Engaging and challenging, this book confronts the reader with the many 'histories' that exist and have existed around the world, from the Zulu kingdoms to Communist China.This title has now been extensively revised by Marc Ferro, a well respected historian, and presents the different narratives that constitute the histories of countries as diverse as India, Iran, Trinidad and the United States makes for fascinating reading in their own right. What makes this book so valuable, though, is what these narratives tell us about the societies which create them - how much is history distorted in order to condition the minds of those who are taught it?Use and Abuse of History appeals to anyone with a general interested in history.

    Grounded in ethnographic fieldwork conducted in the adjacent towns of Boca Chica and Andrés, Gregory's study deftly demonstrates how transnational flows of capital, culture, and people are mediated by contextually specific power relations, politics, and history. He explores such topics as the informal economy, the making of a telenova, sex tourism, and racism and discrimination against Haitians, who occupy the lowest rung on the Dominican economic ladder. Innovative and beautifully written, The Devil behind the Mirror masterfully situates the analysis of global economic change in everyday lives.

    Now that we've cleared that up, let's investigate how and why you're making your stitches the way you do so that you can follow standard patterns and get the most out of your knitting! DON'T change the way you knit - learn to make the way you knit more efficient, and more comprehensible!

    This book addresses questions such as: can we define technology? Does technology shape us, or do we shape it? Is technology inevitable or unpredictable?

    The book begins with a framework elucidating the transactions between individual development and the child's wider environment, and emphasizing the crucial role of attachment. Key developmental processes and tasks from infancy through middle childhood are then discussed in paired chapters that respectively address how children of different ages typically feel, think, and behave, and how to intervene effectively with those who are having difficulties.

    Used by hundreds of thousands of students over ten editions, its learning-goals-driven learning system provides a clearer understanding of the content. The fully revised eleventh edition reinforces the highly contemporary tone and focus by featuring hundreds of new citations, including material from chapters from the sixth edition of the " Handbook of Child Psychology ."

    Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.

    Studied on most undergraduate literary and cultural studies courses, Sigmund Freud takes a fresh look at the work of this groundbreaking theorist, offering students a clear introduction to Freud's importance for psychoanalytic literary criticism, while tracing the scientific and cultural contexts from which he emerged. This book guides readers through Freud's terminology and key ideas and includes a detailed bibliography of his own and other relevant texts.

    It was thrilling, because it was an unthinkable act.After Kate Mayfield was born, she was taken directly to a funeral home. Her father was an undertaker, and for thirteen years the family resided in a place nearly synonymous with death. A place where the living and the dead entered their house like a vapor. The place where Kate would spend the entirety of her childhood. In a memoir that reads like a Harper Lee novel, Mayfield draws the reader into a world of Southern mystique and ghosts.Kate's father set up shop in a small town where he was one of two white morticians during the turbulent 1960s. Jubilee, Kentucky, was a segregated, god-fearing community where no one kept secrets, except the ones they were buried with. By opening a funeral home, Kate's father also opened the door to family feuds, fetishes, and victims of accidents, murder, and suicide. The family saw it all. They also saw the quiet ruin of Kate's father, who hid alcoholism and infidelity behind a cool, charismatic exterior. As Mayfield grows from trusting child to rebellious teen, she begins to find the enforced hush of the funeral home oppressive, and longs for the day she can escape the confines of her small town.In The Undertaker's Daughter, Kate has written a triumph of a memoir. This vivid and stranger-than-fiction true story ultimately teaches us how living in a house of death can prepare one for life.

    For ten of those years he was the founding pastor of one of Australia's largest churches (1979-89). Following the failure of his marriage, he resigned from the ministry and then spent the following few years seriously examining his faith and the veracity of the Bible. Finally he came to the conclusion that his Christian beliefs were seriously flawed and that the Bible is entirely the result of human invention, imaginations and myths passed down from generation to generation. As the Bible is then based on 'hearsay' and written by at least 40 different authors over a period of up to 1,600 years, none of whom were eyewitnesses to the events they recorded, it cannot substantiate the claim that it was 'inspired by God.' The result of Brian's search for evidence caused a personal transformation from believer to realist, rationalist, skeptic and atheist. He published his first book - From Faith to Reason - in 2009 which contains the reasons why he no longer believes in the existence of God, angels, demons, the devil, heaven, hell or an afterlife.In this book - Nonsense from the Bible - Brian uses the Bible texts to demonstrate their inaccuracies, inconsistencies, contradictions and fantasies. He deals with major issues which are widely believed and accepted as factual events such as the Creation story, the crucifixion and resurrection of Jesus and the prophecies concerning Jesus. Chapters are also devoted to the question of the second coming of Jesus and Christian Family values. Brian also totally invalidates the so-called 'power of prayer' and the claims that God heals the sick.This would be a 'hard read' for many Christians who totally believe that the Bible is literally 'The Word of God' and accept it as absolute truth. Brian also believed that for all those years but over a period of time and investigation by seeking evidence other than the Bible he was able to accept that he had been deceived and deluded - or as he now says, 'Once I was blind - but now I see!'This is an 'easy' read for those who may question their own faith as it provides some convincing information concerning the validity of the Bible.

    Strangling economies with their austerity policies, they assure us that they have no choice. In a world where “there is no alternative”, how do you dissent? Once upon a time, graphic designers would have made political posters and typeset manifestos. Today, protest has new strategies. Enter the internet meme. With its Darwinian survival skills and its viral potential, the meme is a way of scaling up protest. Hackers and activists have learned to unleash the destructive force of a Rick Astley video. They have let slip the Lolcats of war. Pranks have become a resistance strategy. As the rise of Beppe Grillo in Italy testifies, this may be the hour to fight nonsense with nonsense. Jokes are an open-source weapon of politics, and it is time to tap their power.