Jonathan Hill

Three siblings search for their missing mother across a ruined America in this original graphic novel perfect for fans of Scott Westerfeld and Neal Shusterman. Eight years ago an earthquake—the Big One—hit along the Cascadia fault line, toppling cities and changing landscapes all up and down the west coast of the United States. Life as we know it changed forever. But for Vietnamese-American Virginia Crane, life changed shortly after the earthquake, when her mother left and never came back. Ginny has gotten used to a life without her mother, helping her father take care of her two younger brothers, Wes and Harry. But when a mysterious package arrives for her eighteenth birthday, her life is shaken up yet again. For the first time, Ginny wants something more than to survive. And it might be a selfish desire, but she's determined to find out what happened to her mother—even if it means leaving her family behind.

Odessa

Unversed is a collection of stories from 11 emerging artists that navigate unfamiliar situations and explore the growth that comes from not knowing.

A Comics Anthology

Unversed

Postscript is the third and final comics anthology published by Unversed Comics. It features 39 stories by emerging and established cartoonists focusing on the theme of 'last times'.

An Unversed Comics Anthology

Postscript

Christian Smith

Kari Christoffersen

Kyle Longest

Christian Smith, Kyle Longest, Jonathan Hill, and Kari Christoffersen examine the development of the religious and spiritual lives of American Catholic teenagers as they grow up, graduate from high school, and leave home.

Emerging Adults In, Out Of, and Gone from the Church

Young Catholic America

Adeline Chong

This is the fourth edition of this highly regarded work on the law of international commercial litigation as practised in the English courts. As such it is primarily concerned with how commercial disputes which have connections with more than one country are dealt with by the English courts. Much of the law which provides the framework for the resolution of such disputes is derived from international instruments, including recent Conventions and Regulations which have significantly re-shaped the law in the European Union. The scope and impact of these European instruments is fully explained and assessed in this new edition. The work is organised in four parts. The first part considers the jurisdiction of the English courts and the recognition and enforcement in England of judgments granted by the courts of other countries. This part of the work, which involves analysis of both the Brussels I Regulation and the so-called traditional rules, includes chapters dealing with jurisdiction in personam and in rem, anti-suit injunctions and provisional measures. The work's second part focuses on the rules which determine whether English law or the law of another country is applicable to a given situation. The part includes a discussion of choice of law in contract and tort, with particular attention being devoted to the recent Rome I and Rome II Regulations. The third part of the work includes three new chapters on international aspects of insolvency (in particular, under the EC Insolvency Regulation) and the final part focuses on an analysis of legal aspects of international commercial arbitration. In particular, this part examines: the powers of the English courts to support or supervise an arbitration; the effect of an arbitration agreement on the jurisdiction of the English courts; the law which governs an arbitration agreement and the parties' dispute; and the recognition and enforcement of foreign arbitration awards.

Commercial Conflict of Laws in English Courts

International Commercial Disputes

Drawing on the experiences of his Vietnamese American family and his love of ’80s sci-fi shows, Jonathan Hill crafts a funny, insightful graphic novel about the immigrant experience and the perils of middle school. Threatened with diminishing resources, Booger Lizk’t and his family flee their lizard community deep below Earth’s crust to survive above among humans. The Lizk’t family of Elberon now passes as the Tomkins family of Eagle Valley. “Tommy Tomkins” wears a human face to school but can’t seem to fit in no matter how he looks. The basketball team becomes a pipe dream when bullies label him a bug eater, and only Dung Tran, an immigrant from Vietnam and fellow outsider, sees Tommy for who he is inside, which is nothing like the outer-space lizard invaders on TV’s hottest series. Can their friendship survive the truth? In his first solo middle-grade book, award-winning creator Jonathan Hill perfectly captures the sometimes dystopian drama of middle school while reminding readers of the universal need for belonging.

Tales of a Seventh-Grade Lizard Boy

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

Architects and Creative Users

Actions of Architecture

Jonathan Hill charts the fascinating history of the first 400 years after the death of Christ 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.

How a Despised Sect from a Minority Religion Came to Dominate the Roman Empire

Christianity

Honored in 2006 as a "Year's Best Book for Preachers" by Preaching magazine.What has Christianity ever done for us?What value is there in seeking to preserve its influence today?In this book, Jonathan Hill answers these questions with some questions of his own. For instance, why do we seal wine bottles with cork? Where did musical notation come from? How did universities get their start? And why was the world's first fully literate society not in Europe, Asia or North America? As Hill tells the story of the centuries-long entanglement between Christianity and Western culture, he shows the profound influence that Christianity has had--from what we drink to how we speak, from how we write to how we mark the seasons. Employing a rich, narrative style packed with events and people and illustrated throughout in full color, he describes the place of Christianity both in history and in the present day.What Has Christianity Ever Done for Us? is an enlightening and often humorous tour of culture and thought, the arts, the landscape, education, society, spirituality and ethics, and social justice. Here is a rich, entertaining and informative read.

How it Shaped the Modern World

What Has Christianity Ever Done for Us?

An exhaustive guide to every significant Christian theologian who lived from the first century to 1308, the year in which John Duns Scotus died. The dictionary encompasses the Catholic, Orthodox, Nestorian and Monophysite traditions, including information not previously available in English. Thoroughly indexed, the dictionary incorporates common variants of names and concepts which will help and direct the reader. The main criterion for inclusion has been contribution to the development of Christian theology. Sub-criteria by which that is measured include, above all, originality and influence on later figures. With over 290 entries, the dictionary provides a handy summary of theologiansi lives and writings together with recent scholarship,as well as an up-to-date, definitive bibliography listing primary texts, translations and secondary literature in the major western European languages. Useful for all levels of academia; no other text matches the depth of the dictionaryis bibliographies. The unprecedented thoroughness of Hill's compilation provides an essential resource for studies at all levels on such a large and varied range of Church thinkers.

To 1308

Dictionary of Theologians

The Architecture of Ruins: Designs on the Past, Present and Futureidentifies 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. 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. 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.

Designs on the Past, Present and Future

The Architecture of Ruins

Occupying Architecture focuses on the importance of the user of architecture. It emphasises the cross-currents between design, theory and use, and the need for a wider cross-cultural approach to architecture. Beginning with the architect, the book proceeds to explore models for architectural practice that actively engage the issue of use, and concludes with examination of the user. The authors draw on illustrations and examples from London, Las Vegas, Barcelona and Bruges to discuss how and why architecture ignores the user. The apparant contradictions between the 'producer' and the 'product' of architecture are highlighted before the activities of the architect and the actions of the user are explored. This book illustrates that architecture is not just a building: it is the relation between an object and its occupant.

Between the Architect and the User

Occupying Architecture

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.

A Landscape of Architecture, History and Fiction

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.

The Forging of a World Faith

The Crucible of Christianity

The aim of this book is to expand the subject and matter of architecture, and to explore their interdependence. There are now many architectures. This book acknowledges architecture far beyond the familiar boundaries of the discipline and reassesses the object at its centre: the building. Architectural matter is not always physical or building fabric. It is whatever architecture is made of, whether words, bricks, blood cells, sounds or pixels. The fifteen chapters are divided into three sections - on buildings, spaces and bodies - which each deal with a particular understanding of architecture and architectural matter. The richness and diversity of subjects and materials discussed in this book locates architecture firmly in the world as a whole, not just the domain of architects. In stating that architecture is far more than the work of architects, this book aims not to deny the importance of architects in the production of architecture but to see their role in more balanced terms and to acknowledge other architectural producers. Architecture can, for example, be found in the incisions of a surgeon, the instructions of a choreographer or the movements of a user. Architecture can be made of anything and by anyone.

The Subject is Matter

Architecture

Anna Marmodoro

Explores the persona of the author in classical Greek and Latin authors from a range of disciplines and considers authority and ascription in relation to the authorial voice.

The Author's Voice in Classical and Late Antiquity

Brierley's Boarding School for Boys, 1930sGray - a kindly but weak teacher with a secret he cannot revealHodges - a headmaster who wields a terrifying and brutal powerKeen - a first year boy bullied viciously and mercilesslySmythe - a ringleader intent on enforcing his fagging rightsThompson - a prefect struggling just to surviveA new term opens with appalling tragedy, the repercussions of which lead to devastating consequences. The headmaster, who will stop at nothing to cover up the incident, fights for the reputation of Brierley's, while several of the school's inhabitants are left fighting for their lives.A novel of approximately 74,000 words. Readers should note that the book contains strong language, scenes of a sexual nature and adult themes.fagthenovel.comA NOTE FOR REVIEWERS: Any review mentioning the word 'fag' in its title or content will be deleted automatically by Amazon. If you wish to leave a review, please refrain from using the word. Thank you.

Each architectural design is a new history. To identify what is novel or innovative, we need to consider the present, past and future. We expect historical narratives to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The aim of this volume is to understand each design as a visible and physical history. Historical understanding is investigated as a stimulus to the creative process, highlighting how architects learn from each other and other disciplines. This encourages us to consider the stories about history that architects fabricate. An eminent set of international contributors reflect on the relevance of historical insight for contemporary design, drawing on the rich visual output of innovative studios worldwide in practice and education. Wide ranging and thought-provoking articles encompass fact, fiction, memory, time, etymology, civilisation, racial segregation and more. Features: Elizabeth Dow, Pezo von Ellrichshausen, Terunobu Fujimori, Perry Kulper, Lesley Lokko, Yeoryia Manolopoulou, Niall McLaughlin, Aisling O’Carroll, Arinjoy Sen, Amin Taha and Sumayya Vally.

The Architect as Physical Historian

Design Studio Vol. 3: Designs on History

The Architecture of Ruins: Designs on the Past, Present and Futureidentifies 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 interconnecti 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 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.

Jonathan Hill

About

Books

Join the club