A lively, engaging book that takes it’s own line, but it is written specifially for undergraduate teaching.

A lively, engaging book that takes it’s own line, but it is written specifially for undergraduate teaching.

Liz has a quiet determination to overcome the obstacles that have beset her with the collapse of her husband's property business when the economic climate drastically struck. She has many new hurdles to surmount before she finds happiness, but through it all is still the lovely warm hearted girl.

T?his is the first book about reality television to make class its central focus. Despite popular and media debate about the 'classed' behaviour of reality stars such as Jade Goody and Shilpa Shetty, and the class confrontations depicted in shows such as Wife Swap, class politics have been overlooked in much political and academic discussion of reality television. In their introduction, the editors spell out how reality television - by making visible new forms of performance labour - invites a serious discussion of class. Internationally-renowned media scholars and sociologists explore the ways in which 'ordinary people' enter the television frame, and how discourses of class are routed through national concerns and fears. Through an analysis of programmes such as Celebrity Big Brother, The Hills, MasterChef and Ladette to Lady, the contributors tackle common assumptions in television analysis to show how the mere fact of 'being on tv' is not a straightforward route to recognition, democracy, mobility or value; how new moral economies are emerging in which judgement and aspiration are normalised; and that class relationships are key dramatic devices in the spectacle of television entertainment.

Television for Women brings together emerging and established scholars to reconsider the question of 'television for women'. In the context of the 2000s, when the potential meanings of both terms have expanded and changed so significantly, in what ways might the concept of programming, addressed explicitly to a group identified by gender still matter? The essays in this collection take the existing scholarship in this field in significant new directions. They expand its reach in terms of territory (looking beyond, for example, the paradigmatic Anglo-American axis) and also historical span. Additionally, whilst the influential methodological formation of production, text and audience is still visible here, the new research in Television for Women frequently reconfigures that relationship. The topics included here are far-reaching; from television as material culture at the British exhibition in the first half of the twentieth century, women's roles in television production past and present, to popular 1960s television such as The Liver Birds and, in the twenty-first century, highly successful programmes including Orange is the New Black, Call the Midwife, One Born Every Minute and Wanted Down Under. This book presents ground-breaking research on historical and contemporary relationships between women and television around the world and is an ideal resource for students of television, media and gender studies.

Ti?his is the first book about reality television to make class its central focus. Despite popular and media debate about the 'classed' behaviour of reality stars such as Jade Goody and Shilpa Shetty, and the class confrontations depicted in shows such as Wife Swap, class politics have been overlooked in much political and academic discussion of reality television. In their introduction, the editors spell out how reality television -- by making visible new forms of performance labour -- invites a serious discussion of class. Internationally-renowned media scholars and sociologists explore the ways in which 'ordinary people' enter the television frame, and how discourses of class are routed through national concerns and fears. Through an analysis of programmes such as Celebrity Big Brother, The Hills, MasterChef and Ladette to Lady, the contributors tackle common assumptions in television analysis to show how the mere fact of 'being on tv' is not a straightforward route to recognition, democracy, mobility or value; how new moral economies are emerging in which judgement and aspiration are normalised; and that class relationships are key dramatic devices in the spectacle of television entertainment.

The unremitting explosion of reality television across the schedules has become a sustainable global phenomenon generating considerable popular and political fervour. The zeal with which television executives seize on the easily replicated formats is matched equally by the eagerness of audiences to offer themselves up as television participants for others to watch and criticise. But how do we react to so many people breaking down, fronting up, tearing apart, dominating, empathising, humiliating, and seemingly laying bare their raw emotion for our entertainment? Do we feel sad when others are sad? Or are we relieved by the knowledge that our circumstances might be better? As reality television extends into the experiences of the everyday, it makes dramatic and often shocking the mundane aspects of our intimate relations, inviting us as viewers into a volatile arena of mediated morality. This book addresses the impact of this endless opening out of intimacy as an entertainment trend that erodes the traditional boundaries between spectator and performer demanding new tools for capturing television's relationships with audiences. Rather than asking how the reality television genre is interpreted as 'text' or representation the authors investigate the politics of viewer encounters as interventions, evocations, and more generally mediated social relations. The authors show how different reactions can involve viewers in tournaments of value, as women viewers empathise and struggle to validate their own lives. The authors use these detailed responses to challenge theories of the self, governmentality and ideology. A must read for both students and researchers in audience studies, television studies and media and communication studies.

Television for Women brings together emerging and established scholars to reconsider the question of 'television for women'. In the context of the 2000s, when the potential meanings of both terms have expanded and changed so significantly, in what ways might the concept of programming, addressed explicitly to a group identified by gender still matter? The essays in this collection take the existing scholarship in this field in significant new directions. They expand its reach in terms of territory (looking beyond, for example, the paradigmatic Anglo-American axis) and also historical span. Additionally, whilst the influential methodological formation of production, text and audience is still visible here, the new research in Television for Women frequently reconfigures that relationship. The topics included here are far-reaching; from television as material culture at the British exhibition in the first half of the twentieth century, women's roles in television production past and present, to popular 1960s television such as The Liver Birds and, in the twenty-first century, highly successful programmes including Orange is the New Black, Call the Midwife, One Born Every Minute and Wanted Down Under. This book presents ground-breaking research on historical and contemporary relationships between women and television around the world and is an ideal resource for students of television, media and gender studies.

This collection of classic essays focuses on the theoretical frameworks that informed the work of the Centre for Contemporary Cultural Studies at the University of Birmingham, the methodologies and working practices that the Centre developed for conducting academic research and examples of the 'grounded studies' carried out under the auspices of the Centre.

This volume is split into four thematic sections that are introduced by key academics working in the field of cultural studies, and includes a preface by eminent scholar, Stuart Hall. The thematic sections are:

• CCCS Founding Moments
• Theoretical Engagements
• Theorising Experience, Exploring Methods
• Grounded Studies.

This collection of classic essays focuses on the theoretical frameworks that informed the work of the Centre for Contemporary Cultural Studies at the University of Birmingham, the methodologies and working practices that the Centre developed for conducting academic research and examples of the studies carried out under the auspices of the Centre.

This volume is split into seven thematic sections that are introduced by key academics working in the field of cultural studies, and includes a preface by eminent scholar, Stuart Hall. The thematic sections are:

• Literature and Society
• Popular Culture and Youth Subculture
• Media
• Women's Studies and Feminism
• Race
• History
• Education and Work.

This collection of classic essays focuses on the theoretical frameworks that informed the work of the Centre for Contemporary Cultural Studies at the University of Birmingham, the methodologies and working practices that the Centre developed for conducting academic research and examples of the studies carried out under the auspices of the Centre.

This volume is split into seven thematic sections that are introduced by key academics working in the field of cultural studies, and includes a preface by eminent scholar, Stuart Hall. The thematic sections are:

• 
  
• Literature and Society
• 
  
• Popular Culture and Youth Subculture
• 
  
• Media
• 
  
• Women's Studies and Feminism
• 
  
• Race
• 
  
• History
• 
  
• Education and Work.

This collection of classic essays focuses on the theoretical frameworks that informed the work of the Centre for Contemporary Cultural Studies at the University of Birmingham, the methodologies and working practices that the Centre developed for conducting academic research and examples of the 'grounded studies' carried out under the auspices of the Centre.

This volume is split into four thematic sections that are introduced by key academics working in the field of cultural studies, and includes a preface by eminent scholar, Stuart Hall. The thematic sections are:

• 
  
• CCCS Founding Moments
• 
  
• Theoretical Engagements
• 
  
• Theorising Experience, Exploring Methods
• 
  
• Grounded Studies.

Handwriting Today is a comprehensive cursive handwriting programme. It removes the need for teaching a pre cursive letter formation, as it introduces individual letters at Book A level, that have the identical shape and form of those used at later stages when joining letters and creating words. It starts with a cursive font and builds to joins and words quickly. It uses a flowing cursive font that combines the best of traditional and contemporary fonts to create an easy to write and easy on the eye writing style. Pupils find this an easy beginning. It focuses on the flow of letters and text, and avoids a start-stop writing style, which in turn leads to illegible writing in later years a smooth flowing style is the result of using Handwriting Today. It makes it easy for young children to build their skills, as in the early stages all lower case letters share the same starting point. Handwriting Today is available from Book A to Book D: Book A: letters are introduced in Book A, where young writers practice word shapes and formations before moving to joins in the following year; Book B: looks at creating joins and practicing various letter combinations leading to the writing of words; Book C: builds on joins, combining multiple joins into words, groups of words and sentences; and, Book D: provides opportunities for children to practice their writing in the context of every day usage and cross-curricular themes, providing for letter and join revision as appropriate. What will the teacher get with Handwriting Today? It contains over 72 activity pages in each level. It provides regular revision and consolidation. It offers teacher assessment framework. It features programme that provide a developmental approach to handwriting. It includes diversity of resources that allow for individual attention to pupil progress and a comprehensive approach to differentiation of the class handwriting programme. It is a comprehensive, photocopiable teacher's guide. It also offers a demonstration that can be download. It also provides handwriting software resource for teachers.

This book interrogates the hyper-visibility and stubborn endurance of the wedding spectacle across media and culture in the current climate. The wide-ranging chapters consider why the symbolic power of weddings is intensifying at a time when marriage as an institution appears to be in decline - and they offer new insights into the shifting and complex gender politics of contemporary culture. The collection is a feminist project but does not straight-forwardly renounce the wedding spectacle. Rather, the diverse contributions offer close analyses of the myriad forms and practices of the wedding spectacle, from reality television and cinematic film to wedding videography and bridal boutiques. Drawing on feminist and queer theory, the chapters illuminate the paradoxes, contradictions, disappointments, cruelties and pleasures that are intimately bound up with the wedding spectacle. Written by leading and emerging feminist scholars, the chapters range across different national and cultural contexts to explore how the gender politics of weddings are changing and adapting to a new cultural and social landscape. This in-depth analysis of the wedding spectacle will appeal to academics and researchers in the fields of gender and mass media, cultural studies, feminist studies, and intercultural communication.

Handwriting Today is a comprehensive cursive handwriting programme. It removes the need for teaching a pre cursive letter formation, as it introduces individual letters at Book A level, that have the identical shape and form of those used at later stages when joining letters and creating words. It starts with a cursive font and builds to joins and words quickly. It uses a flowing cursive font that combines the best of traditional and contemporary fonts to create an easy to write and easy on the eye writing style. Pupils find this an easy beginning. It focuses on the flow of letters and text, and avoids a start-stop writing style, which in turn leads to illegible writing in later years a smooth flowing style is the result of using Handwriting Today. It makes it easy for young children to build their skills, as in the early stages all lower case letters share the same starting point. Handwriting Today is available from Book A to Book D: Book A: letters are introduced in Book A, where young writers practice word shapes and formations before moving to joins in the following year; Book B: looks at creating joins and practicing various letter combinations leading to the writing of words; Book C: builds on joins, combining multiple joins into words, groups of words and sentences; and, Book D: provides opportunities for children to practice their writing in the context of every day usage and cross-curricular themes, providing for letter and join revision as appropriate. What will the teacher get with Handwriting Today? It contains over 72 activity pages in each level. It provides regular revision and consolidation. It offers teacher assessment framework. It features programme that provide a developmental approach to handwriting. It includes diversity of resources that allow for individual attention to pupil progress and a comprehensive approach to differentiation of the class handwriting programme. It is a comprehensive, photocopiable teacher's guide. It also offers a demonstration that can be download. It also provides handwriting software resource for teachers.

The unremitting explosion of reality television across the schedules has become a sustainable global phenomenon generating considerable popular and political fervour. The zeal with which television executives seize on the easily replicated formats is matched equally by the eagerness of audiences to offer themselves up as television participants for others to watch and criticise. But how do we react to so many people breaking down, fronting up, tearing apart, dominating, empathising, humiliating, and seemingly laying bare their raw emotion for our entertainment? Do we feel sad when others are sad? Or are we relieved by the knowledge that our circumstances might be better? As reality television extends into the experiences of the everyday, it makes dramatic and often shocking the mundane aspects of our intimate relations, inviting us as viewers into a volatile arena of mediated morality. This book addresses the impact of this endless opening out of intimacy as an entertainment trend that erodes the traditional boundaries between spectator and performer demanding new tools for capturing television's relationships with audiences. Rather than asking how the reality television genre is interpreted as 'text' or representation the authors investigate the politics of viewer encounters as interventions, evocations, and more generally mediated social relations. The authors show how different reactions can involve viewers in tournaments of value, as women viewers empathise and struggle to validate their own lives. The authors use these detailed responses to challenge theories of the self, governmentality and ideology. A must read for both students and researchers in audience studies, television studies and media and communication studies.

This book interrogates the hyper-visibility and stubborn endurance of the wedding spectacle across media and culture in the current climate. The wide-ranging chapters consider why the symbolic power of weddings is intensifying at a time when marriage as an institution appears to be in decline - and they offer new insights into the shifting and complex gender politics of contemporary culture. The collection is a feminist project but does not straight-forwardly renounce the wedding spectacle. Rather, the diverse contributions offer close analyses of the myriad forms and practices of the wedding spectacle, from reality television and cinematic film to wedding videography and bridal boutiques. Drawing on feminist and queer theory, the chapters illuminate the paradoxes, contradictions, disappointments, cruelties and pleasures that are intimately bound up with the wedding spectacle. Written by leading and emerging feminist scholars, the chapters range across different national and cultural contexts to explore how the gender politics of weddings are changing and adapting to a new cultural and social landscape. This in-depth analysis of the wedding spectacle will appeal to academics and researchers in the fields of gender and mass media, cultural studies, feminist studies, and intercultural communication.

The numbers of unmarried cohabiting couples continue to increase, with the result that the law and practice relating to this area continues to grow insignificance for family and private client lawyers. This new edition of Cohabitation: Law Practice and Precedents has been extensively revised to take account of all procedural developments, as well as analysis of significant case-law. Whether preparing a cohabitation contract or pre-nuptial agreement, drafting wills for cohabiting couples, advising on rights on the breakdown of a relationship or the death of a partner, or applying for a personal protection order or a parental responsibility agreement, practitioners will find authoritative analysis of the applicable law and expert guidance on procedural issues. Cohabitation: Law, Practice and Precedents is the only work on the subject to provide commentary, checklists, procedural guides and precedents in a single volume making it an invaluable aid to all practitioners advising unmarried couples.