we’ve said everything we want to say we may as well give up writing. Everything we write is an adventure, an attempt at mastering what we might never quite conquer. You’ve finished when you know you’ve done everything you can to make it as true and good as it can be.’

Chapter 5, “Information Wars,” is the opening case study of four intelligentsia-built resistance systems, which consider how the intelligentsia responded to Nazi persecution with projects bent on maintaining national traditions and rebuilding a Polish state. It examines the one that undergirds the rest: underground information creation and trafficking that kept the elite connected and funneled news into and out of the city. In response to the closure of Polish-language press, radio bookstores, and libraries, a number of educated Poles created an underground world of secret newsletters and journals to keep the city informed about occupier behavior and the circumstances of the wider war. This project involved entangled networks of individuals who were brutally punished if caught, and the work of writing, editing, couriering, and reading underground press initiated many Varsovians into anti-Nazi “conspiracies.” Information sourced in the occupied city was not merely for local consumption but was painstakingly smuggled out by a sprawling network of Polish and international couriers toting encrypted information to the states of the Grand Alliance. This chapter argues that the ability of Poles in Warsaw to counter Nazi propaganda narratives with their own information was essential to all later successful opposition.

In Chapter 10, I discuss the moral context of research interpretation and reporting. I describe interpretation as the constitution of evidence within an epistemic frame characterized by the totality of (always at least partly moral) commitments underlying analytic choices. These analytic choices include those concerning what is worthy of study, what kinds of methods and forms of evidence are considered acceptable, and what kinds of claims are warrantable. I also emphasize the ways that evidence is not merely gathered nor reported, but constituted within a rhetorical and political context. In the latter half of the chapter, I discuss the moral affordances of research reporting, focusing on questions of fairness, honesty, representation, and other considerations involved in report authoring. I focus specifically on questions of: collaboration and credit; style and representation; venue, availability, and audience; submission, editorial, and revision; and the dissemination and use of research reports.

This chapter focuses on an important work of Angelo Poliziano, called Lamia. In it, Poliziano does two things relevant to the humanities today: he offers a new way of thinking about the enterprise of philosophy as it was understood since antiquity – the search for human wisdom and a wise style of life. In doing so, he suggests that academic philosophy as practiced in universities is not enough in the project of gaining wisdom and living wisely. Second, he suggests that philology – the deep, borderless reading of texts – represents a master discipline and one that is in fact more in line with philosophy’s authentic mission. Poliziano makes his most trenchant points by using narratives and fables, rather than syllogistic argumentation. In so doing, he makes a case for philology as an overarching discipline of disciplines and sets forth a new way of looking at philosophy

This chapter focuses on the philosopher René Descartes. While Descartes is often seen as the initiator of modern habits of thinking – especially of the idea that the mind and body are distinct – here we view him as an outgrowth of Italian humanism. Descartes was educated by the Jesuits, at the time a new but influential religious order. From them, he imbibed Italian humanism’s respect for antiquity, its deep commitment to classical Latin, and most importantly its sometimes unarticulated through-line: that, to look at the world clearly, one needs to imagine oneself outside of it. But the Jesuits added something to Italian humanism: a deep respect for medieval Catholic theology, something that Descartes also took on board. His humanist education left him dissatisfied, however, laden with a feeling that it was not enough to establish a sure foundation on which could build a new way of looking at the natural world. Accordingly, he jettisoned the world of books, texts, and philology, grounding his perceptions of truth in the only thing about which he could be absolutely certain: that he existed. It is with Descartes that we can locate the beginnings of the modern separation of disciplines, as “natural philosophy” evolved into our modern natural sciences and separated itself from “philosophy” broadly conceived.

This chapter thinks through the presence and absence of drama and performance within Asian American literary studies. It highlights disciplinary intersections between Asian American literary studies and theater and performance studies by attending to the ways in which Asian American performance has been strategically collected as archives, from anthologies to repositories housed in universities, libraries, and theater companies. Such attention to the dramatic archive foregrounds a retrospective analysis of Asian American plays and performance, and, in its singular vision, is incomplete. In considering these archives, the chapter foregrounds the remains of Asian American performance to hold together both archive and repertoire, through its inter(in)animation, as sites of knowledge making, transmission, and Asian American subject formation. The chapter traces the performance and publication histories of plays collected in three canonical anthologies and ends with a close reading of Genny Lim’s Paper Angels. To recollect Asian American performance is to look again and against the collection of Asian American performance.