Hailed for its scientific analysis and poetic grace when it was first published in 1952, the book remains a vital force today.

    Featuring two of Chomsky's most popular and enduring books in one omnibus volume, On Language contains some of the noted linguist and political critic's most informal and accessible work to date, making it an ideal introduction to his thought.In Part I, Language and Responsibility (1979), Chomsky presents a fascinating self-portrait of his political, moral, and linguistic thinking through a series of interviews with Mitsou Ronat, the noted French linguist. In Part II, Reflections on Language (1975), Chomsky explores the more general implications of the study of language and offers incisive analyses of the controversies among psychologists, philosophers, and linguists over fundamental questions of language.

    Claiming Disability captures this moment in the first comprehensive examination of disability studies as a field of inquiry. Arguing that disability studies takes for its subject matter not simply the variations that exist in human behavior, appearance, functioning, sensory acuity, and cognitive processing, but the meaning we make of those variations, this work offers both a passionate challenge to status quo definitions of disability and a methodology for reexamining it.

    Misogyny encompasses the Church, witch hunts, sexual theory, Nazism, pro-life campaigners, and finally, today's developing world, where women are increasingly and disproportionately at risk because of radicalized religious beliefs, famine, war, and disease. Extensively researched, highly readable and provocative, this book chronicles an ancient, pervasive and enduring injustice. The questions it poses deal with the fundamentals of human existence — sex, love, violence — that have shaped the lives of humans throughout history, and ultimately limn an abuse of human rights on a nearly unthinkable scale.

    This study concentrates on incorporated practices and provides an account of how these things are transmitted in and as traditions. The author argues that images and recollected knowledge of the past are conveyed and sustained by ritual performances, and that performative memory is bodily. This is an essential aspect of social memory that until now has been badly neglected.

    An examination of the Scientific Revolution that shows how the mechanistic world view of modern science has sanctioned the exploitation of nature, unrestrained commercial expansion, and a new socioeconomic order that subordinates women.

    He argues that the development of communication media has transformed the spatial and temporal constitution of social life, creating new forms of action and interaction which are no longer linked to the sharing of a common locale. The consequences of this transformation are far-reaching and impinge on many aspects of our lives, from the most intimate aspects of personal experience and self-formation to the changing nature of power and visibility in the public domain.Combining breadth of vision with sensitivity to detail, this book situates the study of the media where it belongs: among a set of disciplines concerned with the emergence, development and structural characteristics of modern societies and their futures.

    In Music as Social Life, Thomas Turino explores why it is that music and dance are so often at the center of our most profound personal and social experiences. Turino begins by developing tools to think about the special properties of music and dance that make them fundamental resources for connecting with our own lives, our communities, and the environment. These concepts are then put into practice as he analyzes various musical examples among indigenous Peruvians, rural and urban Zimbabweans, and American old-time musicians and dancers. To examine the divergent ways that music can fuel social and political movements, Turino looks at its use by the Nazi Party and by the American civil rights movement. Wide-ranging, accessible to anyone with an interest in music’s role in society, and accompanied by a compact disc, Music as Social Life is an illuminating initiation into the power of music.

    But for some reason they choose to ignore those guidelines and churn out turgid, pompous, and obscure prose. Distinguished sociologist Howard S. Becker, true to his calling, looks for an explanation for this bizarre behavior not in the psyches of his colleagues but in the structure of his profession. In this highly personal and inspirational volume he considers academic writing as a social activity.Both the means and the reasons for writing a thesis or article or book are socially structured by the organization of graduate study, the requirements for publication, and the conditions for promotion, and the pressures arising from these situations create the writing style so often lampooned and lamented. Drawing on his thirty-five years' experience as a researcher, writer, and teacher, Becker exposes the foibles of the academic profession to the light of sociological analysis and gentle humor. He also offers eminently useful suggestions for ways to make social scientists better and more productive writers. Among the topics discussed are how to overcome the paralyzing fears of chaos and ridicule that lead to writer's block; how to rewrite and revise, again and again; how to adopt a persona compatible with lucid prose; how to deal with that academic bugaboo, "the literature." There is also a chapter by Pamela Richards on the personal and professional risks involved in scholarly writing.In recounting his own trials and errors Becker offers his readers not a model to be slavishly imitated but an example to inspire. Throughout, his focus is on the elusive work habits that contribute to good writing, not the more easily learned rules of grammar and punctuation. Although his examples are drawn from sociological literature, his conclusions apply to all fields of social science, and indeed to all areas of scholarly endeavor. The message is clear: you don't have to write like a social scientist to be one.

    In this elegant, witty, and ultimately profound meditation on what is beautiful, Crispin Sartwell begins with six words from six different cultures - ancient Greek's "to kalon," the Japanese idea of "wabi-sabi," Hebrew's "yapha," the Navajo concept "hozho," Sanskrit "sundara," and our own English-language "beauty." Each word becomes a door onto another way of thinking about, and looking at, what is beautiful in the world, and in our lives. The earthy and the exalted, the imperfect and the ideal: things, spaces, high art, sounds, aromas, nothingness. Sartwell writes about handfuls of beautiful things - among them, a Japanese teapot and Diana Rigg as Mrs. Emma Peel, the pleasure in a well-used hammer and in pop music and in Vermeer's "Girl in a Red Hat."In Sartwell's hands these six names of beauty -and there could be thousands more-are revealed as simple and profound ideas about our world and our selves.

    'For the specialist in the study of narrative structure, this is a solid and very perceptive exploration of the issues salient to the telling of a story-whatever the medium. Chatman, whose approach here is at once dualist and structuralist, divides his subject into the 'what' of the narrative (Story) and the 'way'(Discourse)... Chatman's command of his material is impressive.'

    Portraying indigenous researchers as knowledge seekers who work to progress indigenous ways of being, knowing, and doing in a constantly evolving context, this examination shows how relationships both shape indigenous reality and are vital to reality itself. These same knowledge seekers develop relationships with ideas in order to achieve enlightenment in the ceremony of maintaining accountability. Envisioning researchers as accountable to all relations, this overview proves that careful choices should be made regarding selection of topics, methods of data collection, forms of analysis, and the way in which information is presented.

    In On Being Certain, neurologist Robert Burton challenges the notions of how we think about what we know. He shows that the feeling of certainty we have when we know something comes from sources beyond our control and knowledge. In fact, certainty is a mental sensation, rather than evidence of fact. Because this feeling of knowing seems like confirmation of knowledge, we tend to think of it as a product of reason. But an increasing body of evidence suggests that feelings such as certainty stem from primitive areas of the brain, and are independent of active, conscious reflection and reasoning. The feeling of knowing happens to us; we cannot make it happen. Bringing together cutting edge neuroscience, experimental data, and fascinating anecdotes, Robert Burton explores the inconsistent and sometimes paradoxical relationship between our thoughts and what we actually know. Provocative and groundbreaking, On Being Certain, will challenge what you know (or think you know) about the mind, knowledge, and reason.

    Beginning at the time of Alexander the Great, the monsters come fast and furious--Behemoth and Leviathan, Gog and Magog, Satan and his demons, Grendel and Frankenstein, circus freaks and headless children, right up to the serial killers and terrorists of today and the post-human cyborgs oftomorrow. Monsters embody our deepest anxieties and vulnerabilities, Asma argues, but they also symbolize the mysterious and incoherent territory beyond the safe enclosures of rational thought. Exploring sources as diverse as philosophical treatises, scientific notebooks, and novels, Asma unravelstraditional monster stories for the clues they offer about the inner logic of an era's fears and fascinations. In doing so, he illuminates the many ways monsters have become repositories for those human qualities that must be repudiated, externalized, and defeated.

    Written with a very funny and riveting honesty as only a person with the illness can do, Bipolar Happens! offers practical knowledge and deep insights into what it is like to live with bipolar disorder.Compelling, insightful and never afraid to tell the truth , many of Julie’s readers credit this book as being their personal catalyst for change. “When I read this book I actually felt that someone really understood me, and it made me feel hope for the first time since my diagnosis. I didn’t know what it meant to be psychotic or why I got overwhelmed a lot in crowds. I learned how to manage mania much better than in the past. And now I can see that I’m not the only one who wakes up with depression. Julie is funny and so willing to say what many people won’t. This book talks about the stuff we go through that never gets put into books. The book is like reading fables. It’s not overwhelming, but you really learn a lot.”