Policing in Africa is often portrayed as being practised by incompetent and corrupt apologists for governing regimes. Professional policing, on the other hand, is the opposite of populist, incompetent, corrupt and regime-partisan policing. A professional police agency is dependent on solid competence acquired through learning interventions aimed at the type of police service delivery that will suit a democratic society and an adherence to human rights principles. Policing in Africa: Towards an African Epistemology aims to provide some knowledge towards the achievement of exactly that type of police service delivery.

In this book the authors present a dialectic of African preference and northern epistemology, and aim for synthesis between the two. The foundational epistemological discourses typical of African continental thinking on matters of community importance are the focal point. The book emphasises the strengthening of policing epistemology through research and people development. This, in turn, aims to bolster policing practices such as the prevention of crime through the ubiquitous quest for community partnerships, peace, conflict resolution and effective resolving of committed crimes.

Policing in Africa: Towards an African Epistemology is designed for studying and reflection. Learning outcomes guide, new terms enlighten, and critical thinking activities and case studies support reflection. The authors express the wish that this book will be of value to students, facilitators of learning, policy makers, oversight agencies, civil society organisations, libraries and communities in the broadest definition possible.

Connections among different assets, asset classes, portfolios, and the stocks of individual institutions are critical in examining financial markets. Interest in financial markets implies interest in underlying macroeconomic fundamentals. In Financial and Macroeconomic Connectedness, Frank Diebold and Kamil Yilmaz propose a simple framework for defining, measuring, and monitoring connectedness, which is central to finance and macroeconomics. These measures of connectedness are theoretically rigorous yet empirically relevant. The approach to connectedness proposed by the authors is intimately related to the familiar econometric notion of variance decomposition. The full set of variance decompositions from vector auto-regressions produces the core of the 'connectedness table.' The connectedness table makes clear how one can begin with the most disaggregated pair-wise directional connectedness measures and aggregate them in various ways to obtain total connectedness measures. The authors also show that variance decompositions define weighted, directed networks, so that these proposed connectedness measures are intimately related to key measures of connectedness used in the network literature. After describing their methods in the first part of the book, the authors proceed to characterize daily return and volatility connectedness across major asset (stock, bond, foreign exchange and commodity) markets as well as the financial institutions within the U.S. and across countries since late 1990s. These specific measures of volatility connectedness show that stock markets played a critical role in spreading the volatility shocks from the U.S. to other countries. Furthermore, while the return connectedness across stock markets increased gradually over time the volatility connectedness measures were subject to significant jumps during major crisis events. This book examines not only financial connectedness, but also real fundamental connectedness. In particular, the authors show that global business cycle connectedness is economically significant and time-varying, that the U.S. has disproportionately high connectedness to others, and that pairwise country connectedness is inversely related to bilateral trade surpluses.

All 22 episodes from the third season of Matt Groening's futuristic animated comedy. The show follows 20th-century slacker Philip J. Fry (voice of Billy West) in his adventures as a 31st-century interstellar delivery boy along with cyclopean Captain Leela (Katey Sagal) and Bender the boozy robot (John DiMaggio). The episodes are: 'Amazon Women in the Mood', 'Parasites Lost', 'A Tale of Two Santas', 'The Luck of the Fryrish', 'The Bird-Bot of Ice-Catraz', 'Bendless Love', 'The Day the Earth Stood Stupid', 'That's Lobstertainment!', 'The Cyber House Rules', 'Where the Buggalo Roam', 'Insane in the Mainframe', 'The Route of All Evil', 'Bendin' in the Wind', 'Time Keeps On Slipping', 'I Dated a Robot', 'A Leela of Her Own', 'A Pharoah to Remember', 'Anthology of Interest II', 'Roswell That Ends Well', 'Godfellas', 'Futurestock' and 'The 30 Percent Iron Chef'.

Night of the Living Queers is a YA horror anthology that explores a night when anything is possible, exclusively featuring queer authors of color putting fresh spins on classic horror tropes and tales. No matter its name or occasion, Halloween is more than a Hallmark holiday, it's a symbol of transformation. NIGHT OF THE LIVING QUEERS is a YA horror anthology that explores how Halloween can be more than just candies and frights, but a night where anything is possible. Each short story is told through the lens of a different BIPOC teen and the Halloween night that changes their lives forever. Creative, creepy, and queer, this collection brings fresh terror, heart, and humor to young adult literature. Contributors include editors Alex Brown and Shelly Page, Kalynn Bayron, Ryan Douglass, Sara Farizan, Maya Gittelman, Kosoko Jackson, Em Liu, Vanessa Montalban, Ayida Shonibar, Tara Sim, Trang Thanh Tran, and Rebecca Kim Wells.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.