An in-depth look at why American universities continue to favor U.S.-focused social science research despite efforts to make scholarship more cosmopolitan U.S. research universities have long endeavored to be cosmopolitan places, yet the disciplines of economics, political science, and sociology have remained stubbornly parochial. Despite decades of government and philanthropic investment in international scholarship, the most prestigious academic departments still favor research and expertise on the United States. Why? Seeing the World answers this question by examining university research centers that focus on the Middle East and related regional area studies. Drawing on candid interviews with scores of top scholars and university leaders to understand how international inquiry is perceived and valued inside the academy, Seeing the World explains how intense competition for tenure-line appointments encourages faculty to pursue “American” projects that are most likely to garner professional advancement. At the same time, constrained by tight budgets at home, university leaders eagerly court patrons and clients worldwide but have a hard time getting departmental faculty to join the program. Together these dynamics shape how scholarship about the rest of the world evolves. At once a work-and-occupations study of scholarly disciplines, an essay on the formal organization of knowledge, and an inquiry into the fate of area studies, Seeing the World is a must-read for anyone who cares about the future of knowledge in a global era.

“One of the most profound and illuminating studies of this century to have been published in recent decades.”—John Gray, New York Times Book Review Hailed as “a magisterial critique of top-down social planning” by the New York Times, this essential work analyzes disasters from Russia to Tanzania to uncover why states so often fail—sometimes catastrophically—in grand efforts to engineer their society or their environment, and uncovers the conditions common to all such planning disasters. “Beautifully written, this book calls into sharp relief the nature of the world we now inhabit.”—New Yorker “A tour de force.”— Charles Tilly, Columbia University

Foundational Teaching on Discerning What Is Happening in the Spiritual Realm For many believers, operating in the gifts of the Spirit has become a normal way of life. Yet there is one often-overlooked, often-misunderstood gift crucial to the well-being of the church: the gift of discerning spirits. This gift is the powerful supernatural ability to hear and see into the spiritual realm, yet many people who have it may think they are crazy. Finding no help from the church, some have turned to medical doctors and actually been diagnosed with a mental disorder. Jennifer Eivaz, a trusted prophetic voice, has been there, and she offers hope, healing, and practical help. Pulling back the veil, she · lays a biblical foundation for how this gift works · helps you discern what you are seeing and hearing · reveals what is happening in the spiritual realm · provides insight into the demonic, the angelic, and spiritual happenings · and more. The enemy is on the move. More than ever, the church needs people who operate in this powerful gift to expose hidden threats and help lead the church to victory.

Every two minutes, Americans alone take more photographs than were printed in the entire nineteenth century; every minute, people from around the world upload over 300 hours of video to YouTube; and in 2014, we took over one trillion photographs. From the funny memes that we send to our friends to the disturbing photographs we see in the news, we are consuming and producing images in quantities and ways that could never have been anticipated. In the process, we are producing a new worldview powered by changing demographics -- one where the majority of people are young, urban, and globally connected. In How to See the World, visual culture expert Nicholas Mirzoeff offers a sweeping look at history's most famous images -- from Velezquez's Las Meninas to the iconic "Blue Marble" -- to contextualize and make sense of today's visual world. Drawing on art history, sociology, semiotics, and everyday experience, he teaches us how to close read everything from astronaut selfies to Impressionist self-portraits, from Hitchcock films to videos taken by drones. Mirzoeff takes us on a journey through visual revolutions in the arts and sciences, from new mapping techniques in the seventeenth century to new painting styles in the eighteenth and the creation of film, photography, and x-rays in the nineteenth century. In today's networked world, mobile technology and social media enable us to exercise "visual activism" -- the practice of producing and circulating images to drive political and social change. Whether we are looking at pictures showing the effects of climate change on natural and urban landscapes or an fMRI scan demonstrating neurological addiction, Mirzoeff helps us to find meaning in what we see. A powerful and accessible introduction to this new visual culture, How to See the World reveals how images shape our lives, how we can harness their power for good, and why they matter to us all.

In an era of mixed media messages, in which brands are extended to the breaking point and marketing theories compete for attention, it is difficult to create effective brands. Drawing on the authors' experience of working with the world's top brands, this book shows how to communicate with customers and make your brand resonate.

Designed for slightly older children, this volume goves clear, medically sound explanations to youngsters about the wonders of human growth. Beginning with the development of the fetus, the book explores infancy, childhood, puberty, maturity, and old age. Illustrations throughout, including fold-outs.

Cover -- About Island Press -- Subscribe -- Title Page -- Copyright Page -- Contents -- Preface -- Acknowledgments -- Introduction: Why Urban Observation Matters: Seeing the Better City -- 01. How to See City Basics and Universal Patterns -- 02. Observational Approaches -- 03. Seeing the City through Urban Diaries -- 04. Documenting Our Personal Cities -- 05. From Urban Diaries to Policies, Plans, and Politics -- Conclusion: What the Better City Can Be -- Notes -- Index -- IP Board of Directors

Although readers of prose fiction sometimes find descriptive passages superfluous or boring, description itself is often the most important aspect of a poem. This book examines how a variety of contemporary poets use description in their work. Description has been the great burden of poetry. How do poets see the world? How do they look at it? What do they look for? Is description an end in itself, or a means of expressing desire? Ezra Pound demanded that a poem should represent the external world as objectively and directly as possible, and William Butler Yeats, in his introduction to The Oxford Book of Modern Verse (1936), said that he and his generation were rebelling against, inter alia, "irrelevant descriptions of nature" in the work of their predecessors. The poets in this book, however, who are distinct in many ways from one another, all observe the external world of nature or the reflected world of art, and make relevant poems out of their observations. This study deals with the crisp, elegant work of Charles Tomlinson, the swirling baroque poetry of Amy Clampitt, the metaphysical meditations of Charles Wright from a position in his backyard, the weather reports and landscapes of John Ashbery, and the "new way of looking" that Jorie Graham proposes to explore in her increasingly fragmented poems. All of these poets, plus others (Gary Snyder, Theodore Weiss, Irving Feldman, Richard Howard) who are dealt with more briefly, attend to what Wallace Stevens, in a memorable phrase, calls "the way things look each day." The ordinariness of daily reality is the beginning of the poets' own idiosyncratic, indeed unique, visions and styles.

“If John Berger’s Ways of Seeing is a classic of art criticism, looking at the ‘what’ of art, then David Salle’s How to See is the artist’s reply, a brilliant series of reflections on how artists think when they make their work. The ‘how’ of art has perhaps never been better explored.” —Salman Rushdie How does art work? How does it move us, inform us, challenge us? Internationally renowned painter David Salle’s incisive essay collection illuminates these questions by exploring the work of influential twentieth-century artists. Engaging with a wide range of Salle’s friends and contemporaries—from painters to conceptual artists such as Jeff Koons, John Baldessari, Roy Lichtenstein, and Alex Katz, among others—How to See explores not only the multilayered personalities of the artists themselves but also the distinctive character of their oeuvres. Salle writes with humor and verve, replacing the jargon of art theory with precise and evocative descriptions that help the reader develop a personal and intuitive engagement with art. The result: a master class on how to see with an artist’s eye.