But one rogue researcher looked at the data and decided everyone was wrong. Franz Boas was the very image of a mad scientist: a wild-haired immigrant with a thick German accent. By the 1920s he was also the foundational thinker and public face of a new school of thought at Columbia University called cultural anthropology. He proposed that cultures did not exist on a continuum from primitive to advanced. Instead, every society solves the same basic problems--from childrearing to how to live well--with its own set of rules, beliefs, and taboos.Boas's students were some of the century's intellectual stars: Margaret Mead, the outspoken field researcher whose Coming of Age in Samoa is one of the most widely read works of social science of all time; Ruth Benedict, the great love of Mead's life, whose research shaped post-Second World War Japan; Ella Deloria, the Dakota Sioux activist who preserved the traditions of Native Americans of the Great Plains; and Zora Neale Hurston, whose studies under Boas fed directly into her now-classic novel, Their Eyes Were Watching God. Together, they mapped vanishing civilizations from the Arctic to the South Pacific and overturned the relationship between biology and behavior. Their work reshaped how we think of women and men, normalcy and deviance, and re-created our place in a world of many cultures and value systems. Gods of the Upper Air is a page-turning narrative of radical ideas and adventurous lives, a history rich in scandal, romance, and rivalry, and a genesis story of the fluid conceptions of identity that define our present moment.

    There is no more proper instrument of analysis of our contemporary myths than this book—one of the most significant works in French theory, and one that has transformed the way readers and philosophers view the world around them.Our age is a triumph of codification. We own devices that bring the world to the command of our fingertips. We have access to boundless information and prodigious quantities of stuff. We decide to like or not, to believe or not, to buy or not. We pick and choose. We think we are free. Yet all around us, in pop culture, politics, mainstream media, and advertising, there are codes and symbols that govern our choices. They are the fabrications of consumer society. They express myths of success, well-being, and happiness. As Barthes sees it, these myths must be carefully deciphered, and debunked.What Barthes discerned in mass media, the fashion of plastic, and the politics of postcolonial France applies with equal force to today's social networks, the iPhone, and the images of 9/11. This new edition of Mythologies, complete and beautifully rendered by the Pulitzer Prize–winning poet, critic, and translator Richard Howard, is a consecration of Barthes's classic—a lesson in clairvoyance that is more relevant now than ever.

    it was a dark place to be. No Direction Home tells the story of the series of events that landed Greg there, what it was like, and how he adventurously escaped. It starts on the first day of middle school in an upscale neighborhood in Long Island, New York. Greg was labeled the biggest piece of shit in sixth grade because of a few unfortunate circumstances, and there seemed to be no hope for redemption. Then one day everything changed, but it was a bit too late. Greg was on a crusade for vengeance.What ensues is a chain reaction of escapades, filled with theft, drug addiction, prostitution, suspension, and eventually, permanent relocation to residential rehabs across the country. Still, nothing could calm him down. He was a bit too off the hinges by then for rehabilitation, and after a scuffle with anti-Semitic cohorts at an inpatient rehab and a daring escape with a girl "too good to be true," he's scooped up and transferred to Hidden Lake Academy, a fucked up place tucked in the obscurity of the Appalachian Mountains. From that point on, all bets are off and there is one mission, and one mission only: get out. His attempted escape morphs into a chaotic tale of homelessness, bad crowds, rancid romance, and bravery in all the wrong places, but one thing is for sure... Greg will never be the same. The question is, will he ever find his way home?

    Michel Foucault offers an iconoclastic exploration of why we feel compelled to continually analyze and discuss sex, and of the social and mental mechanisms of power that cause us to direct the questions of what we are to what our sexuality is.

    Hip-hop is the key to understanding how things are changing. In a provocative book that will appeal to hip-hoppers both black and white and their parents, Bakari Kitwana deftly teases apart the culture of hip-hop to illuminate how race is being lived by young Americans. This topic is ripe, but untried, and Kitwana poses and answers a plethora of questions: Does hip-hop belong to black kids? What in hip-hop appeals to white youth? Is hip-hop different from what rhythm, blues, jazz, and even rock 'n' roll meant to previous generations? How have mass media and consumer culture made hip-hop a unique phenomenon? What does class have to do with it? Are white kids really hip-hop's primary listening audience? How do young Americans think about race, and how has hip-hop influenced their perspective? Are young Americans achieving Martin Luther King, Jr.'s dream through hip-hop? Kitwana addresses uncomfortable truths about America's level of comfort with black people, challenging preconceived notions of race. With this brave tour de force, Bakari Kitwana takes his place alongside the greatest African American intellectuals of the past decades.

    Most of this instructive and funny book is written in dialogue form and based on film classes Mamet taught at Columbia University. He encourages his students to tell their stories not with words, but through the juxtaposition of uninflected images. The best films, Mamet argues, are composed of simple shots. The great filmmaker understands that the burden of cinematic storytelling lies less in the individual shot than in the collective meaning that shots convey when they are edited together. Mamet borrows many of his ideas about directing, writing, and acting from Russian masters such as Konstantin Stanislavsky, Sergei M. Eisenstein, and Vsevelod Pudovkin, but he presents his material in so delightful and lively a fashion that he revitalizes it for the contemporary reader.

    is the debut collection of prose and poetry by Malawian writer, Upile Chisala. This book explores the self, joy, blackness, gender, matters of the heart, the experience of Diaspora, spirituality and most of all, how we survive. soft magic. is a shared healing journey.

    He shows how broad Tarantino's points of reference are, and analyzes the narrative accomplishment and complexity. In addition, Polan argues that macho attitudes celebrated in film are much more complex than they seem.

     Introduces issues of diversity as represented within the American cinema in a lively and accessible manner. Provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality. Is designed specifically for students and includes 101 illustrations, a glossary of key terms, questions for discussion, and lists for futher reading and further viewing. Includes case studies of a number of films, including The Lion King, The Jazz Singer, Smoke Signals, The Grapes of Wrath, and The Celluloid Closet. Each chapter features a concise overview of the topic at hand, a discussion of representative films, figures, and movements, and an in-depth analysis of a single film.

    The airlines were international superstars; even among those long-gone carriers, their still-remembered names can conjure deep feelings of nostalgia, romance, and adventure: Braniff, Continental, BOAC, Swissair, TWA, Pan Am.This was the fifties and sixties. The world was on the move, and it was the new jet planes that were getting people there. But competition for the travel dollar was fierce, and Madison Avenue decided the face (and heart) of every airline would be the flight attendant, the stewardess. So it was that the “stew” became synonymous with the airline’s brand. She—and at that time they were exclusively female—was the airline.The stewardess became the fantasy every woman: glamorous professional, high-end server, customer service expert, nurse, therapist, and in no small measure: sex symbol.And to that end, these women were carefully selected for their looks and brains, then rigorously trained for weeks, and finally dressed as high-flying, high-heeled models in uniforms often created by top fashion designers. Heddy Frosell da Ponte was one of those chosen women. She was the ideal candidate to be employed by Pan Am in the 1960s: a pretty female with a terrific figure, under thirty-two years old, unmarried, and a speaker of multiple languages.The Glamour Years of Flying as a Stewardess is Heddy’s fascinating, often times hilarious collection of exploits as she traveled the world as a stewardess during the golden age of international air travel.This remarkable book is also a rare look back at the people, places, cultures, and lifestyles gone forever, but now brought back to vivid life by a stewardess-turned-author who knows how to tell a fast-moving tale. So buckle up; this will be one flight you’ll never forget. About the Author Heddy Frosell da Ponte was a flight attendant for forty five years. Now retired, she lives in Georgia. She is the author of The Glamour Years of Flying as a Stewardess.