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Much of the debate over sustainable development revolves around how to balance the competing demands of economic development, social well-being, and environmental protection. "Jobs vs. environment" is only one of the many forms that such struggles take. But what if the very terms of this debate are part of the problem? 'Reimagining Livelihoods' argues that the "hegemonic trio" of economy, society, and environment not only fails to describe the actual world around us but poses a tremendous obstacle to enacting a truly sustainable future.0In a rich blend of ethnography and theory, 'Reimagining Livelihoods' engages with questions of development in the state of Maine to trace the dangerous effects of contemporary stories that simplify and domesticate conflict. As in so many other places around the world, the trio of economy, society, and environment in Maine produces a particular space of "common sense" within which struggles over life and livelihood unfold. Yet the terms of engagement embodied by this trio are neither innocent nor inevitable. It is a contingent, historically produced configuration, born from the throes of capitalist industrialism and colonialism. Drawing in part on his own participation in the struggle over the Plum Creek Corporation's "concept plan" for a major resort development on the shores of Moosehead Lake in northern Maine, Ethan Miller articulates a rich framework for engaging with the ethical and political challenges of building ecological livelihoods among diverse human and nonhuman communities

Eugène Delacroix moved to rue de Furstenberg on December 28, 1857, abandoning the studio on rue Notre-Damede-Lorette, as it was too far from the Saint-Sulpice church, which he had been commissioned to decorate in 1847. Seriously ill, the artist wanted to finish his work at any cost, but he was no longer able to make a long journey every day. So he was happy to find, through his friend the color merchant and painting restorer Etienne Haro, a quiet and airy accommodation, relatively close to Saint-Sulpice. Once installed, Delacroix often expressed in his journal and in letters his contentment about his new residence: "My home is decidedly charming [...] The sight of my little garden and the laughing aspect of my studio always give me a feeling of pleasure." Eugene Delacroix lived in this apartment until his death on August 13, 1863. After his death, various tenants occupied the place until the question of whether or not to destroy the workshop arose. It was then that some painters and historians--including Maurice Denis, Paul Signac, André Joubin, Raymond Escholier, and Dr. Viau--had the idea to form the Society of Friends of Eugène Delacroix and prevent this sacrilegious destruction. In 1971, his former residence became a national museum that houses works that span Delacroix's career--including paintings, drawings, engravings, correspondence, travel artifacts from Morocco, and souvenirs from his private life.

A splendid volume showcasing Gustave Courbet, the renowned reviver of nineteenth-century French art, whose lifelike images captivate a diverse audience.