This book is a collection of essays highlighting different disciplinary, topical, and practical approaches to the study of kink and popular culture. The volume is written by both academics and practitioners, bringing the essays a special perspective not seen in other volumes. Essays included examine everything from Nina Hartley fan letters to kink shibari witches to kink tourism in a South African prison. The focus is not just on kink as a sexual practice, but on kink as a subculture, as a way of living, and as a way of seeing popular culture in new and interesting ways.

Originally published in 1978, the laws and procedures governing person identification parades, photofit pictures and the forms of questions asked to obtain a description, had been increasingly called into question. The problem had been highlighted by several well publicised court cases, and considered by the Devlin Committee. This book reviews the status of psychological knowledge at the time concerning the many aspects of person identification and scientifically evaluates the methods and procedures used. Contrary to the popular belief that identification is a simple affair, the authors use the theory and method of psychology to reveal the sources of the difficulties involved in recognising a once-seen person. Estimates of just how good a witness can be are drawn from laboratory studies using face photographs, from mock crime incidents, and from actual criminal cases, for reliability varies markedly in each of these three situations. Both an individual and a social perspective is taken of the eye-witnesses, and research into perception and memory, together with individual differences in such things as cognitive style, personality, suggestibility, age, sex, and ability to form both eidetic and memory images, are examined. The social aspects of stereotypes, the presence of other witnesses and the desire to be a 'good witness' are all discussed at length. Finally an extended examination of the possibility of voice parades and changes in identification procedures, together with man-machine interaction techniques, is undertaken.

While the growing field of scholarship on heavy metal music and its subcultures has produced excellent work on the sounds, scenes, and histories of heavy metal around the world, few works have included a study of gender and sexuality. This cutting-edge volume focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance, pervasiveness, and subcultural significance of queerness to the heavy metal ethos. Heavy metal scholarship has until recently focused almost solely on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited heavy metal scholarship, resulting in poorly critiqued discussions of gender and sexuality that serve only to underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy. In this interdisciplinary work, the author connects new and existing scholarship with a strong ethnographic study of heavy metal's self-identified queer performers and fans in their own words, thus giving them a voice and offering an original and ground-breaking addition to scholarship on popular music, rock, and queer studies.

Originally published in 1978, the laws and procedures governing person identification parades, photofit pictures and the forms of questions asked to obtain a description, had been increasingly called into question. The problem had been highlighted by several well publicised court cases, and considered by the Devlin Committee. This book reviews the status of psychological knowledge at the time concerning the many aspects of person identification and scientifically evaluates the methods and procedures used. Contrary to the popular belief that identification is a simple affair, the authors use the theory and method of psychology to reveal the sources of the difficulties involved in recognising a once-seen person. Estimates of just how good a witness can be are drawn from laboratory studies using face photographs, from mock crime incidents, and from actual criminal cases, for reliability varies markedly in each of these three situations. Both an individual and a social perspective is taken of the eye-witnesses, and research into perception and memory, together with individual differences in such things as cognitive style, personality, suggestibility, age, sex, and ability to form both eidetic and memory images, are examined. The social aspects of stereotypes, the presence of other witnesses and the desire to be a 'good witness' are all discussed at length. Finally an extended examination of the possibility of voice parades and changes in identification procedures, together with man-machine interaction techniques, is undertaken.

USE THIS FIRST PARAGRAPH ONLY FOR GENERAL CATALOGS... This book addresses the subject of children and television -- how they view it, what they think of specific programs, and how these likes and dislikes affect learning of the content presented. Broad in coverage, it looks at evaluation, comprehension, and impact in the drama, information and entertainment domains. In all cases, demographic and background experiences and knowledge are assessed for their contribution to learning, attitude/opinion change, and stability as a function of exposure to particular program content. Empirical investigations of police dramas, science programs, and quiz shows are conducted utilizing experimental methods and involving approximately 1,000 children in a series of studies.
Related to existing research literature, this work confirms the view of the child/adolescent as an active viewer who is critical, constructive, and capable of learning from the television medium -- even when the program is clearly broadcast as entertainment rather than as education or information. This volume is unique in that it addresses questions of the relation between children and diverse television content in terms of its impact on social and informational schemas.

Die stories en rympies in die Houtkappertak is lewendig en interessant. In die stories en rympies word die klankpatrone van die sleutelwoorde van Fase 1 tot 5 herhaal om leerders se klankvaardighede te ontwikkel.

While the growing field of scholarship on heavy metal music and its subcultures has produced excellent work on the sounds, scenes and histories of heavy metal around the world, few works have included a study of gender and sexuality. This cutting-edge volume focuses on queer fans, performers, and spaces within the heavy metal sphere, and demonstrates the importance, pervasiveness, and subcultural significance of queerness to the heavy metal ethos.

Heavy metal scholarship has until recently focused almost solely on the roles of heterosexual hypermasculinity and hyperfemininity in fans and performers. The dependence on that narrow dichotomy has limited heavy metal scholarship, resulting in poorly critiqued discussions of gender and sexuality that serve only to underpin the popular imagining of heavy metal as violent, homophobic and inherently masculine. This book queers heavy metal studies, bringing discussions of gender and sexuality in heavy metal out of that poorly theorized dichotomy.

In this interdisciplinary work, the author connects new and existing scholarship with a strong ethnographic study of heavy metal s self-identified queer performers and fans in their own words, thus giving them a voice and offering an original and ground-breaking addition to scholarship on popular music, rock, and queer studies."

Hierdie titels is geskik vir gevorderde lesers. Elke titel konsentreer op een tema byvoorbeeld die ruimte, perde, muise, sade en blomme, en die see. Elke titel word in drie dele verdeel: 'n avontuur verhaal, feitelike inligting, en 'n tradisionele verhaal. Die titels sal leerders aanmoedig om hul belangstelling uit te brei en ook om ander boeke oor hierdie temas te lees.

Only Charlie Parker knows that his image as a successful, well-respected family man is a complete lie and with his life collapsing around him he travels to the secluded mountain house that has been owned by his family for generations. Hidden in his father's library Charlie unearths a bizarre diary that claims a rogue tribe of Cherokee Indians stole a fortune in gold coins before the Civil War and hid the treasure in an ancient burial cave in a remote part of the Appalachian Mountains. Compelled by forces he doesn't understand, Charlie embarks upon a self-destructive march to uncover the truth as he discovers his family's darkest secrets. His ancestor's heinous crimes force Charlie to face the demons unleashed by his family from so long ago and he is haunted by nightmares, tormented by a strange man claiming ownership of the diary and terrorized by Cherokee spirits known in Indian mythology as The Nunnehi. The horrifying encounters send Charlie spiraling into an alcohol fueled frenzy to find the Cherokee gold, no matter the cost. Does the gold exist? Are the bizarre events really happening to Charlie or has his mind finally collapsed under the pressures of mental illness, alcohol abuse and a failed business? Those questions linger in the reader's mind until the final page as Charlie battles internal demons and external monsters to discover the truth about himself, and the legend of the Cherokee Gold.

This scarce antiquarian book is a selection from Kessinger PublishingAcentsa -a centss Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for e

The Jazz Age, a phenomenon that shaped American leisure culture in the early twentieth century, coincided with the growth of Kansas City, Missouri, from frontier town to metropolitan city. Though Kansas City's music, culture, and stars are well covered, Queering Kansas City Jazz supplements the grand narrative of jazz history by including queer identities in the city's history while framing the jazz-scene experience in terms of identity and space. Cabarets, gender impressionism clubs, and sites of sex tourism in Kansas City served as world-making spaces for those whose performance of identity transgressed hegemonic notions of gender, sexuality, race, and class. Amber R. Clifford-Napoleone takes an interdisciplinary approach to provide a critical deconstruction of how the jazz scene offered a space for nonnormative gender practice and performance and acted as a site of contested identity and spatial territory. Few books examine the changing ideas about gender in the turn-of-the-century Great Plains, under the false assumption that people in middle-American places experienced cultural shifts only as an aftershock of events on the coasts. This approach overlooks the region's contested territories, identities, and memories and fails to adequately explain the social and cultural disruptions experienced on the plains. Clifford-Napoleone rectifies this oversight and shows how Kansas City represents the complexity of the jazz scene in America as a microcosm of all the other people who made the culture, clubs, music, and cabarets of the age possible.

In "James K. Humphrey and the Sabbath-Day Adventists," R. Clifford Jones tells the story of this important black religious figure and his attempt to bring about self-determination for twentieth-century blacks in New York City.

Humphrey was a Baptist minister who joined the Seventh-day Adventist (SDA) Church shortly after arriving in New York City from Jamaica at the turn of the twentieth century. A leader of uncommon competency and charisma, Humphrey functioned as an SDA minister in Harlem during the time the community became the black capital of the United States. Though he led his congregation to a position of prominence within the SDA denomination, Humphrey came to believe the black experience in Adventism was one of disenfranchisement. When he refused to alter his plans for a utopian community for blacks in the face of dissent from SDA church leaders, Humphrey's ministerial credentials were revoked and his congregation dissolved. Subsequently, Humphrey established an independent black religious organization, the United Sabbath-Day Adventists.

This book rescues the Sabbath-Day Adventists from obscurity. Humphrey's break with the Seventh-day Adventists provides clues to the state of black-white relationships in the denomination at the time. It set the stage for the creation of the separate administrative structure for blacks established by the SDA church in 1945. This history of a minister and his church demonstrates the struggles of small, independent, black congregations in the urban community during the twentieth century.

R. Clifford Jones is an associate professor at Andrews University in Berrien Springs, Michigan. He is the editor of "Preaching with Power" and has authored scholarly articles on the emergence of the Sabbath-Day Adventists.

Die stories en rympies in die Houtkappertak is lewendig en interessant. In die stories en rympies word die klankpatrone van die sleutelwoorde van Fase 1 tot 5 herhaal om leerders se klankvaardighede te ontwikkel.