How to Make Money as a Mediator (and Create Value for Everyone) is an invaluable and inspirational resource filled with practical, proven, and down-to-earth information on how you can develop a satisfying and lucrative career as a mediator, no matter what your area of interest—labor and employment mediation, intellectual property, environment, personal injury, family and divorce, contract, securities, or international peacekeeping.
How to Make Money as a Mediator (and Create Value for Everyone) is an invaluable and inspirational resource filled with practical, proven, and down-to-earth information on how you can develop a satisfying and lucrative career as a mediator, no matter what your area of interest—labor and employment mediation, intellectual property, environment, personal injury, family and divorce, contract, securities, or international peacekeeping.
For nineteenth-century Eastern European Jews, modernization entailed the abandonment of arranged marriage in favor of the "love match." Romantic novels taught Jewish readers the rules of romance and the choreography of courtship. But because these new conceptions of romance were rooted in the Christian and chivalric traditions, the Jewish embrace of "the love religion" was always partial. In The Marriage Plot, Naomi Seidman considers the evolution of Jewish love and marriage though the literature that provided Jews with a sentimental education, highlighting a persistent ambivalence in the Jewish adoption of European romantic ideologies. Nineteenth-century Hebrew and Yiddish literature tempered romantic love with the claims of family and community, and treated the rules of gender complementarity as comedic fodder. Twentieth-century Jewish writers turned back to tradition, finding pleasures in matchmaking, intergenerational ties, and sexual segregation. In the modern Jewish voices of Sigmund Freud, Erica Jong, Philip Roth, and Tony Kushner, the Jewish heretical challenge to the European romantic sublime has become the central sexual ideology of our time.
The Bodies of Others is about how we came to the harrowing civilizational crossroads at which we find ourselves - engaged in a war against vast impersonal forces with limitless power over our lives and which threaten the freedoms we have always taken for granted. In her most provocative book yet, Dr. Naomi Wolf shows how these forces—from Big Tech and Big Pharma to the CCP and our oligarchical elites—seized upon two years of COVID-19 panic in sinister new ways, to not only undermine our Republic but to fundamentally reorient human relations. Their target is humanity itself. Their end goal is to ensure that our pre-March 2020 world is gone forever. Irretrievable. To be replaced with a world in which all human endeavor—all human joy, all human fellowship, all human advancement, all human culture, all human song, all human drama, all worship, all surprise, all flirtation, all celebration—is behind a digital paywall. A world in which we will all have to ask technology's permission to be human. But we, the people of the world, did not vote to abandon our old systems and destroy our old ways so absolutely they could never be recovered. And Wolf shows how, against overwhelming odds, we still might win.
Lady Mary Wroth (c. 1587-1653) wrote the first sonnet sequence in English by a woman, one of the first plays by a woman, and the first published work of fiction by an Englishwoman. Yet, despite her status as a member of the distinguished Sidney family, Wroth met with disgrace at court for her authorship of a prose romance, which was adjudged an inappropriate endeavor for a woman and was forcibly withdrawn from publication. Only recently has recognition of Wroth's historical and literary importance been signaled by the publication of the first modern edition of her romance, The Countess of Mountgomeries Urania. Naomi Miller offers an illuminating study of this significant early modern woman writer. Using multiple critical/theoretical perspectives, including French feminism, new historicism, and cultural materialism, she examines gender in Wroth's time. Moving beyond the emphasis on victimization that shaped many previous studies, she considers the range of strategies devised by women writers of the period to establish voices for themselves. Where previous critics have viewed Wroth primarily in relation to her male literary predecessors in the Sidney family, Miller explores Wroth's engagement with a variety of discourses, reading her in relation to a broad range of English and continental authors, both male and female, from Sidney, Spenser, and Shakespeare to Aemilia Lanier, Elizabeth Cary, and Marguerite de Navarre. She also contextualizes Wroth's writing in relation to a variety of nonliterary texts of the period, both political and domestic. Thanks to Miller's sensitive readings, Wroth's writings provide a lens through which to view gender relations in the early modern period.
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