Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Sexuality is arguably the most under-researched of all diversity areas in work organizations. This book brings together and relates stories of minority sexual identity from six organizations drawn from three different industry sectors: the Emergency Services, the Civil Service and the Banking sector. Here sexual minorities freely recount stories of their own workplace experiences. Three main themes emerge from the data: silence, disclosure and response. Issues of voice and silence are particularly pertinent for those who are not part of the dominant heterosexual discourse; issues of disclosure are highly important for sexual minorities for whom coming out is a major defining moment; and, highly unusually, in this book readers get an insight into how people respond to sexual minorities, as other employees' reactions to stories are related too. This book makes a significant contribution to our understanding discursive construction of identity in the workplace, as experienced by sexual minorities and provides a snapshot of minority working lives at the beginning of the 21st century. This is an extremely well written, highly innovative, timely and engaging book which as well as human resources management, it will also be of interest to scholars in other areas such as sociology and general business and management.

This book illuminates how the 'long eighteenth century' (1660-1800) persists in our present through screen and performance media, writing and visual art. Tracing the afterlives of the period from the 1980s to the present, it argues that these emerging and changing forms stage the period as a point of origin for the grounding of individual identity in personal memory, and as a site of foundational traumas that shape cultural memory.

Originally published in 1926, this book presents the content of a series of lectures written by the British philosopher and psychologist James Ward (1843-1925). Their focus is on the theory and practice of education, providing an account regarding the application of psychological methods within an educational context. The 14 lectures were, for the most part, first delivered during the Easter Term of 1880 in the Literary Schools at Cambridge University. This book will be of value to anyone with an interest in psychology, the history of education and child development.

We are surrounded by stationery: half-chewed Cristal Bics and bent paper clips, rubber bands to fiddle with or ping, blunt pencils, rubbers and Tipp-ex are integral parts of our everyday environment. So much so that we never think about where they come from, why they are the way they are - or what stories they might have to tell. But luckily, James Ward does and he's here to tell you all about the secret pull stationery exerts on our lives. After all, who remains unmoved by the sight of a pristine blu-tak slab, or the first unmarked sheet of a brand new notepad? And which of humanity's brightest ideas didn't start life on a scrap of paper, a Post-it, or in the margins of a notebook? Exploring the stories behind these everyday objects, Ward reveals tales of invention - accidental and brilliant - and bitter rivalry. He also asks the questions you never thought you had: Who is Mr Pritt? What does shatter-proof resistant mean? How many pens does Argos use? And what does design evolutions in desk organisers mean for society? This witty and entertaining book, packed with fascinating facts, will change the way you look at your desk, pencil case or stationery cupboard forever.

This book illuminates how the 'long eighteenth century' (1660-1800) persists in our present through screen and performance media, writing and visual art. Tracing the afterlives of the period from the 1980s to the present, it argues that these emerging and changing forms stage the period as a point of origin for the grounding of individual identity in personal memory, and as a site of foundational traumas that shape cultural memory.