This is an introduction to language teacher training and development for teachers and providers in pre-service and in-service programmes. The text outlines the main theories of human learning and applies them to teacher education. Based on a broadly social constructivist perspective, it suggests a framework for planning pre-service and in-service programmes, and is illustrated with case studies from a range of training situations around the world. There are also appendices containing teacher education materials.

There is no shortage of iconic masculine imagery of the soldier in American film and literature--one only has to think of George C. Scott as Patton in front of a giant American flag, Sylvester Stallone as Rambo, or Burt Lancaster rolling around in the surf in From Here to Eternity. In "Male Armor," Jon Robert Adams examines the ways in which novels, plays, and films about America's late-twentieth-century wars reflect altering perceptions of masculinity in the culture at large. He highlights the gap between the cultural conception of masculinity and the individual experience of it, and exposes the myth of war as an experience that verifies manhood.

Drawing on a wide range of work, from the war novels of Ernest Hemingway, Norman Mailer, James Jones, and Joseph Heller to David Rabe's play "Streamers" and Anthony Swofford's "Jarhead, " Adams examines the evolving image of the soldier from World War I to Operation Desert Storm. In discussing these changing perceptions of masculinity, he reveals how works about war in the late twentieth century attempt to eradicate inconsistencies among American civilian conceptions of war, the military's expectations of the soldier, and the soldier's experience of combat. Adams argues that these inconsistencies are largely responsible not only for continuing support of the war enterprise but also for the soldiers' difficulty in reintegration to civilian society upon their return. He intends "Male Armor" to provide a corrective to the public's continued investment in the war enterprise as a guarantor both of masculinity and, by extension, of the nation.

There is no shortage of iconic masculine imagery of the soldier in American film and literature--one only has to think of George C. Scott as Patton in front of a giant American flag, Sylvester Stallone as Rambo, or Burt Lancaster rolling around in the surf in From Here to Eternity. In "Male Armor," Jon Robert Adams examines the ways in which novels, plays, and films about America's late-twentieth-century wars reflect altering perceptions of masculinity in the culture at large. He highlights the gap between the cultural conception of masculinity and the individual experience of it, and exposes the myth of war as an experience that verifies manhood.

Drawing on a wide range of work, from the war novels of Ernest Hemingway, Norman Mailer, James Jones, and Joseph Heller to David Rabe's play "Streamers" and Anthony Swofford's "Jarhead, " Adams examines the evolving image of the soldier from World War I to Operation Desert Storm. In discussing these changing perceptions of masculinity, he reveals how works about war in the late twentieth century attempt to eradicate inconsistencies among American civilian conceptions of war, the military's expectations of the soldier, and the soldier's experience of combat. Adams argues that these inconsistencies are largely responsible not only for continuing support of the war enterprise but also for the soldiers' difficulty in reintegration to civilian society upon their return. He intends "Male Armor" to provide a corrective to the public's continued investment in the war enterprise as a guarantor both of masculinity and, by extension, of the nation.

In 2008 veteran journalist Evan Wright, acclaimed for his "New York Times "bestselling book "Generation Kill "and co-writer of the Emmy-winning HBO series it spawned," " began a series of conversations with super-criminal Jon Roberts, star of the fabulously successful documentary "Cocaine Cowboys. "Those conversations would last three years, during which time Wright came to realize that Roberts was much more than the de-facto "transportation chief" of the Medellin Cartel during the 1980s, much more than a facilitator of a national drug epidemic. As Wright's tape recorder whirred and Roberts unburdened himself of "hundreds "of jaw-dropping tales, it became clear that perhaps no one in history had broken so many laws with such willful abandon.
Roberts, in fact, seemed to be a prodigy of criminality - but one with a remarkable self-awareness and a fierce desire to protect his son from following the same path.
"American Desperado "is Roberts' no-holds-barred account of being born into Mafia royalty, witnessing his first murder at the age of seven, becoming a hunter-assassin in Vietnam, returning to New York to become -- at age 22 -- one of the city's leading nightclub impresarios, then journeying to Miami where in a few short years he would rise to become the Medellin Cartel's most effective smuggler.
But that's just "half "the tale.
The roster of Roberts' friends and acquaintances reads like a Who's Who of the latter half of the 20th century and includes everyone from Jimi Hendrix, Richard Pryor, and O.J. Simpson to Carlo Gambino, Meyer Lansky, and Manuel Noriega.
Nothing if not colorful, Roberts surrounded himself with beautiful women, drove his souped-up street car at a top speed of 180 miles per hour, shared his bed with a 200-pound cougar, and employed a 6"6" professional wrestler called "The Thing" as his bodyguard. Ultimately, Roberts became so powerful that he attracted the attention of the Republican Party's leadership, was wooed by them, and even was co-opted by the CIA for which he carried out its secret agenda.
Scrupulously documented and relentlessly propulsive, this collaboration between a bloodhound journalist and one of the most audacious criminals ever is like no other crime book you've ever read. Jon Roberts may be the only criminal who changed the course of American history.

"From the Hardcover edition."