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  • In Berlin Now, and on the 25th Anniversary of the fall of the Wall, a legendary Berliner tells the inside story of the city.Over the last five decades, no other city has changed more than Berlin. Divided in 1961, reunited in 1989, it has morphed over the last twenty-five years into Europe's most vibrant melting-pot of artists, immigrants and entrepreneurs. Pieces of the wall are collected around the world. Blending memoir, history, anecdote and reportage, this legendary Berliner takes us behind the scenes - from wrenching stories of life under the Stasi, to the difference between East and West Berliners' sex-lives, to a present-day investigation of its arts scene, night-life, tumultuous politics and hidden quirks - revealing what makes Berlin the uniquely fascinating place it is.Peter Schneider makes the city come alive. He knows his stuff and shares it beautifully, elegantly, generously and informatively. Berlin has found its bard'Breyten Breytenbach, author of 'Notes from the Middle World'Praise for The Wall Jumper:'Marvelous . . . creates, in very few words, the unreal reality of Berlin' Salman Rushdie, New York Times Book Review 'Schneider's description of the Berlin wall from both sides . . . is the ultimate depiction of this structure. Nothing more need be said' Werner Herzog'Wonderful' Ian McEwanPeter Schneider was born in Lübeck, Germany, in 1940, and has lived in Berlin on and off since the 1960s, when he was a key spokesperson for its radical student movement. Renowned as a novelist and essayist, he is now the author of more than twenty books, including the Penguin Modern Classic The Wall Jumper. He has taught at many universities, including Stanford, Princeton and Harvard, and written for many international newspapers, including Der Spiegel, The New York Times, Le Monde and La Repubblica
  • In Writing Ethnographic Fieldnotes, Robert M. Emerson, Rachel I. Fretz, and Linda L. Shaw present a series of guidelines, suggestions, and practical advice for creating useful fieldnotes in a variety of settings, demystifying a process that is often assumed to be intuitive and impossible to teach. Using actual unfinished notes as examples, the authors illustrate options for composing, reviewing, and working fieldnotes into finished texts. They discuss different organizational and descriptive strategies and show how transforming direct observations into vivid descriptions results not simply from good memory but from learning to envision scenes as written. A good ethnographer, they demonstrate, must learn to remember dialogue and movement like an actor, to see colors and shapes like a painter, and to sense moods and rhythms like a poet. This new edition reflects the extensive feedback the authors have received from students and instructors since the first edition was published in 1995. As a result, they have updated the race, class, and gender section, created new sections on coding programs and revising first drafts, and provided new examples of working notes. An essential tool for budding social scientists, the second edition of Writing Ethnographic Fieldnotes will be invaluable for a new generation of researchers entering the field
  • Rethinking Asia and international relations
  • Since it was first published in 1993, Disabling Barriers, Enabling Environments has established itself as essential reading for anyone coming to the subject of disability studies. The book tackles a wide range of issues in numerous succinct chapters written by contributing authors, many of whom are disabled themselves. From the outset, the chapters take a multidisciplinary and international approach. The third edition is made up of 42 chapters, 15 of which are completely new to this edition, including: ? Early seminal writings in disabled studies ? Death and dying ? Psychology ? Hate crime and the criminal justice system ? Sport ? Psycho-emotional disablism and internal oppression. This seminal textbook conveys the continuing developments in the lives and experiences of disabled people. It is valuable reading for students and professionals in the fields of social work, sociology, social policy, health and nursing as well as disabled people
  • Slow burn
  • Springer Texts in Business and Economics
  • Tavistock Press was established as a co-operative venture between the Tavistock Institute and Routledge & Kegan Paul (RKP) in the 1950s to produce a series of major contributions across the social sciences. This volume is part of a 2001 reissue of a selection of those important works which have since gone out of print, or are difficult to locate. Published by Routledge, 112 volumes in total are being brought together under the name The International Behavioural and Social Sciences Library: Classics from the Tavistock Press. Reproduced here in facsimile, this volume was originally published in 1966 and is available individually. The collection is also available in a number of themed mini-sets of between 5 and 13 volumes, or as a complete collection
  • The Basics
  • The Jossey-Bass higher and adult education series
  • Transforming social work practice
  • When Roland Barthes and Michel Foucault proclaimed the "death of the author" fifty years ago, they did so in the name of freedom. They could never have foreseen that its indiscriminate embrace by many film theorists would turn the anti-authorship stance into a restrictive orthodoxy. Sarah Kozloff daringly advocates a new paradigm, a theory of film authorship that takes into account flesh-and-blood filmmakers, including their biographies, their intentions and their collaborations. Building upon scholarship by Noël Carroll, Paisley Livingstone, Robert Carringer and Paul Sellors, Kozloff argues that we watch films in large part to feel a sense of communion with the people behind them. Writing with clarity and verve, Kozloff moves gracefully back and forth between film history and film theory. She offers an extended examination of The Red Kimona (1925) in order to demonstrate how knowledge about the people who created this intriguing early feminist movie can change a viewer's interpretation. "I believe art works are made by people operating (struggling) within their historical moment. Without denying or downplaying larger cultural forces – indeed, while drawing them into the mix – I want to study films from this standpoint. Yet, I do not think of myself as a naïve fan. Filmmakers as famous, successful celebrities hold no interest for me. If I am teaching or studying a film, however, I do want to know how the filmmakers' biographies, intentions and agency combine with these larger social structures to influence the text before me." ― Sarah Kozloff
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