Guy Pearce and Robert Pattinson star in this bleak drama directed by David Michôd. Ten years after an economic collapse has made life tough in the Australian outback, Eric (Pearce) travels from place to place in his car, which is his only remaining possession, and struggles to make ends meet. When a group of wandering thieves steal his car after their own truck gets damaged and leave an injured member behind, Eric sets off to track them down. In his pursuit he meets up with Rey (Pattinson), the abandoned member of the group, who he believes will have an idea of the gang's whereabouts. Can Eric hunt them down and regain the only thing he has left?

This book applies contemporary macroeconomic theory and econometric modelling techniques in order to address policy issues relating to the CFA Franc Zone, a group of francophone African Countries sharing a common currency that is linked to the French Franc / Euro. Within this methodological framework, the author analyses the way in which the monetary institutions of the CFA influence macroeconomic development and policy formation.

Contents:
1. An Introduction to the Institutions and Members of the CFA Franc Zone
2. CFA Membership, Exchange Rate Pegs and Inflation
3. Short-Run Monetary Policy Formation: Comparing the CFA with Anglophone Africa
4. Public Debt and the Strategic Interaction of Monetary and Fiscal Policy
5. Asset Demand and the Monetary Transmission Mechanism: the Case of Côte d'Ivoire
6. Tests of Capital Market integration between the Franc Zone and France
7. Savings, Investment and Franc Zone Membership: Time-Series Evidence from a Comparison of Côte d'Ivoire with Kenya
8. CFA Membership and the Role of Relative Price Stability in Investment Performance
9. Conclusion and Suggestions for Further Study

Death, Gender and Ethnicity examines the ways in which gender and ethnicity shape the experiences of dying and bereavement, taking as its focus the diversity of ways through which the universal event of death is encountered. It brings together accounts of how these experiences are actually managed with analyses of a range of representations of dying and grieving in order to provide a more theoretical approach to the relationship between death, gender and ethnicity.
Though death and dying have been an increasingly important focus for academics and clinicians over the last thirty years, much of this work provides little insight into the impact of gender and ethnicity on the experience. The result is often a universalising representation which fails to take account of the personally unique and culturally specific experiences associated with a death. Drawing on a range of detailed case studies, Death, Gender and Ethnicity seeks to develop a more sensitive theoretical approach which will be invaluable reading for students and practitioners in health studies, sociology, social work and medical anthropology.

Neolithic Horizons investigates some of our most remarkable and iconic archaeological sites: the great public monuments at Stonehenge and Avebury and others like them and places them within their landscape context-the rolling chalklands of Wessex. Rightly famous the world over, these monuments are complemented by less well-known, contemporary, foci such as the earthen circles at Knowlton, in Dorset, or Marden, in Wiltshire and seen to be part of an earth-shifting tradition that extended right across the region and traced back to our very earliest monuments, long barrows and causewayed enclosures. After Stonehenge, the tradition continued with the construction of enormous numbers of circular burial mounds along the river valleys and hillsides. Indeed, few other regions in Europe can match the scale and intensity of development at these ceremonial complexes. These locations, places of ritual, must nevertheless be viewed as part of a wider landscape; one where features of the land are continually changing according to the influence of local inhabitants.Whilst charting a remarkable archaeological legacy, this book reveals the developing landscape of grassland, settlements and fields; the product of the early farming communities who lived their lives in the shadow of the monuments.

The Story of Silbury Hill sets out the archaeological story of Silbury: from an early recognition of its importance to antiquarian and archaeological investigations of the hill. For the first time, the results of the recent work are set out in detail, describing early activity on the site, the origins of the monument and the construction techniques used. Numerous new and vivid reconstruction drawings present a unique interpretation of this iconic prehistoric monument. The authors propose a new theory of the construction and thus a new way of interpreting Neolithic monuments.

First season of the Australian comedy in which a man's fledgling relationship with a beautiful woman is complicated by the jealousy of her strangely human-seeming pet dog, Wilfred. Adam (Adam Zwar) is initially delighted to be invited home by Sarah (Cindy Waddingham). However, when he meets her 'dog', Wilfred (Jason Gann), his enthusiasm wanes dramatically. While to Sarah Wilfred is a just a pet, Adam sees him as a man dressed in a dog suit - and no mere ordinary man. Wilfred is a drunken, possessive and foul-mouthed ne'er-do-well and the bane of love-struck Adam's life. Episodes are: 'There Is a Dog', 'Dog Day Afterglow', 'Dogs of War', 'Walking the Dog', 'The Dog Whisperer', 'Dog Eat Dog', 'Barking Behind Bars' and 'This Dog's Life'.

Second season of the Australian comedy in which a man's fledgling relationship with a beautiful woman is complicated by the jealousy of her strangely human-seeming pet dog, Wilfred. Adam (Adam Zwar) is initially delighted to be invited home by Sarah (Cindy Waddingham). However, when he meets her 'dog', Wilfred (Jason Gann), his enthusiasm wanes dramatically. While to Sarah Wilfred is a just a pet, Adam sees him as a man dressed in a dog suit - and no mere ordinary man. Wilfred is a drunken, possessive and foul-mouthed ne'er-do-well and the bane of love-struck Adam's life. Episodes are: 'Kiss Me Kat', 'Dog of a Town: Part 1', 'Dog of a Town: Part 2', 'Honey You're Killing the Dog', 'Ice Dog Cometh', 'The Dog Father', 'Dog Star' and 'Bite Club'.

The chronological disjuncture, LBK longhouses have widely been considered to provide ancestral influence for both rectangular and trapezoidal long barrows and cairns, but with the discovery and excavation of more houses in recent times is it possible to observe evidence of more contemporary inspiration. What do the features found beneath long mounds tell us about this and to what extent do they represent domestic structures. Indeed, how can we distinguish between domestic houses or halls and those that may have been constructed for ritual purposes or ended up beneath mounds? Do so called 'mortuary enclosures' reflect ritual or domestic architecture and did side ditches always provide material for a mound or for building construction? This collection of papers seeks to explore the interface between structures often considered to be those of the living with those for the dead.