Originally published in 1989, Play, Exploration and Learning was a valuable contribution to the evaluation of nursery practice in Britain at the time, this 'natural history' of the activities of children and caring adults presents a comparative study of four types of provision for the under-fives: nursery schools, nursery classes, playgroups and day nurseries. All four types of provision are seen as happy, busy, caring environments, but they vary greatly in terms of staffing levels, training and material provision. The authors look at the 'play' of three- to five-year-old children and the activities of the adults who care for them. They examine in detail children's choices of materials and their use of them, with special attention given to the way language is used by both children and adults during play. They also describe adults' expectations of the various provisions and the values of the activities pursued in them. Of special interest is the emphasis placed by adults upon fantasy play, and the often large discrepancy between expectation and practice. Also covered are the difference in the play activities of part-time and full-time nursery school children, and the transition from pre-school to first school. The book will still be of historical interest to pre-school practitioners, to developmental psychologists and to educational administrators.

"This collection of essays draws in some of the influential thinkers in anthropological rhetoric from both Europe and America. What is new here is the focus on the chiasm of rhetoric and culture, the mutual constitution of persuasive means and the larger cultures that provide the values about which we are to be persuaded." Bernard Bate, Yale University

"Among them, the contributors put the study of culture on a new, well-worked-out foundation in rhetoric. Their efforts reward close attention." Stephan Feuchtwang, London School of Economics

"Although I retain from classical British social anthropology a distaste for the word 'culture' I think that" Culture and Rhetoric "is a very timely book because the future of the human economy is for people to trade at distance, not just things, but what they do for each other. Maybe 'culture' expresses best the infinite variety of what that entails." Keith Hart, Goldsmiths College, London

"Classical rhetoric viewed its calling as one both analytical and critical within a polity that aspired to be a republic. My reading of" Culture and Rhetoric "suggests that contemporary rhetoricians and anthropologists will now have to substitute the ancient republic with the oikumene, the whole habitation of sentient beings on this globe." Michael Carrithers, Durham University

While some scholars have said that there is no such thing as culture and have urged to abandon the concept altogether, the contributors to this volume overcome this impasse by understanding cultures and their representations for what they ultimately are - rhetorical constructs. These senior, international scholars explore the complex relationships between culture and rhetoric arguing that just as rhetoric is founded in culture, culture is founded in rhetoric. This intersection constitutes the central theme of the first part of the book, while the second is dedicated to the study of figuration as a common ground of rhetoric and anthropology. The book offers a compelling range of theoretical reflections, historical vistas, and empirical investigations, which aim to show how people talk themselves and others into particular modalities of thought and action, and how rhetoric and culture, in this way, are co-emergent. It thus turns a new page in the history of academic discourse by bringing two disciplines - anthropology and rhetoric - together in a way that has never been done before.

Ivo Strecker is Professor Emeritus of Cultural Anthropology at the Johannes Gutenberg University of Mainz and co-founder of the International Rhetoric Culture Project in 1998.

Stephen Tyler is Herbert S. Autrey Professor of Anthropology (Emeritus) at Rice University, Houston, Texas and co-founder of the International Rhetoric Culture Project in 1998.

While some scholars have said that there is no such thing as culture and have urged to abandon the concept altogether, the contributors to this volume overcome this impasse by understanding cultures and their representations for what they ultimately are - rhetorical constructs. These senior, international scholars explore the complex relationships between culture and rhetoric arguing that just as rhetoric is founded in culture, culture is founded in rhetoric. This intersection constitutes the central theme of the first part of the book, while the second is dedicated to the study of figuration as a common ground of rhetoric and anthropology. The book offers a compelling range of theoretical reflections, historical vistas, and empirical investigations, which aim to show how people talk themselves and others into particular modalities of thought and action, and how rhetoric and culture, in this way, are co-emergent. It thus turns a new page in the history of academic discourse by bringing two disciplines - anthropology and rhetoric - together in a way that has never been done before.

The son of a classical pianist straight out of the Bronx of old Archie comics, Steven Tyler was born to be a rock star. Weaned on Cole Porter, Nat King Cole, Mick--and his beloved Janis Joplin--Tyler began tearing up the streets and the stage as a teenager before finally meeting his "mutant twin" and legendary partner Joe Perry. In this addictively readable memoir, told in the playful, poetic voice that is uniquely his own, Tyler unabashedly recounts the meteoric rise, fall, and rise of Aerosmith over the last three decades and riffs on the music that gives it all meaning.

Tyler tells what it's like to be a living legend and the frontman of one of the world's most revered and infamous bands--the debauchery, the money, the notoriety, the fights, the motels and hotels, the elevators, limos, buses and jets, the rehab. He reveals the spiritual side that "gets lost behind the stereotype of the Sex Guy, the Drug Guy, the Demon of Screamin', the Terror of the Tropicana." And he talks about his epic romantic life and his relationship with his four children. As dazzling, bold, and out-on-the-edge as the man himself, Does the Noise in My Head Bother You? is an all-access backstage pass into this extraordinary showman's life.

The long-awaited, never-before-told, no-holds-barred memoir from the legendary Aerosmith frontman. Finally, all the lurid tales of debauchery, sex, drugs and rock n' roll are told straight from the horse's lips as The Demon of Screamin' describes his unimaginable highs and unbelievable lows as lead singer of the biggest rock band in the world. Prolific frontman, rock icon and sex symbol, Steven Tyler is a living legend. With his raw, sharp-edged vocals, musical versatility and unprecedented song writing skills, Tyler has, as lead singer of Aerosmith, sold millions of records and played sell-out concerts to as many as 450,000 people. Now, at last, he tells his own story, taking us on a wild rollercoaster ride through the bust-ups, binges, orgies and good old American excess in the jaw-droppingly honest, in-your-face way that only Tyler can. Following a fateful meeting with his 'mutant twin' Joe Perry in the summer of 1970, Aerosmith was formed...and the rest, as they say, is rock history. They released their first album in 1973, and by 1976 Aerosmith had gone from being nobodies to massive to off the radar, making history as a multi-platinum, chart-topping band. But with great success comes great excess. Nicknamed the Toxic Twins for their insatiable appetite for drugs, booze and women, Tyler and Perry got caught up in the glamour of self-destruction - smashing each other up with guitars, having seizures and passing out on stage. By 1980 it seemed that the band and its members were set to implode, but after successful stints in drug rehab, Aerosmith were back on track and better than ever. But although he may have given up his wicked, wicked ways, Tyler still enjoys talking about the bad old days. He has so many outrageous stories to tell, and he's gonna tell them all. All the uncensored, head-spinning tales of debauchery, sex, booze, transcendence and chemical dependence you will ever want to hear. As raucous, intoxicating and edgy as his music, this is the most outrageous rock n' roll autobiography of all time.

Life was so simple for Luna Susan George on Monday. Her older brother, Sam, was away on his honeymoon, and as his only employee of "Leslie S. George, Private Investigations," Susan had the office to herself. Yes, Monday was so simple, but then came Tuesday, and that "One Little Lie." Tuesday made Susan's life complicated when a perky twenty-something young woman wearing a pink baseball cap, with an appointment for a dental cleaning down the hall, stumbled into the office to seek a private investigator to find the missing cat of her multi-millionaire employer. What comes next are twelve days discovering millions of dollars worth of stolen art, an assortment of oddball characters, and the involvement of the entire Los Angeles Art Fraud Unit. Steven Tyler is the author of a dozen screenplays for the movie industry which are in various stages of production. "One Little Lie" is his second novel. He is hard at work on the third. His third tale is the story of a ghostwriter who meets a real ghost.

"I've been mythicized, Mick-icized, eulogized and fooligized, I've been Cole-Portered and farmer's-daughtered, I've been Led Zepped and 12-stepped. I'm a rhyming fool and so cool that me, Fritz the Cat, and Mohair Sam are the baddest cats that am. I have so many outrageous stories, too many, and I'm gonna tell 'em all. All the unexpurgated, brain-jangling tales of debauchery, sex & drugs, transcendence & chemical dependence you will ever want to hear."

The son of a classical pianist straight out of the Bronx of old Archie comics, Steven Tyler was born to be a rock star. Weaned on Cole Porter, Nat King Cole, Mick--and his beloved Janis Joplin--Tyler began tearing up the streets and the stage as a teenager before finally meeting his "mutant twin" and legendary partner Joe Perry. In this addictively readable memoir, told in the playful, poetic voice that is uniquely his own, Tyler unabashedly recounts the meteoric rise, fall, and rise of Aerosmith over the last three decades and riffs on the music that gives it all meaning.

Tyler tells what it's like to be a living legend and the frontman of one of the world's most revered and infamous bands--the debauchery, the money, the notoriety, the fights, the motels and hotels, the elevators, limos, buses and jets, the rehab. He reveals the spiritual side that "gets lost behind the stereotype of the Sex Guy, the Drug Guy, the Demon of Screamin', the Terror of the Tropicana." And he talks about his epic romantic life and his relationship with his four children. As dazzling, bold, and out-on-the-edge as the man himself, Does the Noise in My Head Bother You? is an all-access backstage pass into this extraordinary showman's life.

Blaring the Cream anthem "I Feel Free," WBCN went on the air in March 1968 as an experiment in free-form rock on the fledgling FM radio band. It broadcast its final song, Pink Floyd's "Shine On You Crazy Diamond," in August 2009. In between, WBCN became the musical, cultural, and political voice of the young people of Boston and New England, sustaining a vibrant local music scene that launched such artists as the J. Geils Band, Aerosmith, James Taylor, Boston, the Cars, and the Dropkick Murphys, as well as paving the way for Bruce Springsteen, Tom Petty, U2, and many others. Along the way, WBCN both pioneered and defined progressive rock radio, the dominant format for a generation of listeners. Brilliantly told by Carter Alan--and featuring the voices of station insiders and the artists they loved--Radio Free Boston is the story of a city; of artistic freedom, of music and politics and identity; and of the cultural, technological, and financial forces that killed rock radio.

12 Steven Tyler Artist Series harmonicas (Inv. 00750068) at a net price.