Capital punishment, serial killings, war, terrorism, abortion, honour killings, euthanasia, suicide bombings, war, and genocide: all involve the taking of life. Put most simply, all involve killing other people. However, cultural context heavily influences heavily how people perceive these acts, and most people reading this paragraph will likely disagree on the extent to which these "count" as killing. For such an evolved species, humans can be violent far beyond the point of humanity. Why We Kill examines this violence in its many forms, exploring how culture plays a role in people's understanding and definition of violent action. From the first chapter, which examines "conventional" homicide, to the final chapter's bone-chilling account of the Rwandan genocide, this fascinating book makes compelling reading.

Ten years ago there were no faith-based units in prisons outside South America. Today, they are spreading all over the world, including the United States, Europe and the Commonwealth. My Brother's Keeper is the first major study of a global phenomenon. Exploring the roots of faith-based units in South America, it explains why the Prison Service of England and Wales set up the first Christian-based unit in the western world in 1997 - and its rapid expansion. It also explains how, at exactly the same time, the United States introduced Christian-based units - and why they were complimented by interfaith and multifaith initiatives. At the heart of My Brother's Keeper is an interior account of life inside four Christian-based prison units in England. It draws on the findings of a detailed evaluation conducted by the authors for the Home Office, Prison Service and Kainos Community between 2000 and 2001, including an updated reconviction study. It is an authoritative account of an innovative programme. Its analysis of what works and what doesn't in faith-based units around the world makes My Brother's Keeper a valuable roadmap for all who care about improving prison conditions. It presents a vision of justice that is not just concerned with building more prisons but with rebuilding more prisoners. It argues that by making prisons more human and punishment more humane, faith-based units can be of value - and keep faith in prisons.

Infanticide, serial killings, war, terrorism, abortion, honour killings, euthanasia, suicide bombings and genocide; all involve taking of life. Put most simply, all involve killing one or more other people. Yet cultural context influences heavily how one perceives all of these, and indeed, some readers of this paragraph may already have thought: 'But surely that doesn't belong with those others, that's not really killing.'
Why We Kill examines violence in many of its manifestations, exploring how culture plays a role in people's understanding of violent action.
From the first chapter, which tries to understand multiple forms of domestic homicide including infanticide, filicide, spousal homicide and honour killings, to the final chapter's bone-chilling account of the massacre at Murambi in Rwanda, this fascinating book makes compelling reading.

Capital punishment, serial killings, war, terrorism, abortion, honour killings, euthanasia, suicide bombings, war, and genocide: all involve the taking of life. Put most simply, all involve killing other people. However, cultural context heavily influences heavily how people perceive these acts, and most people reading this paragraph will likely disagree on the extent to which these "count" as killing. For such an evolved species, humans can be violent far beyond the point of humanity. Why We Kill examines this violence in its many forms, exploring how culture plays a role in people's understanding and definition of violent action. From the first chapter, which examines "conventional" homicide, to the final chapter's bone-chilling account of the Rwandan genocide, this fascinating book makes compelling reading.

Ten years ago there were no faith-based units in prisons outside South America. Today, they are spreading all over the world, including the United States, Europe and the Commonwealth. My Brother's Keeper is the first major study of a global phenomenon. Exploring the roots of faith-based units in South America, it explains why the Prison Service of England and Wales set up the first Christian-based unit in the western world in 1997 - and its rapid expansion. It also explains how, at exactly the same time, the United States introduced Christian-based units - and why they were complimented by interfaith and multifaith initiatives. At the heart of My Brother's Keeper is an interior account of life inside four Christian-based prison units in England. It draws on the findings of a detailed evaluation conducted by the authors for the Home Office, Prison Service and Kainos Community between 2000 and 2001, including an updated reconviction study. It is an authoritative account of an innovative programme. Its analysis of what works and what doesn't in faith-based units around the world makes My Brother's Keeper a valuable roadmap for all who care about improving prison conditions. It presents a vision of justice that is not just concerned with building more prisons but with rebuilding more prisoners. It argues that by making prisons more human and punishment more humane, faith-based units can be of value - and keep faith in prisons.

Impressionism and Post-Impressionism at the Dallas Museum of Art offers a series of intimate case studies in the history of 19th-century European art. Inspired by a series of public lectures given at the Dallas Museum of Art between 2009 and 2013, the volume comprises twelve beautifully illustrated essays from leading academics and museum specialists. Opening with a new reading of one of Gustave Courbet's great hunting scenes, The Fox in the Snow, and ending with an exploration of a group of interior scenes by Edouard Vuillard, each essay stands alone as a richly contextualized reading of a single work or group of works by one artist. The authors approach their subjects from a range of methodological perspectives, but all pay close attention to the experience of making and viewing works of art. Distributed for the Dallas Museum of Art