The first two films in the comedy franchise based on Jeff Kinney's best-selling illustrated novel detailing the trials and tribulations of a wise-cracking pre-teen. 'Diary of a Wimpy Kid' (2010) follows 12-year-old Greg Heffley (Zachary Gordon), who, along with his best friend, Rowley (Robert Capron), spends his days negotiating the minefield that is middle school. Whether dodging bullies, learning complex and seemingly ever-changing social codes, grappling with the onset of puberty or attempting to fathom the mysteries of the opposite sex, Greg writes it all down in his diary. In 'Diary of a Wimpy Kid 2 - Rodrick Rules' (2011), just when he thought life couldn't get any more complicated, Greg is horrified to discover that his older brother, Rodrick (Devon Bostick), has taken possession of his secret diary. Meanwhile, he must navigate the hurdles posed by a summer swimming contest and the school talent show.

The first two films in the comedy franchise based on Jeff Kinney's best-selling illustrated novel detailing the trials and tribulations of a wise-cracking pre-teen. 'Diary of a Wimpy Kid' (2010) follows 12-year-old Greg Heffley (Zachary Gordon), who, along with his best friend, Rowley (Robert Capron), spends his days negotiating the minefield that is middle school. Whether dodging bullies, learning complex and seemingly ever-changing social codes, grappling with the onset of puberty or attempting to fathom the mysteries of the opposite sex, Greg writes it all down in his diary. In 'Diary of a Wimpy Kid 2 - Rodrick Rules' (2011), just when he thought life couldn't get any more complicated, Greg is horrified to discover that his older brother, Rodrick (Devon Bostick), has taken possession of his secret diary. Meanwhile, he must navigate the hurdles posed by a summer swimming contest and the school talent show.

This volume celebrates the significant resurgence of interest in the anthropology of music and dance in recent decades. Traversing a range of fascinating topics,from the reassessment of historical figures such as Katherine Dunham and John Blacking, to the contemporary salience of sonic conflict between Islamic Uyghur and the Han Chinese, the essays within Music, Dance, Anthropology make a strong argument for the continued importance of the work of ethnomusicologists and ethnochoreologists, and of their ongoing recourse to anthropological theories and practices. Case studies are offered from areas as diverse as Central Africa,Ireland, Greece, Uganda and Central Asia, and illuminate core anthropological concepts such as the nature of embodied knowledge, the role of citizenship, ritual practices, and the construction of individual and group identities via a range of ethnographic methodologies. These include the consideration of soundscapes, the use of ethnographic filmmaking, and a reflection on the importance of close cultural engagement over many years. Taken together these contributions show the study of music and dance practices to be essential to any rounded study of social activity, in whatever context it is found. For as this volume consistently demonstrates, the performance of music and dance is always about more than just the performance of music and dance. Contributors: John Baily; Peter Cooke; Ann R. David; Catherine E. Foley; Andree Grau; Rachel Harris; Maria Koutsouba; Jerome Lewis; Barley Norton; Carole Pegg; Martin Stokes.

Speed Queens is a history of women in motorsport, from the very beginning in 1897 to the modern era. Tracing the different ways that women have found into motor racing and rallying, it covers over a century of stories across the world. Each chapter takes a particular event as an introduction to a racer and her contemporaries, taking a different theme each time and moving forward through history. Circuit racing and rallying are both covered. Much more than a collection of profiles and lists of achievements, it explores ideas including sportswomen as performers in the early 20th century, women, death and risk and how the expansion of small car production in the 1960s benefitted female drivers. Some of the best-known female competitors such as Michele Mouton (rallying) and Lella Lombardi (Formula 1) make appearances, but Speed Queens is not just concerned with big names and historic firsts . For every woman to be the first to do something on wheels, there were usually several others vying for that honour. In this book, they are given back their place in the story and their relationships to one another examined.

This volume of original essays is dedicated to Owen Wright in recognition of his formative contribution to the study of music in the Islamic Middle East. Wright's work, which comprises, at the time of writing, six field-defining volumes and countless articles, has reconfigured the relationship between historical musicology and ethnomusicology. No account of the transformation of these fields in recent years can afford to ignore his work. Ranging across the Middle East, Central Asia and North India, this volume brings together historical, philological and ethnographic approaches. The contributors focus on collections of musical notation and song texts, on commercial and ethnographic recordings, on travellers' reports and descriptions of instruments, on musical institutions and other spaces of musical performance. An introduction provides an overview and critical discussion of Wright's major publications. The central chapters cover the geographical regions and historical periods addressed in Wright's publications, with particular emphasis on Ottoman and Timurid legacies. Others discuss music in Greece, Iraq and Iran. Each explores historical continuities and discontinuities, and the constantly changing relationships between music theory and practice. An edited interview with Owen Wright concludes the book and provides a personal assessment of his scholarship and his approach to the history of the music of the Islamic Middle East. Extending the implications of Wright's own work, this volume argues for an ethnomusicology of the Islamic Middle East in which past and present, text and performance are systematically in dialogue.

China's Xinjiang Uyghur Autonomous Region is experiencing a crisis of securitization and mass incarceration. In Soundscapes of Uyghur Islam, author Rachel Harris examines the religious practice of a group of Uyghur women in a small village now engulfed in this chaos. Despite their remote location, these village women are mobile and connected, and their religious soundscapes flow out across transnational networks. Harris explores the spiritual and political geographies they inhabit, moving outward from the village to trace connections with Mecca, Istanbul, Bishkek, and Beijing. Sound, embodiment, and territoriality illuminate both the patterns of religious change among Uyghurs and the policies of cultural erasure used by the Chinese state to reassert its control over the land the Uyghurs occupy. By drawing on contemporary approaches to the circulation of popular music, Harris considers how various forms of Islam that arrive via travel and the internet come into dialogue with local embodied practices. Synthesized together, these practicies create new forms that facilitate powerful, affective experiences of faith.

Pieces of the Musical World: Sounds and Cultures is a fieldwork-based ethnomusicology textbook that introduces a series of musical worlds each through a single "piece." It focuses on a musical sound or object that provides a springboard from which to tell a story about a particular geographic region, introducing key aspects of the cultures in which it is embedded, contexts of performance, the musicians who create or perform it, the journeys it has travelled, and its changing meanings. A collaborative venture by staff and research ethnomusicologists associated with the Department of Music at SOAS, University of London, Pieces of the Musical World is organized thematically. Three broad themes: "Place", "Spirituality" and "Movement" help teachers to connect contemporary issues in ethnomusicology, including soundscape studies, music and the environment, the politics of identity, diaspora and globalization, and music and the body. Each of the book's fourteen chapters highlights a single musical "piece" broadly defined, spanning the range of "traditional," "popular", "classical" and "contemporary" musics, and even sounds which might be considered "not music." Primary sources and a web site hosting recordings with interactive listening guides, a glossary of musical terms and interviews all help to create a unique and dynamic learning experience of our musical world.

Throughout the course of the twentieth century, as newly formed nations sought ways to develop and formalise their national identity and acquire a range of identifiable national assets, we find new musical canons springing up across the world. But these canons are not arbitrary collections of works imposed on the public by the authorities. Rather they acquire deep resonance and meaning, both as national symbols and as musical repertoires imbued with aesthetic value. This book traces the formation of one such musical canon: the Twelve Muqam, a set of musical suites linked to the Uyghurs, who are one of China's minority nationalities, and culturally Central Asian Muslims. The book draws on Uyghur and Chinese language publications; interviews with musicians and musicologists; field, archive and commercial recordings, and aims towards an understanding of the Twelve Muqam as musical repertoire, juxtaposed with an understanding of the Twelve Muqam as a field of discourse. The book brings together several years' work in this field, but its core arises from a research project under the auspices of the AHRC Centre for Music Performance and Dance.

Pieces of the Musical World: Sounds and Cultures is a fieldwork-based ethnomusicology textbook that introduces a series of musical worlds each through a single "piece." It focuses on a musical sound or object that provides a springboard from which to tell a story about a particular geographic region, introducing key aspects of the cultures in which it is embedded, contexts of performance, the musicians who create or perform it, the journeys it has travelled, and its changing meanings. A collaborative venture by staff and research ethnomusicologists associated with the Department of Music at SOAS, University of London, Pieces of the Musical World is organized thematically. Three broad themes: "Place", "Spirituality" and "Movement" help teachers to connect contemporary issues in ethnomusicology, including soundscape studies, music and the environment, the politics of identity, diaspora and globalization, and music and the body. Each of the book's fourteen chapters highlights a single musical "piece" broadly defined, spanning the range of "traditional," "popular", "classical" and "contemporary" musics, and even sounds which might be considered "not music." Primary sources and a web site hosting recordings with interactive listening guides, a glossary of musical terms and interviews all help to create a unique and dynamic learning experience of our musical world.

Parenting by example. Using the simple, powerful message that turned "Children Learn What They Live" into an international bestseller with over 1.5 million copies in print, Drs. Dorothy Law Nolte and Rachel Harris bring their unique perspective to families with adolescents.

Structured, like the first book, around an inspirational poem, "Teenagers Learn What They Live" addresses the turbulent teenage years, when a stew of hormones, pressures, and temptations makes for such extreme challenges for parents and children. "Teenagers" addresses popularity and peer pressure ("If teenagers live with rejection, they learn to feel lost"); the responsibilities of maturity ("If teenagers live with too many rules, they learn how to get around them./ If teenagers live with too few rules, they learn to ignore the needs of others"); body image and the allure of cigarettes, drugs, and alcohol ("If teenagers live with healthy habits, they learn to be kind to their bodies"). Central to the book are ways for parents to communicate with their teenage children-including how to deal with being "tuned out" and when to start the conversation again-and how to strike the right balance between holding on and accepting a teen's growing independence. Hundreds of examples of parent-child interactions cover everything from the all-night graduation party to problems of sexual identity, providing great guidance as well as effective conversation starters.

Gender in Chinese Music draws together contributions from ethnomusicologists, anthropologists, and literary scholars to explore how music is implicated in changing notions of masculinity, femininity, and genders "in between" in Chinese culture. Village ritualists, international classical pianists, pop idols, and professional mourners -- whether they perform in temples, on concert stages, or in TV shows, Chinese musicians continually express and negotiate their gendered identities. Gender in Chinese Music brings together contributions from ethnomusicologists, anthropologists, and literary scholars to explore how gender is not only manifested in the diverse musical traditions of Chinese culture but also constructed through performing and observing these traditions. Individual chapters examine unique music cultures ranging from those of courting couples in China's heartlands to ethnic minority singers in the borderlands, and from Ming-period courtesans to contemporary karaoke hostesses. The book also features interviews with musicians, music industry workers, and fans talking about gender. With its wide-ranging subject matter and interdisciplinary approach, this volume will be an important resource for researchers and students interested in how music is implicated in the changing notions of masculinity, femininity, and genders "in between." Contributors: RuardAbsaroka, Rachel Harris, Stephen Jones, Frank Kouwenhoven, Olivia Kraef, Joseph Lam, Rowan Pease, Antoinet Schimmelpenninck, Hwee-San Tan, Shzr Ee Tan, Xiao Mei, Judith Zeitlin, Tiantian Zheng. Rachel Harris is Reader in the Music of China and Central Asia at SOAS, University of London. Rowan Pease is Senior Teaching Fellow at SOAS, University of London. Shzr Ee Tan is Senior Lecturer in Music at Royal Holloway, University of London.

China's Xinjiang Uyghur Autonomous Region is experiencing a crisis of securitization and mass incarceration. In Soundscapes of Uyghur Islam, author Rachel Harris examines the religious practice of a group of Uyghur women in a small village now engulfed in this chaos. Despite their remote location, these village women are mobile and connected, and their religious soundscapes flow out across transnational networks. Harris explores the spiritual and political geographies they inhabit, moving outward from the village to trace connections with Mecca, Istanbul, Bishkek, and Beijing. Sound, embodiment, and territoriality illuminate both the patterns of religious change among Uyghurs and the policies of cultural erasure used by the Chinese state to reassert its control over the land the Uyghurs occupy. By drawing on contemporary approaches to the circulation of popular music, Harris considers how various forms of Islam that arrive via travel and the internet come into dialogue with local embodied practices. Synthesized together, these practicies create new forms that facilitate powerful, affective experiences of faith.

The timeless New York Times bestselling guide to parenting that shows the power of inspiring values through example. A unique handbook to raising children with a compassionate, steady hand--and to giving them the support and confidence they need to thrive. Expanding on her universally loved poem "Children Learn What They Live," Dorothy Law Nolte, with psychotherapist Rachel Harris, reveals how parenting by example--by showing, not just telling--instills positive, true values in children that they will carry with them throughout their lives. Addressing issues of security, self-worth, tolerance, honesty, fear, respect, fairness, patience, and more, this book of rare common sense will help a new generation of parents find their own parenting wisdom--and draw out their child's immense inner resources. If children live with criticism they learn to condemn. If children live with sharing, they learn generosity. If children live with acceptance, they learn to love. And more wisdom.