But is that really true? This important book takes readers behind the closed doors of elite employers to reveal how class affects who gets to the top. Friedman and Laurison show that a powerful ‘class pay gap’ exists in Britain’s elite occupations. Even when those from working-class backgrounds make it into prestigious jobs, they earn, on average, 16% less than colleagues from privileged backgrounds. But why is this the case? . Drawing on 175 interviews across four case studies - television, accountancy, architecture, and acting – they explore the complex barriers facing the upwardly mobile. This is a rich, ambitious book that demands we take seriously not just the glass but also the class ceiling.

    This vividly detailed cultural history of L.A. from 1940 to 1970 traces the rise of a new suburban consciousness adopted by a generation of migrants who abandoned older American cities for Southern California's booming urban region. Eric Avila explores expressions of this new "white identity" in popular culture with provocative discussions of Hollywood and film noir, Dodger Stadium, Disneyland, and L.A.'s renowned freeways. These institutions not only mirrored this new culture of suburban whiteness and helped shape it, but also, as Avila argues, reveal the profound relationship between the increasingly fragmented urban landscape of Los Angeles and the rise of a new political outlook that rejected the tenets of New Deal liberalism and anticipated the emergence of the New Right. Avila examines disparate manifestations of popular culture in architecture, art, music, and more to illustrate the unfolding urban dynamics of postwar Los Angeles. He also synthesizes important currents of new research in urban history, cultural studies, and critical race theory, weaving a textured narrative about the interplay of space, cultural representation, and identity amid the westward shift of capital and culture in postwar America.

    That does not mean that his head was in the clouds, or that the particular sciences lacked interest for him. Not at all--he felt a lively concern for theological debate, he was a mathematician of the first rank, he made original contributions to physics, he gave a realistic attention to moral psychology. But he was incapable of looking at the objects of any special enquiry without seeing them as aspects or parts of one intelligible universe. He strove constantly after system, and the instrument on which his effort relied was the speculative reason. He embodied in an extreme form the spirit of his age. Nothing could be less like the spirit of ours. To many people now alive metaphysics means a body of wild and meaningless assertions resting on spurious argument. A professor of metaphysics may nowadays be held to deal handsomely with theduties of his chair if he is prepared to handle metaphysical statements at all, though it be only for the purpose of getting rid of them, by showing them up as confused forms of something else. A chair in metaphysical philosophy becomes analogous to a chair in tropical diseases: what is taught from it is not the propagation but the cure.Confidence in metaphysical construction has ebbed and flowed through philosophical history; periods of speculation have been followed by periods of criticism. The tide will flow again, but it has not turned yet, and [8] such metaphysicians as survive scarcely venture further than to argue a case for the possibility of their art. It would be an embarrassing task to open an approach to Leibnitian metaphysics from the present metaphysical position, if there is a present position. If we want an agreed starting-point, it will have to be historical.The historical importance of Leibniz's ideas is anyhow unmistakable. If metaphysical thinking is nonsensical, its empire over the human imagination must still be confessed; if it is as chimerical a science as alchemy, it is no less fertile in by-products of importance. And if we are to consider Leibniz historically, we cannot do better than take up his _Theodicy_, fortwo reasons. It was the only one of his main philosophical works to be published in his lifetime, so that it was a principal means of his direct influence; the Leibniz his own age knew was the Leibniz of the _Theodicy_. Then in the second place, the _Theodicy_ itself is peculiarly rich in historical material. It reflects the world of men and books which Leibnizknew; it expresses the theological setting of metaphysical speculation which still predominated in the first years of the eighteenth century........

    Some historians have charged that slaveholders actually enshrined human bondage at the nation's founding. Sean Wilentz shares the dismay but sees the Constitution and slavery differently. Although the proslavery side won important concessions, he asserts, antislavery impulses also influenced the framers' work. Far from covering up a crime against humanity, the Constitution restricted slavery's legitimacy under the new national government. In time, that limitation would open the way for the creation of an antislavery politics that led to Southern secession, the Civil War, and Emancipation.Wilentz's controversial reconsideration upends orthodox views of the Constitution. He describes the document as a tortured paradox that abided slavery without legitimizing it. This paradox lay behind the great political battles that fractured the nation over the next seventy years. As Southern Fire-eaters invented a proslavery version of the Constitution, antislavery advocates, including Abraham Lincoln and Frederick Douglass, proclaimed an antislavery version based on the framers' refusal to validate property in man.No Property in Man invites fresh debate about the political and legal struggles over slavery that began during the Revolution and concluded with the Confederacy's defeat. It drives straight to the heart of the most contentious and enduring issue in all of American history.

    They're tall. They're gray. They're green. They survey our world with enormous glowing eyes. To conduct their shocking experiments, they creep in at night to carry humans off to their spaceships. Yet there's no evidence they exist at all. So how could anyone believe he or she was abducted by aliens? Or want to believe it? To answer these questions, psychologist Clancy interviewed & evaluated abductees--old & young, female & male, religious & agnostic. She listened to their stories--how they struggled to explain something strange in their remembered experience, how abduction seemed plausible, & how, having suspected abduction, they began to recollect it, aided by suggestion & hypnosis. She argues abductees are intelligent, sane people who've unwittingly created vivid false memories from a toxic mix of nightmares, culturally available texts (abduction reports began only after stories of extraterrestrials appeared in films & on TV) & a powerful drive for meaning that science is unable to satisfy. For them, otherworldly terror can become a transforming, even inspiring experience. "Being abducted may be a baptism in the new religion of this millennium", she writes. This book is not only a subtle exploration of the workings of memory, but a sensitive inquiry into the nature of belief.

    From the grisly investigations showcased on highly rated television shows like CSI to the bestselling mysteries that revolve around forensic science, medical examiners have never been so visible—or compelling. They, and they alone, solve the riddle of suspicious death and the existential questions that come with it. Why did someone die? Could it have been prevented? Should someone be held accountable? What are the implications of ruling a death a suicide, a homicide, or an accident? Can medical examiners unmask the perfect crime?Postmortem goes deep inside the world of medical examiners to uncover the intricate web of social, legal, and moral issues in which they operate. Stefan Timmermans spent years in a medical examiner’s office following cases, interviewing examiners, and watching autopsies. While he relates fascinating cases here, he is also more broadly interested in the cultural authority and responsibilities that come with being a medical examiner. How medical examiners speak to the living on behalf of the dead is Timmermans’s subject, revealed here in the day-to-day lives of the examiners themselves.“Postmortem is a wake-up call to forensic pathology. . . .This book should be viewed as provocative, rather than threatening, and should be a stimulus for important discussions and action by the forensic pathology community.”—Journal of the American Medical Association

    Warnings that depressive disorder is a leading cause of worldwide disability have been accompanied by a massive upsurge in the consumption of antidepressant medication, widespread screening for depression in clinics and schools, and a push to diagnose depression early, on the basis of just a few symptoms, in order to prevent more severe conditions from developing.In The Loss of Sadness, Allan V. Horwitz and Jerome C. Wakefield argue that, while depressive disorder certainly exists and can be a devastating condition warranting medical attention, the apparent epidemic in fact reflects the way the psychiatric profession has understood and reclassified normal human sadness as largely an abnormal experience. With the 1980 publication of the landmark third edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-III), mental health professionals began diagnosing depression based on symptoms—such as depressed mood, loss of appetite, and fatigue—that lasted for at least two weeks. This system is fundamentally flawed, the authors maintain, because it fails to take into account the context in which the symptoms occur. They stress the importance of distinguishing between abnormal reactions due to internal dysfunction and normal sadness brought on by external circumstances. Under the current DSM classification system, however, this distinction is impossible to make, so the expected emotional distress caused by upsetting events—for example, the loss of a job or the end of a relationship—could lead to a mistaken diagnosis of depressive disorder. Indeed, it is this very mistake that lies at the root of the presumed epidemic of major depression in our midst.

    A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music

    But when he notices a downturn in trade, he soon realises its cause: Tony Augustus, Howard’s half-brother, whose ice-cream empire is expanding all over the North-West…Flake, Matthew Dooley’s debut graphic novel, tells of how this epic battle turns out, and how Howard – helped by the Dobbiston Mountain Rescue team – overcomes every obstacle and triumphs in the end.

    When we weren't sheltering in place, we were advised to wear masks, wash our hands, and practice social distancing. We watched in horror as medical personnel worked around the clock to care for the sick and dying. Businesses were shuttered, travel stopped, workers were furloughed, and markets dropped. And people continued to die.Amid all this uncertainty, writers and artists from around the world continued to create comics, commenting directly on how individuals, societies, governments, and markets reacted to the worldwide crisis. COVID Chronicles: A Comics Anthology collects more than sixty such short comics from a diverse set of creators, including indie powerhouses, mainstream artists, Ignatz and Eisner Award winners, and media cartoonists. In narrative styles ranging from realistic to fantastic, they tell stories about adjusting to working from home, homeschooling their kids, missing birthdays and weddings, and being afraid just to leave the house. They probe the failures of government leaders and the social safety net. They dig into the racial bias and systemic inequities that this pandemic helped bring to light. We see what it's like to get the virus and live to tell about it, or to stand by helplessly as a loved one passes.At times heartbreaking and at others hopeful and humorous, these comics express the anger, anxiety, fear, and bewilderment we feel in the era of COVID-19. Above all, they highlight the power of art and community to help us make sense of a world in crisis, reminding us that we are truly all in this together.The comics in this collection have been generously donated by their creators. A portion of the the proceeds from the sale of this volume are being donated by the publisher to the Book Industry Charitable Foundation (Binc) in support of comics shops, bookstores, and their employees who have been adversely affected by the pandemic.

    The uniquely multicultural nature of life on a seventeenth-century Barbadan sugar plantation--defined by a mixture of English, American Indian, and African ways and folklore--indelibly shaped the young Tituba's world and the mental images she brought with her to Massachusetts.Breslaw divides Tituba's story into two parts. The first focuses on Tituba's roots in Barbados, the second on her life in the New World. The author emphasizes the inextricably linked worlds of the Caribbean and the North American colonies, illustrating how the Puritan worldview was influenced by its perception of possessed Indians. Breslaw argues that Tituba's confession to practicing witchcraft clearly reveals her savvy and determined efforts to protect herself by actively manipulating Puritan fears. This confession, perceived as evidence of a diabolical conspiracy, was the central agent in the cataclysmic series of events that saw 19 people executed and over 150 imprisoned, including a young girl of 5.A landmark contribution to women's history and early American history, Tituba, Reluctant Witch of Salem sheds new light on one of the most painful episodes in American history, through the eyes of its most crucial participant.

    When those feelings have been stirred, and they act in their due degree, there ensues what may be called the state of Harmony. This Equilibrium is the great root from which grow all the human actings in the world, and this Harmony is the universal path which they all should pursue.

    . . .performs with virtuoso flair in THE QUITTER"--THE NEW YORKER"Brutally honest."--ROLLING STONE★"A searingly honest memoir. . . . Pekar's work dignifies the struggle of the average man."--PUBLISHERS WEEKLY, starred In this virtuoso graphic novel, Harvey Pekar -- whose American Book Award-winning series American Splendor was the basis for the celebrated film of the same name -- tells the story of his troubled teen years for the first time, when he would beat up any kid who looked at him wrong just to win the praise of his peers. And when he failed to impress, whether on the football team, in math class, in the Navy or on the job, he simply gave up. A true tour-de-force, THE QUITTER is the universal tale of a young man's search for himself through the frustrations, redemptions and complexities of ordinary life.With gritty, atmospheric artwork by indie-comics luminary Dean Haspiel (American Splendor, Opposable Thumbs), THE QUITTER is both Pekar's funniest and most heart-wrenching work yet, an unforgettable graphic novel for all those, like Pekar, who have tried, failed and lived to quit another day.

    As Adam Domby reveals here, this was not only an insidious goal; it was founded on falsehoods. The False Cause focuses on North Carolina to examine the role of lies and exaggeration in the creation of the Lost Cause narrative. In the process the book shows how these lies have long obscured the past and been used to buttress white supremacy in ways that resonate to this day.Domby explores how fabricated narratives about the war's cause, Reconstruction, and slavery--as expounded at monument dedications and political rallies--were crucial to Jim Crow. He questions the persistent myth of the Confederate army as one of history's greatest, revealing a convenient disregard of deserters, dissent, and Unionism, and exposes how pension fraud facilitated a myth of unwavering support of the Confederacy among nearly all white Southerners. Domby shows how the dubious concept of "black Confederates" was spun from a small number of elderly and indigent African American North Carolinians who got pensions by presenting themselves as "loyal slaves." The book concludes with a penetrating examination of how the Lost Cause narrative and the lies on which it is based continue to haunt the country today and still work to maintain racial inequality.

    The reader is guided through structuralism, semiotics, post-Marxism and Annales history, on to modernity and postmodernity. With its comprehensive biographical and bibliographical information, this book provides a vital reference work of the last fifty years.