As the age of globalization and New Media unite disparate groups of people in new ways, the continual transformation and interconnections between ethnicity, class, and gender become increasingly complex. This reader, comprised of a diverse array of sources ranging from the New York Times to the journals of leading research universities, explores these issues as systems of stratification that work to reinforce one another. Understanding Inequality provides students and academics with the basic hermeneutics for considering new thought on ethnicity, class, and gender in the 21st century.

"The Geography of Genocide offers a unique analysis of over sixty genocides in world history, explaining why genocides only occur in territorial interiors and never originate from cosmopolitan urban centers. This study explores why genocides tend to result from emasculating political defeats experienced by perpetrator groups and examines whether such extreme political violence is the product of a masculine identity crisis. Author Allan D. Cooper notes that genocides are most often organized and implemented by individuals who have experienced traumatic childhood events involving the abandonment or abuse by their father. Although genocides target religious groups, nations, races or ethnic groups, these identity structures are rarely at the heart of the war crimes that ensue. Cooper integrates research derived from the study of serial killing and rape to show certain commonalities with the phenomenon of genocide. The Geography of Genocide presents various strategies for responding to genocide and introduces Cooper's groundbreaking alternatives for ultimately inhibiting the occurrence of genocide."--Jacket.

A key organizer in the early American union movement of the late 1800s, Mother Jones encouraged many groups of American workers to stand up for their rights in the face of larger-than-life foes like Carnegie and Rockefeller, becoming a powerful symbol in her own time as well as in the civil rights movements of the 1960s and '70s. Author and professor Cordery (British Friendly Societies, 1750-1918) has produced an exhaustive biography of Mary Harris Jones, drawn mostly from her own testimonials and primary source accounts of her work-which the activist-agitator didn't begin until her sixties. Cordery is quick not to take Jones's words at face value-her commitment was to the cause, not to truth-but his reportorial rigor takes a lot of steam out of the proceedings, making for a scandalously dry narrative about a figure central to some very interesting times.

Part of the Contemporary Review Series. Contemporary Tourism Reviews will provide you with critical, state-of-the-art surveys of all of the major areas of tourism study to people who are coming to a topic for the first time. Written by leading thinkers and academics in the field they provide flexible, current and topical information as an instant download.

Commanding a cult following among horror fans, Italian film director Dario Argento is best known for his work in two closely related genres, the crime thriller and supernatural horror. In his four decades of filmmaking, Argento has displayed a commitment to innovation, from his directorial debut with 1970's suspense thriller The Bird with the Crystal Plumage to 2009's Giallo. His films, like the lurid yellow-covered murder-mystery novels they are inspired by, follow the suspense tradition of hard-boiled American detective fiction while incorporating baroque scenes of violence and excess. _x000B__x000B_L. Andrew Cooper uses controversies and theories about the films' reflections on sadism, gender, sexuality, psychoanalysis, aestheticism, and genre to declare the anti-rational logic of Argento's oeuvre. Approaching the films as rhetorical statements made through extremes of sound and vision, Cooper places Argento in a tradition of aestheticized horror that includes De Sade, De Quincey, Poe, and Hitchcock. He reveals how the director's stylistic excesses, often condemned for glorifying misogyny and other forms of violence, offer productive resistance to the cinema's visual, narrative, and political norms._x000B_

Every day we hear stories about the consequences of human frailties for individuals, their families, friends, and organizations. These involve alcohol and drug addiction and other harmful lifestyle choices, and all kinds of unethical and illegal behaviour, including bribery and corruption, price fixing, theft and fraud, sexual harassment and abuse of authority, fiddling expenses and cheating at sport and in exams. Efforts to teach ethical behaviour in business schools make little difference. The media who report others' frailties are themselves unethical and engage in illegal conduct. This book.

Best-selling author and noted illustrator of Nature Anatomy, Julia Rothman takes her pen into the kitchen with this charming, illustrated guide to all things edible around the globe. She focuses her curious eye on the origins, types, tools, traditions, and techniques behind the most popular foods and preparations, from breads to fish to spices and desserts.

This book is a lively, comprehensive and timely reader on the music video, capitalising on cross-disciplinary research expertise, which represents a substantial academic engagement with the music video, a mediated form and practice that still remains relatively under-explored in a 21st century context. The music video has remained suspended between two distinct poles. On the one hand, the music video as the visual sheen of late capitalism, at the intersection of celebrity studies and postmodernism. On the other hand, the music video as art, looking to a prehistory of avant-garde film-making while perpetually pushing forward the digital frontier with a taste for anarchy, controversy, and the integration of special effects into a form designed to be disseminated across digital platforms. In this way, the music video virally re-engenders debates about high art and low culture. This collection presents a comprehensive account of the music video from a contemporary 21st century perspective. This entails revisiting key moments in the canonical history of the music video, exploring its articulations of sexuality and gender, examining its functioning as a form of artistic expression between music, film and video art, and following the music video's dissemination into the digital domain, considering how digital media and social media have come to re-invent the forms and functions of the music video, well beyond the limits of 'music television'.