This article uses a contemporary and revelatory case study to explore the relationship between three conversations in the innovation literature: design thinking, creativity in strategy and, the emerging area of art-thinking. Businesses are increasingly operating in a VUCA environment where they need to design better experiences for their customers and better outcomes for their firm and the Arts are no exception. Innovation, or more correctly growth through innovation, is a top priority for business and although there is no single, unifying blueprint for success at innovation, design thinking is the process that is receiving most attention and getting most traction.  Design thinking teaches businesses to think with the creativity and intuition of a designer; to show a deep understanding of; and have empathy with the user.  But design thinking has limitations. By placing the consumer at the very heart of the innovation process, design thinking can often lead to more incremental than radical ideas.  Now there is a new perspective emerging, art-thinking, in which the objective is not to design a journey from current scenario; A to improved position: B.  Art thinking requires the creation of B and spends more time in the open ended, problem space, staking out possibilities and looking for uncontested space. In Dublin, we examine a case of the oldest, largest and most prestigious fine art gallery and studio where most of the country’s best-known and successful visual artists both make, exhibit and sell their art.  Graphic Studio Dublin is primarily a printmaking studio, established by artists over 60 years ago. It has facilities for woodblock, lino-print, silkscreen, intaglio and carborundum etching spread over four floors of a centrally located studio where the artists have access 24/7.  But two years ago it found itself on the brink of collapse having borrowed heavily to invest in new facilities during the period of Ireland’s economic collapse.  Its loans were sold to a vulture-fund who were about to foreclose in a move that would have seen a generation of Irish Artists displaced.  A new board of directors was empaneled and they introduced some art thinking principles to bring the organisation back from the brink.  They used an art-thinking mindset and design thinking tools to restore the fortunes of this venerable, artist-led institution and it worked.

It is time that universities reexamine what is meant by globalization. Contemporary researchers in science and the humanities (Critchley, Chomsky, Mumford, Ostrom, Eisenstein, Ferry, Orr, Shiva, Klein, Margulis, Meadows, Capra and Tolba, just to name a few) have aptly redefined the concept of « world » as a biological and cultural ecosystem. This paper seeks ways to integrate the theory and practice of eco-citizenship into various cross-disciplinary aspects of higher education, with a focus on curricular adjustments that may be steered by World Languages and Cultures programs. While "global citizenship" is still often understood today as a form of supranational citizenship that may find its actualization through the valuable, yet often arrested efforts of the United Nations, or as the individualistic result of a neoliberal economic emancipation of markets and capital throughout the world, this notion must rather be embedded within a radically cultural, natural and ethical bedrock from which a more potent world citizenry will stem. Departments of World Languages and Cultures and cultures are ideally positioned in the academic landscape to foster the development of a greater eco-civic and biospheric awareness that can permeate new curricular orientations of universities in the US and abroad.

In this article, a critical reflection is made that involves questioning the notion of historic urban landscapes profiled in the Memorandum of Vienna (UNESCO, 2005) and the Paris Recommendation (UNESCO, 2011) as a conceptual paradigm on which to base urban conservation in the 21st century. Its limited methodological development and the assumption of change as an inherent part of the urban condition constitutes the source of many of the problems and difficulties posed by management and protection of contemporary cities, since there is no consensus as to what the acceptable limits of change should be in historic urban landscapes - difficulties that become ever more apparent, given the background of Weberian administrative doctrines present in current governance models. Likewise, the concept of Buffer Zones as a landscape management tool is analyzed, with the aim of establishing new methodological proposals that enable spatial organization to be regulated by defining areas of harmonization that are made up of flexible and multifunctional spaces for cooperation where territorial scale comes into contact with modernization of the historical fabric.

The influence of the cult television series Twin Peaks (1990-91) can be detected in a wide range of videogames, from adventure, to roleplaying to survival horror titles. While many games variously draw upon the narrative, setting and imagery of the series for inspiration, certain element of the distinctive uncanniness of Twin Peaks are difficult to translate into gameplay, particularly its ability consistently disrupt the expectations and emotional responses of its audience. This paper examines the ways in which the 2010 survival horror title Deadly Premonition attempts to replicate the uncanniness of Twin Peaks in both its narrative and gameplay, noting how it expands upon conceptualisations of the gamerly uncanny (Hoeger and Huber 2007). It contends that Deadly Premonition's awkward and uncanny recombination of seemingly inconsistent and excessive gameplay features mirrors the ways in which David Lynch and Mark Frost draw upon and subvert audience expectations for police procedurals and soap operas in the original Twin Peaks, while also providing a similarly disorienting excess of “realistic” detail. Furthermore its exploration of the theme of possession – a central element of the television series – offers a diegetic exploration of the uncanny relationship between the player and their onscreen avatar.

In The Work of the Dead: A Cultural History of Mortal Remains, Thomas Laqueur argues that the work of the dead is carried out through the living and through those who remember, honour, and mourn the dead. Further, he maintains that the brutal or careless disposal of the corpse “is an attack of extreme violence”. To treat the dead body as if it does not matter or as if it were ordinary organic matter would be to deny its humanity. From Laqueur’s point of view it is inferred that the dead are believed to have rights and dignities that are upheld through rituals, practices, and beliefs of the living. Drawing on dark tourism scholarship and cultural memory theory, this paper examines the display of human bones at Sedlec Ossuary, Czech Republic and the tourist culture that has built up around the site. Primarily, my writing calls into question the commoditization of burial places as a conceivable violation of the human rights of the dead. My research is driven by a number of questions: What is it that draws tourists to burial grounds and how do heritage sites negotiate visitor experiences? What are the ethical boundaries when a final resting place with bodies on display is also marketed as a tourist site? Do the dead have human rights and how are the living responsible for preserving those rights?

In resettlement planning literature, much has been written on economic, land valuation and compensation, infrastructure and services aspects of the land. Psychological risks and stresses of resettled communities, however, have been under-researched. The current research looks at the psychological risks of resettlers in a Development-Induced Displacement and Resettlement (DIDR) project in Sri Lanka. Focusing on the stages of resettlement planning process discussed by Scudder and Colson four-stage model (1980) and the psychological risks discussed by Cernea’s (1990) impoverishment risks and reconstruction (IRR) model. This study evaluates the significant level of the psychological risks faced by the communities in DIDR projects in Sri Lanka relating to before and after resettlement. Moragahakanda Resettlement Project (MRP) was selected as the case study which is located in Naula DS division of Matale District, Central Province, Sri Lanka. A questionnaire survey, documents and field observations were used to evaluate the current psychological risks. The responses received from multiple choice questions were analyzed by Significant Point (SP) index. The research findings point that there are no conspicuous changes of psychological risks related to before/after resettlement has occurred in re-settlers. The findings highlight that the psychological risk levels in transition stage have remained the same level in the potential development stage. This research provides a systematic guidance enabling the physical planners to prioritize the most significant psychological risks which should be considered in the decision-making process of DIDR projects.

This Special Issue of Humanities comes at a time when the viability of the humanities are challenged on numerous fronts. On the one hand, the humanities face material threats as the politics of austerity continues throughout Europe and the United States, diminishing public support and making profit margin and “job creation” the primary measure of value or the basis of state university funding decisions. On the other, the humanities face conceptual, theoretical and ethical challenges, as the emergence of post-racial and post-humanist discourses signal what Foucault called “a change in the fundamental arrangements of knowledge.” The defining boundaries of constructs such as “race” and “human” have been radically called into question, challenging us to rethink the classificatory systems that found hierarchical relationships between, for example, the “fully human” and sub-human or non-human others. Despite dominant nations’ professed commitment to a universal human rights paradigm, racialized identities are still often the targets of disenfranchisement and dehumanization, while the exploitation and destruction of the natural world continues in the name of “progress” and profits.

The African society is one of the societies with rich culture and traditions. Apart from the indigenous religion of Africa, Christianity and Islam are worshiped as the major religions of the African society. Literature reflects a great amount of influence of religions on the existing societies, people and cultures. African literature often mirrors the clash of indigenous religion with Christianity. In the writings of African authors one can find the elements of Christian beliefs and practices. The present paper, however, is focused on the African woman novelist Buchi Emecheta’s selected four novels: Second-Class Citizen (1974), The Bride Price (1976), The Slave-Girl (1977) and The Joys of Motherhood (1979). The paper attempts to discuss the impact of Christianity on the social and cultural aspects of the African society with special focus on African women. The findings reveal the positive as well as negative impacts of the new religion on African people and on the position of African women through the characters present in the selected novels. With the medium of writing and through Christianity, Emecheta seek to educate her society and improve upon the position of the African women.