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.

In Drawing the Past, Volume 2: Comics and the Historical Imagination in the World, contributors seek to examine the many ways in which history worldwide has been explored and (re)represented through comics and how history is a complex construction of imagination, reality, and manipulation. Through a close analysis of such works as V for Vendetta, Maus, and Persepolis, this volume contends that comics are a form of mediation between sources (both primary and secondary) and the reader. Historical comics are not drawn from memory but offer a nonliteral interpretation of an object (re)constructed in the creator's mind. Indeed, when it comes to history, stretching the limits of the imagination only serves to aid in our understanding of the past and, through that understanding, shape ourselves and our futures. This volume, the second in a two-volume series, is divided into three sections: History and Form, Historical Trauma, and Mythic Histories. The first section considers the relationship between history and the comic book form. The second section engages academic scholarship on comics that has recurring interest in the representation of war and trauma. The final section looks at mythic histories that consciously play with events that did not occur but nonetheless inflect our understanding of history. Contributors to the volume also explore questions of diversity and relationality, addressing differences between nations and the cultural, historical, and economic threads that bind them together, however loosely, and however much those bonds might chafe. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world. Contributions by Dorian Alexander, Chris Bishop, David Budgen, Lewis Call, Lillian Cespedes Gonzalez, Dominic Davies, Sean Eedy, Adam Fotos, Michael Goodrum, Simon Gough, David Hitchcock, Robert Hutton, Iain A. MacInnes, Malgorzata Olsza, Philip Smith, Edward Still, and Jing Zhang.

Theorist Clifford Geertz's influence extends far beyond anthropology. Indeed the case could be made that he has been abandoned by anthropology and that his legacy has been transferred to a more diffuse community of scholars interested in interpretation. This volume reflects the breadth of his influence, looking at Geertz as a theorist rather than as an anthropologist. To date, there has been no impartial, comprehensive, and authoritative work published on this critical figure. Contributors include an interdisciplinary team of leading scholars investigating the three core components of contested legacy: theory, method, and writing.

In recent decades, the focus of the study of culture in sociology has been divided between the sociology of culture and cultural sociology. In the former approach, culture is seen as a reflection of the deeper and more "real" social structures.
A cultural sociology, however, begins from the premise that ideas and beliefs retain autonomy from the social structures to which they refer and illuminate. Only after the internal logics of meaning have been discovered and understood--the codes, narratives, and rhetorical techniques--can the cultural be put back into social structure, and analyzed in a multidimensional way. Edited by Jeffrey Alexander, arguably the leading cultural sociologist in the world, and two other widely respected practitioners, Ron Jacobs and Phil Smith, these essays from an international cast of the best and brightest cultural sociologists cover topics in theory and method; power, politics, and states; economics and organization; mass media; social movements; religion; aesthetics; knowledge; and health. Organized by empirical areas of study rather than particular theories or competing intellectual strands, the editors demonstrate that cultural sociology is not so much as a specialized subfield of sociology but, rather, an intellectual approach that can be generalized across all the core fields of the discipline.

History has always been a matter of arranging evidence into a narrative, but the public debate over the meanings we attach to a given history can seem particularly acute in our current age. Like all artistic mediums, comics possess the power to mold history into shapes that serve its prospective audience and creator both. It makes sense, then, that history, no stranger to the creation of hagiographies, particularly in the service of nationalism and other political ideologies, is so easily summoned to the panelled page. Comics, like statues, museums, and other vehicles for historical narrative, make both monsters and heroes of men while fuelling combative beliefs in personal versions of United States history. Drawing the Past, Volume 1: Comics and the Historical Imagination in the United States, the first book in a two-volume series, provides a map of current approaches to comics and their engagement with historical representation. The first section of the book on history and form explores the existence, shape, and influence of comics as a medium. The second section concerns the question of trauma, understood both as individual traumas that can shape the relationship between the narrator and object, and historical traumas that invite a reassessment of existing social, economic, and cultural assumptions. The final section on mythic histories delves into ways in which comics add to the mythology of the US. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world. Contributions by Lawrence Abrams, Dorian Alexander, Max Bledstein, Peter Cullen Bryan, Stephen Connor, Matthew J. Costello, Martin Flanagan, Michael Fuchs, Michael Goodrum, Bridget Keown, Kaleb Knoblach, Christina M. Knopf, Martin Lund, Jordan Newton, Stefan Rabitsch, Maryanne Rhett, and Philip Smith.

Despite all the jokes about the poor quality of physician handwriting, physician adoption of computerized provider order entry (CPOE) in hospitals still lags behind other industries' use of technology. As of the end of 2010, less than 22% of hospitals had deployed CPOE. Yet experts claim that this technology reduces over 80% of medication errors and could prevent an estimated 522,000 serious medication errors annually in the US. Even though the federal government has offered $20 billion dollars in incentives to hospitals and health systems through the 2009 stimulus (the ARRA HITECH section of the American Recovery and Reinvestment Act of 2009), many organizations are struggling to implement advanced clinical information systems including CPOE. In addition, industry experts estimate that the healthcare industry is lacking as many as 40,000 persons with expertise in clinical informatics necessary to make it all happen by the 2016 deadline for these incentives. While the scientific literature contains numerous studies and stories about CPOE, no one has written a comprehensive, practical guide like Making CPOE Work. While early adopters of CPOE were mainly academic hospitals, community hospitals are now proceeding with CPOE projects and need a comprehensive guide. Making CPOE Work is a book that will provide a concise guide to help both new and experienced health informatics teams successfully plan and implement CPOE. The book, in a narrative style, draws on the author's decade-long experiences of implementing CPOE at a variety of academic, pediatric and community hospitals across the United States.

Children's literature has been taught in undergraduate classrooms since the mid-1960s and has grown to become a staple of English literature, library science, and education programs. Children's literature classes are typically among the most popular course offerings at any institution. It is easy to understand why; children's literature classes promise students the opportunity to revisit familiar works with fresh eyes. With the growth of the children’s publishing industry and the celebration of recent scholarly interventions in the field, the popularity of the discipline is unlikely to abate. A central question of current children’s literature scholarship and practice is how to effectively address contemporary questions of social justice. This collection offers a series of interventions for the practice of teaching equity through children's literature in undergraduate classrooms. It is intended for individuals who teach, or who are interested in teaching, children’s literature to undergraduates. It includes contributions from practitioners from a range of institutional affiliations, disciplinary backgrounds, nationalities, and career stages. Furthermore, this volume includes contributions from scholars who belong to groups which are often underrepresented within academia, due to race, nationality, ethnicity, gender identity, disability, or other protected characteristics.

Children's literature has been taught in undergraduate classrooms since the mid-1960s and has grown to become a staple of English literature, library science, and education programs. Children's literature classes are typically among the most popular course offerings at any institution. It is easy to understand why; children's literature classes promise students the opportunity to revisit familiar works with fresh eyes. With the growth of the children’s publishing industry and the celebration of recent scholarly interventions in the field, the popularity of the discipline is unlikely to abate. A central question of current children’s literature scholarship and practice is how to effectively address contemporary questions of social justice. This collection offers a series of interventions for the practice of teaching equity through children's literature in undergraduate classrooms. It is intended for individuals who teach, or who are interested in teaching, children’s literature to undergraduates. It includes contributions from practitioners from a range of institutional affiliations, disciplinary backgrounds, nationalities, and career stages. Furthermore, this volume includes contributions from scholars who belong to groups which are often underrepresented within academia, due to race, nationality, ethnicity, gender identity, disability, or other protected characteristics.

Eight charming tales full of the warmth, whimsy and wordplay of Irish folklore. Newly reset in large, easy-to-read type are these favorite stories: "Hudden and Dudden and Donald O'Neary," "Conal and Donal and Taig," "The Old Hag's Long Leather Bag," "The Field of Boliauns," "The Sprightly Tailor," "The Giant's Stairs," "The Bee, the Harp, the Mouse, and the Bum-Clock" and "The Black Horse." Six new illustrations enhance the text.

Printing Terror places horror comics of the Cold War in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently, and necessarily, subversive and explores, instead, the ways in which these texts manifest white male fears over America's changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s up to 1954, and the post-CCA era to 1975. The book examines each of these periods through the lenses of war, gender, and race, demonstrating that horror comics at this time were centered on white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. -- .

Contributions by Dorian Alexander, Janine Coleman, Gabriel Gianola, Mel Gibson, Michael Goodrum, Tim Hanley, Vanessa Hemovich, Christina Knopf, Christopher McGunnigle, Samira Nadkarni, Ryan North, Lisa Perdigao, Tara Prescott, Philip Smith, and Maite Ucaregui The explosive popularity of San Diego's Comic-Con, Star Wars: The Force Awakens and Rogue One, and Netflix's Jessica Jones and Luke Cage all signal the tidal change in superhero narratives and mainstreaming of what were once considered niche interests. Yet just as these areas have become more openly inclusive to an audience beyond heterosexual white men, there has also been an intense backlash, most famously in 2015's Gamergate controversy, when the tension between feminist bloggers, misogynistic gamers, and internet journalists came to a head. The place for gender in superhero narratives now represents a sort of battleground, with important changes in the industry at stake. These seismic shifts-both in the creation of superhero media and in their critical and reader reception-need reassessment not only of the role of women in comics, but also of how American society conceives of masculinity. Gender and the Superhero Narrative launches ten essays that explore the point where social justice meets the Justice League. Ranging from comics such as Ms. Marvel, Batwoman: Elegy, and Bitch Planet to video games, Netflix, and cosplay, this volume builds a platform for important voices in comics research, engaging with controversy and community to provide deeper insight and thus inspire change.

Shakespeare in Singapore provides the first detailed and sustained study of the role of Shakespeare in Singaporean theatre, education, and culture. This book tracks the role and development of Shakespeare in education from the founding of modern Singapore to the present day, drawing on sources such as government and school records, the entire span of Singapore's newspaper archives, playbills, interviews with educators and theatre professionals, and existing academic sources. By uniting the critical interest in Singaporean theatre with the substantial body of scholarship that concerns global Shakespeare, the author overs a broad, yet in-depth, exploration of the ways in which Singaporean approaches to Shakespeare have been shaped by, and respond to, cultural work going on elsewhere in Asia. A vital read for all students and scholars of Shakespeare, Shakespeare in Singapore offers a unique examination of the cultural impact of Shakespeare, beyond its usual footing in the Western world.

Tides: A Primer for Deck Officers and Officer of the Watch Exams prepares the reader for the Officer of the Watch and Master/Mate certificates required by all officers on commercial seagoing vessels. From the formation of tides and tidal stream data, right through to practice questions with answers, and even mock exam papers, this book will provide you with all the reference material you need in order to pass your exams.

The horror of the Holocaust lies not only in its brutality but in its scale and logistics; it depended upon the machinery and logic of a rational, industrialised, and empirically organised modern society. The central thesis of this book is that Art Spiegelman's comics all identify deeply-rooted madness in post-Enlightenment society. Spiegelman maintains, in other words, that the Holocaust was not an aberration, but an inevitable consequence of modernisation. In service of this argument, Smith offers a reading of Spiegelman's comics, with a particular focus on his three main collections: Breakdowns (1977 and 2008), Maus (1980 and 1991), and In the Shadow of No Towers (2004). He draws upon a taxonomy of terms from comic book scholarship, attempts to theorize madness (including literary portrayals of trauma), and critical works on Holocaust literature.

The leadership of schools can make a significant difference to enhancing the life chances of students in schools and enabling them to succeed. This book examines leadership within schools, focusing on securing success within a challenging social and political environment. It explores the approaches to leadership adopted by four successful secondary school headteachers in a local authority situated in an area of high social deprivation and identifies the impact the headteachers of these schools have on staff, students and community. It analyses the key leadership strategies of these successful school leaders, strategies that can be deployed in all schools, and explores the links between leadership theories and leadership actions. The book goes on to examine how these strategies were actually implemented in a failing school in challenging circumstances and shows how other schools might benefit from such strategies and the insights on which they are based.

The horror of the Holocaust lies not only in its brutality but in its scale and logistics; it depended upon the machinery and logic of a rational, industrialised, and empirically organised modern society. The central thesis of this book is that Art Spiegelman's comics all identify deeply-rooted madness in post-Enlightenment society. Spiegelman maintains, in other words, that the Holocaust was not an aberration, but an inevitable consequence of modernisation. In service of this argument, Smith offers a reading of Spiegelman's comics, with a particular focus on his three main collections: Breakdowns (1977 and 2008), Maus (1980 and 1991), and In the Shadow of No Towers (2004). He draws upon a taxonomy of terms from comic book scholarship, attempts to theorize madness (including literary portrayals of trauma), and critical works on Holocaust literature.

According to Joss Whedon, the creator of the short-lived series Firefly (2002), the cult show is about "nine people looking into the blackness of space and seeing nine different things." The chronicles of crewmembers on a scruffy space freighter, Firefly ran for only four months before its abrupt cancellation. In that brief time, however, it established a reputation as one of the best science-fiction programs of the new millennium: sharply written, superbly cast, and set on an exotic multicultural frontier unlike anything ever seen on the small screen. The show's large, enthusiastic fan following supported a series of comics and a theatrical film, Serenity (2005), that extended the story, deepened the characters, and revealed new wonders and dangers on the deep-space frontier. In Firefly Revisited: Essays on Joss Whedon's Classic Series, Michael Goodrum and Philip Smith present a collection that reflects on the program, the characters, and the post-cancellation film and comics that grew out of the show. The contributors to this volume offer fresh perspectives on familiar characters and blaze new trails into unexplored areas of the Firefly universe. Individual essays explore the series' place in the history of the space-Western subgenre, the political economy of the Alliance, and the uses of music and language in the series to immerse audiences in a multicultural future. These essays look at how the show offered viewers high adventure as well as engaged with a range of themes that still resonate today. As such, Firefly Revisited will intrigue the show's many fans, as well as Whedon scholars and anyone interested in the twenty-first-century renaissance of science-fiction television.