New chapters cover criminal behavior theories and psychological profiling; autoerotic deaths, and occult crimes, plus two new chapters detailing infamous unsolved crimes/criminals: Jack the Ripper and the Jon Benet Ramsey case. The authors′ continuing research and activities in the field result in a multitude of new case studies for this book, often included as boxed inserts.

    Its goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each book features the creative process and core thinking of a photographer told in their own words and through pictures of their choosing, and is introduced by a well-known student of the featured photographer. In this book, Todd Hido explores the genres of landscape, interior and nude photography, with emphasis on creating images from a personal perspective and with a sense of intimacy. Through words and photographs, he also offers insight into his own practice and discusses a wide range of creative issues, including mining one's own memory and experience as inspiration; using light, texture and detail for greater impact; exploring the narrative potential activated when sequencing images; and creating powerful stories with emotional weight and beauty.Todd Hido (born 1968) is a San Francisco Bay Area-based artist. He is well known for his photography of urban and suburban housing across the United States, and for his use of detail and luminous color. His previous books include House Hunting (2001), Outskirts (2002), Roaming (2004) and Between the Two (2007). He is a recipient of a Eureka Fellowship and a Wallace Alexander Gerbode Foundation Visual Arts Award, and is represented by Stephen Wirtz Gallery in San Francisco. He is an adjunct professor at California College of the Arts.Gregory Halpern received a BA in history and literature from Harvard University and an MFA from California College of the Arts. His third book of photographs, entitled A, is a photographic ramble through the streets of the American Rust Belt. His other books include Omaha Sketchbook and Harvard Works Because We Do. He currently teaches at the Rochester Institute of Technology and is the coeditor of The Photographer's Playbook (Aperture 2013).

    He moved in rarefied circles, a friend to presidents, vaudeville stars, leading thinkers. And he was thirty-two years old in 1900 when he gave it all up to pursue his Great Idea: to capture on film the continent’s original inhabitants before the old ways disappeared.An Indiana Jones with a camera, Curtis spent the next three decades traveling from the Havasupai at the bottom of the Grand Canyon to the Acoma on a high mesa in New Mexico to the Salish in the rugged Northwest rain forest, documenting the stories and rituals of more than eighty tribes. It took tremendous perseverance - ten years alone to persuade the Hopi to allow him into their Snake Dance ceremony. And the undertaking changed him profoundly, from detached observer to outraged advocate. Eventually Curtis took more than 40,000 photographs, preserved 10,000 audio recordings, and is credited with making the first narrative documentary film. In the process, the charming rogue with the grade school education created the most definitive archive of the American Indian. His most powerful backer was Theodore Roosevelt, and his patron was J. P. Morgan. Despite the friends in high places, he was always broke and often disparaged as an upstart in pursuit of an impossible dream. He completed his masterwork in 1930, when he published the last of the twenty volumes. A nation in the grips of the Depression ignored it. But today rare Curtis photogravures bring high prices at auction, and he is hailed as a visionary. In the end he fulfilled his promise: He made the Indians live forever.

    Arnold seeks to find out what culture really is, what good it can do, and if it is really necessary. He contrasts culture, which he calls the study of perfection, with anarchy, the mood of unrest and uncertainty that pervaded mid-Victorian England. This edition reproduces the original book version, revealing the immediate historical context and controversy of the piece. The introduction and notes broaden out the interpretative approach to Arnold's text, elaborating on the complexities of the religious context. The book also reinforces the continued importance of Arnold's ideas its influences in the face of the challenges of multi-culturalism and post-modernism.

    On September 5, 1856, a submerged walnut tree pierced her hull, sinking the Arabia one-half mile below Parkville, Missouri. In time the river changed course, leaving the Arabia and her priceless freight deep beneath a Kansas farm field...The Arabia and her treasure seemed lost forever. Then, in 1988, four men and their families dedicated themselves to achieve what others could not; to recover the treasure from the Great White Arabia. Treasure hunter Greg Hawley chronicles his amazing story of perseverance and discovery. Lavishly illustrated and carefully documented, this book is a page turning adventure that immerses the reader into the thrilling discovery of buried treasure.

    In Mysteries of the Rectangle, Hustvedt concentrates her narrative gifts on the works of such masters as Francisco Goya, Jan Vermeer, Jean-Baptiste-Simon Chardin, Gerhard Richter, and Joan Mitchell. Through her own personal experiences, Hustvedt is able to reveal things hidden until now in plain sight: an egglike detail in Vermeer's Woman with a Pearl Necklace and the many hidden self-portraits in Goya's series of drawings, Los Caprichos, as well as in his famous painting The Third of May. Most importantly, these essays exhibit the passion, thrill, and sheer pleasure of bewilderment a work of art can produceif you simply take the time to look.

    Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.

    Drawing together history and readings from scripture, Wills explains the beads on the rosary and the moments in Christ's life they represent, illustrating each mystery with a stunning Tintoretto painting. The result is an illuminating and poignant exploration of the power of prayer that will edify and inspire readers.

    Here, Mary Street Alinder--who collaborated with Adams on his memoir and was his assistant in later life--is not reticent about the major emotional episodes in Adams's life, including his marriage and extramarital affairs, and his not-altogether-successful fatherhood. She explores the major artistic influences on his work and gives in-depth profiles of the significant figures in his circle. She also explains the technique and style Adams developed to obtain his unique vision, as well as his uneasiness at becoming a commodity. Ansel Adams: A Biography is an intimate and provocative portrait of the world's most famous photographer.

    But how and why did advertising become a determiner of our self-image? Advertising the American Dream looks carefully at the two decades when advertising discovered striking new ways to play on our anxieties and to promise solace for the masses. As American society became more urban, more complex, and more dominated by massive bureaucracies, the old American Dream seemed threatened. Advertisers may only have dimly perceived the profound transformations America was experiencing. However, the advertising they created is a wonderfully graphic record of the underlying assumptions and changing values in American culture. With extensive reference to the popular media—radio broadcasts, confession magazines, and tabloid newspapers—Professor Marchand describes how advertisers manipulated modern art and photography to promote an enduring "consumption ethic."

    The rise of DNA testing has further complicated the issues and raised the stakes.In Native American DNA, Kim TallBear shows how DNA testing is a powerful—and problematic—scientific process that is useful in determining close biological relatives. But tribal membership is a legal category that has developed in dependence on certain social understandings and historical contexts, a set of concepts that entangles genetic information in a web of family relations, reservation histories, tribal rules, and government regulations. At a larger level, TallBear asserts, the “markers” that are identified and applied to specific groups such as Native American tribes bear the imprints of the cultural, racial, ethnic, national, and even tribal misinterpretations of the humans who study them.TallBear notes that ideas about racial science, which informed white definitions of tribes in the nineteenth century, are unfortunately being revived in twenty-first-century laboratories. Because today’s science seems so compelling, increasing numbers of Native Americans have begun to believe their own metaphors: “in our blood” is giving way to “in our DNA.” This rhetorical drift, she argues, has significant consequences, and ultimately she shows how Native American claims to land, resources, and sovereignty that have taken generations to ratify may be seriously—and permanently—undermined.

    She encourages readers to examine the ways in which works of art challenge how we experience not only the artist's feelings, but our own. Discussing performance art, painting, and photography, Doyle provides new perspectives on artists including Ron Athey, Aliza Shvarts, Thomas Eakins, James Luna, Carrie Mae Weems, and David Wojnarowicz. Confronting the challenge of writing about difficult works of art, she shows how these artists work with feelings as a means to question our assumptions about identity, intimacy, and expression. They deploy the complexity of emotion to measure the weight of history, and to deepen our sense of where and how politics happens in contemporary art. Doyle explores ideologies of emotion and how emotion circulates in and around art. Throughout, she gives readers welcoming points of entry into artworks that they may at first find off-putting or confrontational. Doyle offers new insight into how the discourse of controversy serves to shut down discussion about this side of contemporary art practice, and counters with a critical language that allows the reader to accept emotional intensity in order to learn from it.

    The grandness of that history no longer fit into the framework of the present, and artists felt overwhelmed by the magnitude of past heroic accomplishment. This was soon reflected in artistic representation, from Fuseli on. The partial image, the "crop," fragmentation, ruin, and mutilationall expressed grief and nostalgia for the loss of a vanished totality, a utopian wholeness. Often such feelings were expressed in deliberate destructiveness, which became the new way of seeing: the notion of the modern. In The Body in Pieces, the noted critic and art historian Linda Nochlin traces these developments by looking at work produced by artists from Neoclassicism and Romanticism to Impressionism, Post-Impressionism, Surrealism, and beyond. 59 illustrations.

    Albert Hourani studies the way in which ideas about politics and society changed during the nineteenth and the first half of the twentieth centuries, in response to the expanding influence of Europe. His main attention is given to the movement of ideas in Egypt and Lebanon. He shows how two streams of thought, the one aiming to restate the social principles of Islam, and the other to justify the separation of religion from politics, flowed into each other to create the Egyptian and Arab nationalisms of the present century. The last chapter of the book surveys the main tendencies of thought in the post-war years. Since its publication in 1962, this book has been regarded as a modern classic of interpretation. It was reissued by the Cambridge University Press in 1983 and has subsequently sold over 8000 copies.

    Apache conceptions of wisdom, manners and morals, and of their own history are inextricably intertwined with place, and by allowing us to overhear his conversations with Apaches on these subjects Basso expands our awareness of what place can mean to people.Most of us use the term "sense of place" often and rather carelessly when we think of nature or home or literature. Our senses of place, however, come not only from our individual experiences but also from our cultures. "Wisdom Sits in Places," the first sustained study of places and place-names by an anthropologist, explores place, places, and what they mean to a particular group of people, the Western Apache in Arizona. For more than thirty years, Keith Basso has been doing fieldwork among the Western Apache, and now he shares with us what he has learned of Apache place-names--where they come from and what they mean to Apaches."This is indeed a brilliant exposition of landscape and language in the world of the Western Apache. But it is more than that. Keith Basso gives us to understand something about the sacred and indivisible nature of words and place. And this is a universal equation, a balance in the universe. Place may be the first of all concepts; it may be the oldest of all words."--N. Scott Momaday"In "Wisdom Sits in Places" Keith Basso lifts a veil on the most elemental poetry of human experience, which is the naming of the world. In so doing he invests his scholarship with that rarest of scholarly qualities: a sense of spiritual exploration. Through his clear eyes we glimpse the spirit of a remarkable people and their land, and when we look away, we see our own world afresh."--William deBuys"A very exciting book--authoritative, fully informed, extremely thoughtful, and also engagingly written and a joy to read. Guiding us vividly among the landscapes and related story-tellings of the Western Apache, Basso explores in a highly readable way the role of language in the complex but compelling theme of a people's attachment to place. An important book by an eminent scholar."--Alvin M. Josephy, Jr.