Supererogation is the category of moral actions which go beyond the call of duty. This collection of articles is the first of its kind to cover the broad spectrum of issues related to supererogation. It provides an up-to-date status of the discussion on the main issues, alternative analyses, and controversies regarding central cases of supererogation. The work explores a broad range of philosophical problems and challenges our presuppositions about the basis of ethical theories. Beyond the challenges of supererogation to deontological and utilitarian views, this book presents the latest developments in the way virtue ethics approaches supererogation. It also discusses the issue of whether there is a negative analogue to the supererogatory: the suberogatory. The Handbook consists also of the first systematic discussion of supererogation from the point of view of five religions as well as a feminist analysis of the concept. The book is an essential read for philosophy scholars interested in moral philosophy.

The 1970s was a golden age for representations of African American life on TV sitcoms: Sanford & Son, Good Times, The Jeffersons. Surprisingly, nearly all the decade's notable Black sitcoms were made by a single company, Tandem Productions. Founded by two white men, the successful team behind All in the Family, writer Norman Lear and director Bud Yorkin, Tandem gave unprecedented opportunities to Black actors, writers, and producers to break into the television industry. However, these Black auteurs also struggled to get the economic privileges and creative autonomy regularly granted to their white counterparts.

Scratchin' and Survivin' discovers surprising parallels between the behind-the-scenes drama at Tandem and the plotlines that aired on their sitcoms, as both real and fictional African Americans devised various strategies for getting their fair share out of systems prone to exploiting their labor. The media scholar Adrien Sebro describes these tactics as a form of "hustle economics," and he pays special attention to the ways that Black women-including actresses like LaWanda Page, Isabel Sanford, and Esther Rolle-had to hustle for recognition. Exploring Tandem's complex legacy, including its hit racially mixed sitcom Diff'rent Strokes, he showcases the Black talent whose creative agency and labor resilience helped to transform the television industry.

Culture is at the heart of what it means to be human. But twenty-five years ago, the British government rebranded art and culture as 'creative industries', valued for their economic contribution, and set out to launch the UK as the creative workshop of a globalised world.

Where does that leave art and culture now? Facing exhausted workers and a lack of funding and vision, culture finds itself in the grip of accountancy firms, creativity gurus and Ted Talkers. At a time of sweeping geo-political turmoil, culture has been de-politicised, its radical energies reduced to factors of industrial production. This book is about what happens when an essential part of our democratic citizenship, fundamental to our human rights, is reduced to an industry.

Culture is not an industry argues that art and culture need to renew their social contract and re-align with the radical agenda for a more equitable future. Bold and uncompromising, the book offers a powerful vision for change.

This book proposes that computer games are the paradigmatic form of contemporary landscape and offers a synthesis of art history, geography, game studies and play. Like paint on canvas, the game engine is taken as the underlying medium, and using the Valve Source Engine as the primary case study, it analyses landscapes according to the technical, economic and cultural features this medium affords. It presents the single-player first-person shooter (Half-Life 2) as a Promethean safari, examines how the economics of gambling and product placement shaped the eSports landscapes of Counter-Strike and reveals how sandboxes such as Garry's Mod visualise the radical landscape of Web 2.0. This book explores how our relationship to the environment is changing, how we express this through computer games and how we can move beyond examining artistic influences on games to examining how historical connections flow through games and the history of landscape images.

This book proposes a new Ethics of Political Commemoration adapted from the Just War tradition, reflecting that remembrance is often conducted with political - and even coercive - intent. With its Ius ad Memoriam (what to commemorate) and Ius in Memoria (how to commemorate) criteria, the framework looks to guide debates that are currently inchoate so that remembrance of the past can transform relationships in the present and build a shared future. Offering a moral argument with memorable illustrations, Gutbrod and Wood draw on experiences from Armenia, Georgia, Ireland, Lebanon, and Libya, while connecting to mainstream debates in Western Europe and the United States. Bringing together an ethical tradition with the practice of conflict transformation, the framework fuses two perspectives that enrich each other. The book, in providing a first systematic presentation of the ethics, seeks to engage citizens and scholars, and help those who work to transform conflicts.

Every year around 80 million scientific procedures are carried out on animals globally. These experiments have the potential to generate new understandings of biology and clinical treatments. They also give rise to ongoing societal debate.

This book demonstrates how the humanities and social sciences can contribute to understanding what is created through animal procedures - including constitutional forms of research governance, different institutional cultures of care, the professional careers of scientists and veterinarians, collaborations with patients and publics, and research animals, specially bred for experiments or surplus to requirements.

Developing the idea of the animal research nexus, this book explores how connections and disconnections are made between these different elements, how these have reshaped each other historically, and how they configure the current practice and policy of UK animal research.

An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

This book reveals the history of the Vatican's ethnographic collections by exploring the imperial, scientific, technological, and religious agendas behind its collecting and curating practices in the early twentieth century. It focuses on two principal contributors: the academic, priest, and 'Pope's Curator', Father Wilhelm Schmidt, SVD, and the missionary and linguist, Father Franz Kirschbaum, SVD. Their narratives are embedded in a unique set of comparisons between the 'liberal humanist ideals' that underpinned the 1851 Great Exhibition, mid-nineteenth-century German museology, and the 1925 Pontifical Missionary Exhibition. It relates to the period of high colonialism and rampant missionary activity worldwide. It unravels the complicated political and ideological stance taken by the Catholic Church and its place within the science/religion debates of its time. Establishing an essential link between the secular and catholic practices of collecting and curating ethnographic objectsfrom non-Western traditions, the author proposes a broader framework for post-colonial approaches to scholarly studies of ethnographic collections, including those of the Catholic Church. This book appeals to students and scholars of anthropology, museum studies, history, art history, religion, politics, and cultural studies.

This book highlights how horror in film and television creates platforms to address distinct areas of modern-day concern. In examining the prevalence of dark tropes in contemporary horror films such as Get Out, Annabelle: Creation, A Quiet Place, Hereditary and The Nun, as well as series such as Stranger Things, American Horror Story and Game of Thrones, amongst numerous others, the authors contend that we are witnessing the emergence of a 'horror renaissance'. They posit that horror films or programmes, once widely considered to be a low form of popular culture entertainment, can contain deeper meanings or subtext and are increasingly covering serious subject matter. This book thus explores how horror is utilised as a tool to explore social and political anxieties of the cultural moment and is thus presented as a site for contestation, exploration and expansion to discuss present-day fears. It demonstrates how contemporary horror reflects the horror of modern-day life, be it political, biological, social or environmental. A vital contribution to studies of the horror genre in contemporary culture, and the effect it has on social anxieties in a threatening and seemingly apocalyptic time for the world, this is a vital text for students and researchers in popular culture, film, television and media studies.

This book explores the historical interrelationships between mathematics, medicine and media, and offers a unique perspective on how video compression has shaped our relationship with moving images and the world. It situates compression in a network of technological, visual and epistemic practices spanning from late 18th-century computational methods to the standardization of electrical infrastructure and the development of neurology throughout the 1900s.