Winner of the Pulitzer Prize and a documentary from Ken Burns on PBS, this New York Times bestseller is “an extraordinary achievement” (The New Yorker)—a magnificent, profoundly humane “biography” of cancer—from its first documented appearances thousands of years ago through the epic battles in the twentieth century to cure, control, and conquer it to a radical new understanding of its essence. Physician, researcher, and award-winning science writer, Siddhartha Mukherjee examines cancer with a cellular biologist’s precision, a historian’s perspective, and a biographer’s passion. The result is an astonishingly lucid and eloquent chronicle of a disease humans have lived with—and perished from—for more than five thousand years. The story of cancer is a story of human ingenuity, resilience, and perseverance, but also of hubris, paternalism, and misperception. Mukherjee recounts centuries of discoveries, setbacks, victories, and deaths, told through the eyes of his predecessors and peers, training their wits against an infinitely resourceful adversary that, just three decades ago, was thought to be easily vanquished in an all-out “war against cancer.” The book reads like a literary thriller with cancer as the protagonist. Riveting, urgent, and surprising, The Emperor of All Maladies provides a fascinating glimpse into the future of cancer treatments. It is an illuminating book that provides hope and clarity to those seeking to demystify cancer.

Masks or Faces? : A Study in the Psychology of Acting by William Archer, first published in 1888, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it.

Justice as Improvisation: The Law of the Extempore theorises the relationship between justice and improvisation through the case of the New York City cabaret laws. Discourses around improvisation often imprison it in a quasi-ethical relationship with the authentic, singular 'other'. The same can be said of justice. This book interrogates this relationship by highlighting the parallels between the aporetic conception of justice advanced by the late French philosopher Jacques Derrida and the nuanced approach to improvisation pursued by musicians and theorists alike in the new and emerging interdisciplinary field of Critical Studies in Improvisation (CSI). Justice as Improvisation re-imagines justice as a species of improvisation through the formal structure of the most basic of legal mechanisms, judicial decision-making, offering law and legal theory a richer, more concrete, understanding of justice. Not further mystery or mystique, but a negotiation between abstract notions of justice and the everyday practice of judging. Improvisation in judgment calls for ongoing, practical decision-making as the constant negotiation between the freedom of the judge to take account of the otherness or singularity of the case and the existing laws or rules that both allow for and constrain that freedom. Yes, it is necessary to judge, yes, it is necessary to decide, but to judge well, to decide justly, that is a music lesson perhaps best taught by critical improvisation scholars.

While feminists have long recognised the importance of self-managed, alternative media to transport their messages, to challenge the status quo, and to spin novel social processes, this topic has been an under-researched area. Hence, this book explores the processes of women's and feminist media production in the context of participatory spaces, technology, and cultural citizenship. The collection is composed of theoretical analyses and critical case studies. It highlights contemporary alternative feminist media in general as well as blogs, zines, culture jamming, and street art.

The author is convinced that there is a ruling class in America today. He examines the American power structure as it has developed in the 1980s. He presents systematic, empirical evidence that a fixed group of privileged people dominates the American economy and government. The book demonstrates that an upper class comprising only one-half of one percent of the population occupies key positions within the corporate community. It shows how leaders within this "power elite" reach government and dominate it through processes of special-interest lobbying, policy planning and candidate selection. It is written not to promote any political ideology, but to analyze our society with accuracy.

This book explores the unique phenomenon of public alternative schools in Toronto, Canada and other large urban areas. Although schools of this kind have existed for more than a century, very little has been written about the alternative school movement. These alternatives focus more on child-centered instruction, give many students (and teachers) opportunities to organize the school differently, provide a greater voice for teachers, students, and parents, and engage students far more with experiential learning. When traditional school structures are failing to meet the needs of many children and youth, there is a rapidly growing need for information and discussion about alternatives that will encourage their talents and serve their needs. This book draws attention to the issue of alternative schooling to help make it more accessible to a wider audience.

This book guides the reader through the many complications and contradictions that characterize popular contestation today, focusing on its socio-political, cultural, and aesthetic dimensions. The volume recognizes that the same media and creative strategies can be used to pursue very different causes, as the anti-gay marriage Manif Pour Tous movement in France makes clear. The contributors are scholars from the humanities and social sciences, who analyze protests in particular regions, including Egypt, Iran, Australia, France, Spain, Greece, and Hong Kong, and transnational protests such as the NSA-leaks and the mobilization of migrants and refugees. Not only the specificity of these protest movements is examined, but also their tendency to connect and influence each other, as well as the central, often ambiguous role global digital platforms play in this.

Create inclusive educational environments that benefit ALL learners! As schools become more diverse with students of differing abilities and needs, this self-reflective and action-oriented guide helps you create and support more inclusive schools and classrooms that intentionally educate all students. Using the Five Essential Elements of Cultural Proficiency as a roadmap, this book presents: Students’ learning differences as just that – differences rather than deficits Strategies that show you how to break though the common barriers to culturally proficient and inclusive schooling Assessments that gauge your awareness and show you how to best serve every student’s needs

Presence in Play: A Critique of Theories of Presence in the Theatre is the first comprehensive survey and analysis of theatrical presence to be published. Theatre as an art form has often been associated with notions of presence. The ‘live’ immediacy of the actor, the unmediated unfolding of dramatic action and the ‘energy’ generated through an actor-audience relationship are among the ideas frequently used to explain theatrical experience – and all are underpinned by some understanding of ‘presence.’ Precisely what is meant by presence in the theatre is part of what Presence in Play sets out to explain. While this work is rooted in twentieth century theatre and performance since modernism, the author draws on a range of historical and theoretical material. Encompassing ideas from semiotics and phenomenology, Presence in Play puts forward a framework for thinking about presence in theatre, enriched by poststructuralist theory, forcefully arguing in favour of ‘presence’ as a key concept for theatre studies today.