As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects—a dynamic that Robin Bernstein calls “racial innocence.” This phenomenon informed racial formation from the mid-19th century through the early 20th century.Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as “scriptive things” that invite or prompt historically located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions, from blackface minstrelsy to Uncle Tom’s Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how “innocence” gradually became the exclusive province of white children—until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.Writing in Children’s Literature, Philip Nel notes that Racial Innocence is “one of those rare books that shifts the paradigm—a book that, in years to come, will be recognized as a landmark in children’s literature and childhood studies.” In the journal Cultural Studies, reviewer Aaron C. Thomas says that Bernstein’s “theory of the scriptive thing asks us to see children as active participants in culture, and, in fact, as expert agents of the culture of childhood into which they have been interpellated. In this way, Bernstein is able not only to describe the effects of 19th-century radicalization on 21st century US culture, but also to illuminate the radicalized residues of our own childhoods in our everyday adult lives.” Racial Innocence was awarded the 2012 Outstanding Book Award from the Association for Theatre in Higher Education, and the award committee noted that the book “is a historiographic tour de force that traces a genealogy of the invention of the innocent (white) child and its racialized roots in 19th and 20th century U.S. popular culture.”

    Equally ubiquitous, though until now less the subject of serious inquiry, are temporary memorials: spontaneous offerings of flowers and candles that materialize at sites of tragic and traumatic death. In Memorial Mania, Erika Doss argues that these memorials underscore our obsession with issues of memory and history, and the urgent desire to express—and claim—those issues in visibly public contexts.   Doss shows how this desire to memorialize the past disposes itself to individual anniversaries and personal grievances, to stories of tragedy and trauma, and to the social and political agendas of diverse numbers of Americans. By offering a framework for understanding these sites, Doss engages the larger issues behind our culture of commemoration. Driven by heated struggles over identity and the politics of representation, Memorial Mania is a testament to the fevered pitch of public feelings in America today.

    Using a historical and comparative perspective, it demonstrates that there is more than one business model of human trafficking and that there are enormous variations in human trafficking in different regions of the world. Drawing on a wide body of academic research - actual prosecuted cases, diverse reports, and field work and interviews conducted by the author over the last sixteen years in Asia, Latin America, Africa, Europe, and the former socialist countries - Louise Shelley concludes that human trafficking will grow in the twenty-first century as a result of economic and demographic inequalities in the world, the rise of conflicts, and possibly global climate change. Coordinated efforts of government, civil society, the business community, multilateral organizations, and the media are needed to stem its growth.

    "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.

    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.

    Smith has pointed the academic study of religion in a new theoretical direction, one neither theological nor willfully ideological. Making use of examples as apparently diverse and exotic as the Maori cults in nineteenth-century New Zealand and the events of Jonestown, Smith shows that religion must be construed as conventional, anthropological, historical, and as an exercise of imagination. In his analyses, religion emerges as the product of historically and geographically situated human ingenuity, cognition, and curiosity—simply put, as the result of human labor, one of the decisive but wholly ordinary ways human beings create the worlds in which they live and make sense of them. "These seven essays . . . display the critical intelligence, creativity, and sheer common sense that make Smith one of the most methodologically sophisticated and suggestive historians of religion writing today. . . . Smith scrutinizes the fundamental problems of taxonomy and comparison in religious studies, suggestively redescribes such basic categories as canon and ritual, and shows how frequently studied myths may more likely reflect situational incongruities than vaunted mimetic congruities. His final essay, on Jonestown, demonstrates the interpretive power of the historian of religion to render intelligible that in our own day which seems most bizarre."—Richard S. Sarason, Religious Studies Review

    Poor people began to construct their own communities on unused urban lands, creating an infrastructure----roads, electricity, running water, garbage collection, and shelters----all their own. As the Iranian government attempted to evict these illegal settlers, they resisted----fiercely and ultimately successfully. This is the story of their economic and political strategies.

    The first part of the book defines and describes thirty-seven threshold concepts of the discipline in entries written by some of the field’s most active researchers and teachers, all of whom participated in a collaborative wiki discussion guided by the editors. These entries are clear and accessible, written for an audience of writing scholars, students, and colleagues in other disciplines and policy makers outside the academy. Contributors describe the conceptual background of the field and the principles that run throughout practice, whether in research, teaching, assessment, or public work around writing. Chapters in the second part of the book describe the benefits and challenges of using threshold concepts in specific sites—first-year writing programs, WAC/WID programs, writing centers, writing majors—and for professional development to present this framework in action.Naming What We Know opens a dialogue about the concepts that writing scholars and teachers agree are critical and about why those concepts should and do matter to people outside the field.

    At another level, Villanueva ponders his experiences in light of the history of rhetoric, the English Only movement, current socio- and psycholinguistic theory, and the writings of Gramsci and Freire, among others.Winner of the David H. Russell Award for Distinguished Research in the Teaching of English.

    Expanded treatment of ethical issues, more material on diversity issues, a new chapter on research, and a new section on in-home therapy, further arm therapists with practical knowledge.

    Derek Attridge argues that such resistance represents not a dead end, but a crucial starting point from which to explore anew the power and practices of Western art.In this lively, original volume, the author:considers the implications of regarding the literary work as an innovative cultural event, both in its time and for later generations; provides a rich new vocabulary for discussions of literature, rethinking such terms as invention, singularity, otherness, alterity, performance and form; returns literature to the realm of ethics, and argues the ethical importance of the literary institution to a culture; demonstrates how a new understanding of the literary might be put to work in a 'responsible, ' creative mode of reading.The Singularity of Literature is not only a major contribution to the theory of literature, but also a celebration of the extraordinary pleasure of the literary, for reader, writer, student or critic.

    I found A Crooked Line engrossing, insightful, and inspiring."--Lizabeth Cohen, author of A Consumers' Republic"A Crooked Line brilliantly captures the most significant shifts in the landscape of historical scholarship that have occurred in the last four decades. Part personal history, part insightful analysis of key methodological and theoretical historiographical tendencies since the late 1960s, always thoughtful and provocative, Eley's book shows us why history matters to him and why it should also matter to us."--Robert Moeller, University of California, Irvine"Part genealogy, part diagnosis, part memoir, Eley's account of the histories of social and cultural history is a tour de force."--Antoinette Burton, Professor of History and Catherine C. and Bruce A. Bastian Professor of Global and Transnational Studies, University of Illinois"Eley's reflections on the changing landscape of academic history in the last forty years will interest and benefit all students of the discipline. Both a native informant and an analyst in this account, Eley combines the two roles superbly to produce one of most engaging and compelling narratives of the recent history of History."--Dipesh Chakrabarty, author of Provincializing EuropeUsing his own intellectual biography as a narrative device, Geoff Eley tracks the evolution of historical understanding in our time from social history through the so-called "cultural turn," and back again to a broad history of society.A gifted writer, Eley carefully winnows unique experiences from the universal, and uses the interplay of the two to draw the reader toward an organic understanding of how historical thinking (particularly the work of European historians) has evolved under the influence of new ideas. His work situates history within History, and offers students, scholars, and general readers alike a richly detailed, readable guide to the enduring value of historical ideas.Geoff Eley is Professor of History at the University of Michigan.

    "Why do I behave and think like this?"If you have asked this question of yourself, or have simply wondered where human behaviour springs from, you will find this short introduction to the Ego States an essential and empowering tool.In this short, jargon free introduction to the ego states of Transactional Analysis, the reader is invited to analyse where their behaviour springs from, and to consider how they can improve their life by deepening their self awareness.

    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.

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man