Child of materialism and positivism, Courbet was without a doubt one of the most complex painters of the nineteenth century. Symbolising the rejection of traditions, Courbet did not hesitate to confront the public with the truth by liberating painting of conventional rules. He became from then on the leader of pictorial realism.

Gholam Mortiza Khan comes to Brüsel to sell some jewelry, but before the sale can be closed, Khan dies in an accident. Thus begins events sparking an investigation by Mary von Rathen: accumulation of sand in the apartment of Kristin Antipova; accumulation of stones in the house of Constant Abeels and Maurice who is loosing weight by the day. The events have a catastrophic effect on Brüsel and time is of the essence. Newly translated into English by Ivanka Hahnenberger and Steve Smith, and edited by Steve Smith (translator of The Leaning Girl and The Beauty) and Karen Copeland at Alaxis Press for publication by IDW.

The Cambridge Yearbook of European Legal Studies provides a forum for the scrutiny of significant issues in EU Law, the law of the European Convention on Human Rights, and Comparative Law with a 'European' dimension, and particularly those issues which have come to the fore during the year preceding publication. The contributions appearing in the collection are commissioned by the Centre for European Legal Studies (CELS) Cambridge, a research centre in the Law Faculty of the University of Cambridge specialising in European legal issues. The papers presented are at the cutting edge of the fields which they address, and reflect the views of recognised experts drawn from the University world, legal practice, and the institutions of both the EU and its Member States. Inclusion of the comparative dimension brings a fresh perspective to the study of European law, and highlights the effects of globalisation of the law more generally, and the resulting cross fertilisation of norms and ideas that has occurred among previously sovereign and separate legal orders. The Cambridge Yearbook of European Legal Studies is an invaluable resource for those wishing to keep pace with legal developments in the fast moving world of European integration. INDIVIDUAL CHAPTERS Please click on the link below to purchase individual chapters from Volume 13 through Ingenta Connect: www.ingentaconnect.com SUBSCRIPTION TO SERIES To place an annual online subscription or a print standing order through Hart Publishing please click on the link below. Please note that any customers who have a standing order for the printed volumes will now be entitled to free online access. www.hartjournals.co.uk/cyels/subs Editorial Advisory Board: Albertina Albors-Llorens, John Bell, Alan Dashwood, Simon Deakin, David Feldman, Richard Fentiman, Angus Johnston, John Spencer Founding Editors: Alan Dashwood and Angela Ward Ius Commune Prize 2012 Alexandre Saydé wrote Chapter 15 in this volume entitled: 'One Law, Two Competitions: An Enquiry into the Contradictions of Free Movement Law' and we are delighted to announce that he has been awarded the Ius Commune Prize 2012.

It has often been argued that the arrival of the early-20th-century avant-gardes and modernisms coincided with an in-depth exploration of the materiality of art and writing. The European historical avant-gardes and modernisms excelled in their attempts to establish the specificity of media and art forms as well as in experimenting with the hybridity of the materials of their multiple disciplines. This third volume of the series European Avant-Garde and Modernism Studies sheds light on the full range and import of this aspect in avant-garde and modernist aesthetics across all art forms and throughout the 19th and 20th centuries. The book’s contributions, written by experts from some 20 countries, seek to answer the following questions: What sort of objects and material, works and media help us to properly grasp the avant-garde and modernist “aesthetics of matter”? How were affects, emotions and sensory and bodily experiences transferred and transformed in the experiment with matter? How were “immaterial” things such as concepts of time changed in this aesthetic moment? What “material meanings” were disseminated in the cultural transfer and translation of objects? How did subsequent avant-gardes deal with the “aesthetics of matter” in their response to historical predecessors?

It was with no definite purpose of writing a series of Notes on the Minor Prophets as a whole, that I first began to take up various books of the twelve, in monthly installments in HELP AND FOOD FOR THE HOUSEHOLD OF FAITH. But after penning some notes on Habakkuk, Jonah, and Obadiah, I found my own soul helped, and an interest developed in the further study of these much-neglected portions of Scriptures, and so took up Hosea and the books following. I have sought to press their practical application as giving important teaching for a remnant people in a day of decline, while not neglecting their dispensational bearing. This, I am persuaded, is what is greatly needed at the present moment. If God be pleased to use the Notes for the stirring of His people's consciences and the comfort of their hearts, the desired end will be realized. H. A. IRONSIDE.