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Over the past century, the rate of sea level rise (SLR) has increased more than twice the average historical rate and the US Environmental Protection Agency estimates that by 2100 the sea level will increase nearly two feet in many coastal areas. Property owners and municipalities typically respond to SLR by constructing seawalls and similar structures to protect shoreline property (a practice known as “armoring”). The degree to which SLR and armoring threaten key coastal habitats has not been well studied, however. This study, aims to develop an inundation model on behalf of Stratus Consulting to examine anticipated habitat changes in coastal Ocean County, New Jersey.

The model used a geographical information system to map predicted changes in coastal habitats under two alternative SLR scenarios and six different shoreline armoring scenarios. The paper then used information from local experts and the scientific literature to predict changes in the relative abundances of fish and bird species under the different scenarios.

Under all scenarios, the model predicted substantial declines in the areal extent of Spartina marshes and in the annual production of finfish and shrimp. Declines in these marsh‐dependent species would have significant impacts on commercial and recreational fisheries. The study also predicted substantial declines in bird species such as songbirds and dabbling ducks.

The results of the study can help local stakeholders and decision‐makers plan responses to SLR. Conventional armoring responses could result in substantial and irreversible losses of coastal habitats and the species dependent on these habitats.

The narrative of The Americans weaves together a spy thriller and a family drama, though it drives home the inseparability of the political and the personal through the lives of the central characters, Philip and Elizabeth, a couple whose marriage is a cover for their work as Soviet spies. This chapter provides a queer reading of their marriage, drawing from the real history of the Cold War politics of sexuality that associated American values with the hetero- and gender normative, white, and middle-class nuclear family. In contrast, the Soviet Union was understood to have disrupted this natural order by installing the state as an overbearing patriarch. Philip and Elizabeth’s fictional cover as a nuclear family requires them to perform American marriage, family, and selfhood. In doing so, they reflect the centrality of the family in America’s Cold War self-image in which the family serves as the anchor of the American order, enabling economic and political self-sufficiency. Their performance of the family challenges our ability to differentiate between real, authentic family that can serve as the legitimate source of social reproduction and between the counterfeit, fake family that disrupts the social order. The queer family, refusing to be placed beyond realm of the political by the moral language of family values, subverts our ability to distinguish between genres since the family drama is already a political thriller.

This piece argues that television families’ shift away from the traditional nuclear family form is crucial to understand the relatively rapid acceptance of same-sex marriage in mainstream politics. Released in the early 2010s, The Americans focusses on a KGB-created family composed of two Soviet spies, total strangers who ultimately have two children to further their cover as an innocent American family running a DuPont Circle travel agency and living in a Virginia suburb of Washington D.C. Rather than being idealised or sought after, The Americans reveals that the nuclear family is legally, socially, and politically constructed, and, in the end, doomed to failure. Sex and love and even children are instrumentally manipulated on a regular basis to further political goals, transforming basic assumptions about how marriage and family life really work beyond the façade of suburban America. This opens space for consideration and acceptance of alternative family forms, including same-sex marriage.

Reading the political and the familial in The Americans illuminates central features of the New Right. In particular, The Americans provides an opportunity to reconsider the significance of the ‘pro-family’ label to New Right organising, the importance of mothering to the ‘pro-family’ narrative offered by the New Right, and the relationship between this account of mothering and democratic citizenship more broadly. This paper argues: first, the ‘pro-family’ label served to weaponise American families against equality and egalitarian public institutions; second, that this weaponisation of the family was accomplished through a rhetorical and real elevation of the moralised work of mothers in the home; and third, this account of mothering is incompatible with democratic citizenship not only because it reproduces inequality but also because it presents families, particularly mothers, as surrounded by enemies. Surrounded by enemies, their children appear endangered or dangerous should they become products of enemy forces. The pro-family rhetoric of the New Right – with its emphasis on the labour of women, particularly mothers – concealed an insurgent factional bid for power just as the Jennings family concealed an insurgent operation inside the United States. The displacement of law in The Americans mirrors the displacement of law in American conservative politics in the 1980s and law’s replacement by the ideal of sanctified families that the guard republic. The Americans both recognises this reversal in American conservative politics and parodies the reversal of the idea that law protects the family.

As a major concept in sociological theory, estrangement can be understood through a diversity of theoretical lenses. However, there is a tendency among sociologists to identify the idea of estrangement with a version of alienation. In this chapter, I counter this tendency to reduce estrangement to one of its conceptual possibilities. To provide a theoretical analysis of estrangement, I first examine the classical views of the issue. I argue that classical theories – both critical and interpretive – fail to theorize sufficiently self-estrangement, a dimension of the concept that remains underexplored. Thus, I move beyond classical sociology to reconstruct the idea of self-estrangement, drawing on more recent interpretive and critical theories, especially theories of social interaction and the self. Specifically, I discuss several interactional forms of self-estrangement, and the connection between self-estrangement, institutional contexts, emotions and the body. Finally, I consider this concept in the context of civil society. This discussion demonstrates the merits of a focus on self-estrangement applied to the study of political exclusion.

A strange phenomenon among women writers of the late eighteenth century, both conservative and liberal minded, was the predominance of female villains in their novels. While this can be seen as an after-effect of masculine patriarchal discourse, particularly for those women writers who possessed a more religious-based ideology, why was it prevalent among feminist writers of the time who should have been aware of misogynistic stereotypes? Two such writers who emulated this strange paradox were Mary Robinson and Charlotte Smith. Both these women had been vilified by the Anti-Jacobin British 18th press as notorious and corrupt ‘female philosophers’ who followed in the footsteps of Mary Wollstonecraft. This chapter will conduct a historical feminist close comparative reading of Robinson's novel, Walsingham, and Smith's novel, The Young Philosopher, based on feminist scholarship on eighteenth-century female writers. It will examine how the female villains in the novels overpowered even the male antagonists and were often the cause behind the misfortunes, directly or indirectly, of the heroines/heroes. While these villains did serve as warnings against inappropriate behaviour, they illustrated the disaster for women when there is a lack of female community. Specifically, in the case of Robinson, her Sadean villains illustrated that no one is spared from the corruption of power and that the saintly female figure is nothing but an illusion of the male imagination. They were fallen Lucifers, rebels who relished in their freedom and power despite their damnation and punishment. The patriarchal system was temporarily demolished by them.