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.

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.

Gathering together under a single cover material from a wide range of African societies, this volume allows similarities and differences to be easily perceived and suggests social correlates of these in terms of age, sex, marital status, social grading and wealth. It includes material on both traditional and modern cults.

The first part of this book considers what kind of study social anthropology is, the types of questions social anthropologists ask and how they go about obtaining the answers. The second part discusses the more important fields in which social anthropologists have advanced our knowledge of other cultures: kinship and marriage, social order, economic relations and magical and religious institutions. The important theme of social change is also discussed. First published in 1964.

Gathering together under a single cover material from a wide range of African societies, this volume allows similarities and differences to be easily perceived and suggests social correlates of these in terms of age, sex, marital status, social grading and wealth. It includes material on both traditional and modern cults.

`We made Kinder Scout, not just metaphorically, or metaphysically, not just with our stories and our battles, but literally changed its shape, from the peat washing off its summit, to the drystone walls that turn the hillside into a harmonious grid, the trees that are and more often aren't there, to the creatures that we've allowed to remain and those we've done away with. It's our mountain.' In 1951 the Peak District was designated the UK's first national park: a commitment to protect and preserve our countryside and wild places. Sandwiched between Manchester and Sheffield, and sitting at the base of the Pennines, it is home to Kinder Scout, Britain's most popular `mountain', a beautiful yet featureless and disorientating plateau which barely scrapes the 600-metre contour, whose lower slopes bore witness in 1932 to a movement of feet, a pedestrian rebellion, which helped shape modern access legislation: the Kinder Mass Trespass. But Kinder Scout's story is about much more than the working class taking on the elite. Marked by the passage of millions of feet and centuries of farming, a graveyard for lost souls and doomed aircraft, this much-loved mountain is a sacred canvas on which mankind has scratched and scraped its likeness for millennia. It is a record of our social and political history, of conflict and community. Writer Ed Douglas and photographer John Beatty are close friends and have a shared history with Kinder going back decades. In this unique collaboration they reveal the social, political, cultural and ecological developments that have shaped the physical and human landscape of this enigmatic and treasured hill. Kinder Scout: The People's Mountain is a celebration of a northern English mountain and our role in its creation.

Thirty years ago a young man sailed by way of the Falkland Islands to Antarctica, where he was to work as a field assistant on the British Antarctic Survey. This adventure, lasting seven months, shaped the course of John Beatty's life. Over the three decades that followed, John travelled extensively, encountering the natural rhythms and raw beauty of the world in its most remote and spectacular settings. He took with him an innate photographic skill by means of which, through countless rigorous and self-reliant experiences in the wild, he developed an intensely personal and unique vision, the expression of which is distilled in the images contained in this book. Behind the camera's shutter, an artist's eye was at work, seizing on opportunity and shaping it for our appreciation. "Wild Vision" is the first retrospective of John's work. To accompany his breathtaking photographs, he has written a text that gives insights into the adventurous experiences that are at the heart of his photography. Together, word and image take you on a journey both graphic and spiritual, where place resonates in all its dimensions: from kayaking down the Colorado River to trekking through the Himalaya; from polar and Greenland ice-caps into the incredible animal kingdoms of Africa; from Boreal forests to landscapes that inspired the life's work of Charles Darwin. This thrilling journey through awareness ends with our own relict and staggeringly beautiful wild land of Britain. To follow it is to learn to see.

This book tells how quantitative ideas of chance have transformed the natural and social sciences as well as everyday life over the past three centuries. A continuous narrative connects the earliest application of probability and statistics in gambling and insurance to the most recent forays into law, medicine, polling, and baseball. Separate chapters explore the theoretical and methodological impact on biology, physics, and psychology. In contrast to the literature on the mathematical development of probability and statistics, this book centers on how these technical innovations recreated our conceptions of nature, mind, and society.