Six central topics - individuals in society, politics and power, cultural and intellectual life, religion, economics and technology - are explored in two chronological sections, 1450-1600 and 1600-1789. The text takes in Europe in its entirety, eastward to the Ottoman Empire, northward to Sweden, and southward to Portugal, includes European colonies overseas, and integrates religious, ethnic, gender, class, and regional differences. Students are encouraged to think about continuities as well as changes across this formative period and throughout the text, maps, illustrations, timelines, and textboxes of original sources and featured topics illuminate the narrative. Online resources include primary source material, music examples and regularly updated bibliographies.

    They illustrate family bonds and generational conflicts, youthful infatuation and genuine passion. Tender, ambitious, bold, and unflinching, they herald the arrival of a fresh, exciting, and lavishly talented new voice in American literature.

    Soon after the collapse of the Soviet Union, the Republic of Georgia fell prey to a series of power struggles, rampant crime and corruption, secessionist wars, and the spillover of the war in neighboring Chechenya. Journalist Goltz traces these developments with the same kind of vivid, personal narrative that made his previous books so compelling. This fast-paced, first-person account is filled with fascinating details about the ongoing struggles of this little-known region of the former Soviet Union. Featuring memorable portraits of individuals in high places and low, it traces the story from 1992 through the Rose Revolution, the resignation of Eduard Shevardnadze, and the new presidency of U.S.-educated Mikhail Saakashvili.

    Their extraordinarily detailed arts are rich in cultural symbolism; they are always breathtakingly beautiful—and they are typically made by women. Like other Amazigh (Berber) groups (but in contrast to the Arab societies of North Africa), the Ait Khabbash have entrusted their artistic responsibilities to women. Cynthia Becker spent years in Morocco living among these women and, through family connections and female fellowship, achieved unprecedented access to the artistic rituals of the Ait Khabbash. The result is more than a stunning examination of the arts themselves, it is also an illumination of women's roles in Islamic North Africa and the many ways in which women negotiate complex social and religious issues. One of the reasons Amazigh women are artists is that the arts are expressions of ethnic identity, and it follows that the guardians of Amazigh identity ought to be those who literally ensure its continuation from generation to generation, the Amazigh women. Not surprisingly, the arts are visual expressions of womanhood, and fertility symbols are prevalent. Controlling the visual symbols of Amazigh identity has given these women power and prestige. Their clothing, tattoos, and jewelry are public identity statements; such public artistic expressions contrast with the stereotype that women in the Islamic world are secluded and veiled. But their role as public identity symbols can also be restrictive, and history (French colonialism, the subsequent rise of an Arab-dominated government in Morocco, and the recent emergence of a transnational Berber movement) has forced Ait Khabbash women to adapt their arts as their people adapt to the contemporary world. By framing Amazigh arts with historical and cultural context, Cynthia Becker allows the reader to see the full measure of these fascinating artworks.

    First comes shock, then aftershock, three months of it, during which her worst fears are confirmed: The same state apparatus has duped millions of Rwandans into butchering nearly a million of their neighbors.Years earlier, her brother Lando wrote her a letter she never got until now. Urged on by it, she rummages into their farm childhood, and into family corners alternately dark, loving, and humorous. She searches for stray mementos of the lost, then for their roots. What she finds is that and more---hints, roots, of the 1994 crime that killed her family. Her narrative takes the reader on a journey from the days the world and Rwanda discovered each other back to colonial period when pseudoscientific ideas about race put the nation on a highway bound for the 1994 genocide. Seven years of full-time collaboration by two writers---and the faith of family and friends---went into this emotionally charged work. Rwanda Means the Universe is at once a celebration of the lives of the lost and homage to their past, but it's no comfortable tribute. It's an expression of dogged hope in the face of modern evil.

    Grandpa suggests they start by recycling the yoghurt pot from his breakfast, putting his banana peel in the compost pile, and hanging the washing to dry in the sun. A bike trip to the recycling bank, charity shop and local farmers' market show how recycling and re-using materials, and using less petrol and local produce can really help save the world. George even gets a favourite toy fixed!