Locked away remote from the rest of the body in its own custom-built casing of skull bone, with no intrinsic moving parts, the human brain remains a tantalising mystery. But now, more than ever before, we have the expertise to tackle this mystery - the last 20 years have seen astounding progress in brain research. Susan Greenfield begins by exploring the roles of different regions of the brain. She then switches to the opposite direction and examines how certain functions, such as movement and vision, are accommodated in the brain. She describes how a brain is made from a single fertilized egg, and the fate of the brain is traced through life as we see how it constantly changes as a result of experience to provide the essence of a unique individual.

Considering everything from Nike ads, emaciated models, and surgically altered breasts to the culture wars and the O.J. Simpson trial, Susan Bordo deciphers the hidden life of cultural images and the impact they have on our lives. She builds on the provocative themes introduced in her acclaimed work Unbearable Weight --which explores the social and political underpinnings of women's obsession with bodily image--to offer a singularly readable and perceptive interpretation of our image-saturated culture. As it becomes increasingly difficult to distinguish between appearance and reality, she argues, we need to rehabilitate the notion that not all versions of reality are equally trustworthy. Bordo writes with deep compassion, unnerving honesty, and bracing intelligence. Looking to the body and bodily practices as a concrete arena where cultural fantasies and anxieties are played out, she examines the mystique and the reality of empowerment through cosmetic surgery. Her brilliant discussion of sexual harassment reflects on the Clarence Thomas/Anita Hill controversy as well as the film Disclosure . She suggests that sexuality, although one of the mediums of harassment, is not its essence, and she calls for the recasting of harassers as bullies rather than sex fiends. Bordo also challenges the continuing marginalization of feminist thought, in particular the failure to read feminist work as cultural criticism. Finally, in a powerful and moving essay called "Missing Kitchens"--written in collaboration with her two sisters--Bordo explores notions of bodies, place, and space through a recreation of the topographies of her childhood. Throughout these essays, Bordo avoids dogma and easy caricature. Consistently, and on many levels, she demonstrates the profound relationship between our lives and our theories, our feelings and our thoughts.

A talking tiger approaches a family during their annual end-of-summer camping trip and is befriended by the youngest, a boy who does not feel ready for first grade.

"Royal lives are invariably packed with incident, but few can match the drama and intrigue that marked out Mary Queen of Scots. Forced to flee Scotland at the age of five, she grew up without her mother, was married at fifteen and widowed just a few days before her eighteenth birthday - a pattern of upheaval that was to characterize the rest of her life.

Introduction: It's only a movie / Thomas S. Freeman -- A tyrant for all seasons: Henry VIII on film / Thomas S. Freeman -- Saints and cinemas: A man for all seasons / Peter Marshall -- Anne of the thousand days / Glenn Richardson -- Lady Jane Grey on film / Carole Levin -- From Hatfield to Hollywood: Elizabeth I on film / Susan Doran -- Lady in waiting: young Elizabeth Tudor on film / Judith Richards -- Kapur's Elizabeth / Christopher Haigh -- Mary Queen of Scots (1971) / John Guy -- The Armada, war and propaganda in the cinema / Will Coster -- Elizabeth: the golden age: a sign of the times? / Vivienne Westbrook -- Shakespeare in love: Elizabeth I as Dea ex Machina / Brett Usher -- The private lives of Elizabeth and Essex and the romanticization of Elizabethan politics / Paul E.J. Hammer -- Oliver Cromwell and the civil wars / John Morrill -- The unfilmed Oliver Cromwell / David L. Smith -- Winstanley / Christopher Durston -- Why don't the Stuarts get filmed? / Ronald Hutton.

From the author of Anya and Buffalo Afternoon comes a haunting novel of twin sisters. At the height of her fame, 27-year old Florence Meek disappears. Years later, driven by new information, her twin Doris begins to hunt for her. But Doris's search for her sister soon becomes secondary to her search through the past for the truth about their complex relationship.

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Glickman argues that early immigrants to Canada brought with them the expectation that nature would be grand, mysterious, awesome - even terrifying - and welcomed scenes that conformed to these notions of sublimity. She contends that to interpret their descriptions of nature as "negative," as so many critics have done, is a significant misunderstanding. Glickman provides close readings of several important works, including Susanna Moodie's "Enthusiasm," Charles G.D. Roberts's Ave, and Paulette Jiles's "Song to the Rising Sun," and explores the poems in the context of theories of nature and art. Instead of projecting backward from a modernist perspective, Glickman reads forward from the discovery of landscape as a legitimate artistic subject in seventeenth-century England and argues that picturesque modes of description, and a sublime aesthetic, have governed much of the representation of nature in this country.

In the near future, humanity has experienced a great schism. The larger part is ruled by instinct and pleasure: they are ageless, beautiful yet wholly dependent on technology designed by previous generations to sustain them. Having no social structure or self-consciousness to speak of, to the minority they are simply known as the Others. But into this unmarked, timeless community walks Fred, the first visitor from a far-off land. His people are the N-Ps, governed by logic, revolted by the mindless, unfettered sollipsism of the Others. In all respects a model N-P, as Fred conducts his studies, he finds himself caught in an awkward relationship with his test subjects. Fred begins to feel for the childlike members of the Dwelling he observes. Embracing their gaudy, hyperreal life of screens and implants, Fred begins to be changed himself, even as he begins to affect the minds of these Others in ways that may not be to their benefit.

Text and photographs follow a young boy as he finds out how to give up the habit of sucking his thumb. Includes a question-and-answer guide for parents and medical professionals.

Berlin--"East" and "West," day and of course night--throughout the 80s before the Wall came down. In the eyes of an American philosophy student. And Jewish, which makes for moments at once awkward, poignant, resonant, unspoken, crass, funny, and always lurking. Most of all, Susan Neiman can write, as borne out again by her books to follow this debut. Here, we live the Reagan years with her--when a city was divided, America the occupier, and the cigarettes not named "Salem" because it sounds too Jewish. Peter Becker folded an easel in the corner to make a table. He brought cold cuts and bread and asked me what I thought of his paintings. Later I would learn that people here always ask you what you think of their paintings, and that it's wrong just to say you find them interesting, but perfectly alright to say you find them awful. . . . You come from a Jewish family, don't you?" asked Becker. "Yes," I said. "It doesn't matter," said the other painter. Doesn't matter? To whom?

"The funny and insightful first-person story of the trailblazing movie director of the 80s and 90s whose fearless punk drama, "Smithereens" became the first American indie film to compete at Cannes, and smash hit "Desperately Seeking Susan" led to a four-decade career in film. Starting out in the mid-70s, a time when few women were directing movies, Susan was determined to become a filmmaker. She longed to tell stories about the unrepresented characters she wanted to see on screen: unconventional women in unusual circumstances, needing to express themselves and maintain their autonomy. Her genre-blending films reflect a passion for classic Hollywood storytelling, mixed with a playful New Wave spirit, informed by her years living in downtown NYC. Seidelman continued to shape American pop culture well into the nineties, directing the pilot of the iconic TV series "Sex And The City," focusing her sharp lens on the changing place of women in American society and helping to fundamentally reshape our self-image in ways that are still felt today. Raised in the safe cocoon of 1960s suburbia, Susan Seidelman wasn't a misfit, an oddball, or an outlier. She was a "good-girl" with a little bit of "bad" hidden inside. A restless teenager, she dreamed of escape and reinvention, a theme that would play out in her films as well as in her own life. Because she loved stories, a high school guidance counselor suggested she become a librarian, but she had her sights set further afield. In 1973, she left the Philly suburbs, enrolled at NYU's burgeoning graduate film school and moved to NYC's Lower East Side. There, she found herself in the right place at the right time. New York City was falling apart, but out of that chaos came a burst of creative energy whose effects are still felt in American pop culture today. Downtown became a vibrant playground where film, music, performance and graffiti art cross-pollinated and where Seidelman chronicled the lives of the colorful misfits, oddballs, dreamers and schemers she met there. It's all in DESPERATELY SEEKING SOMETHING. Seidelman not only has a keen perspective on the times she's lived through -- from her Twiggy-obsessed girlhood, through the Women's Lib movement of the early 70s, the punk scene of the late 70s, Madonna-mania of the 80s, to the dot-com "greed is good" 90s, and beyond--she tells great stories"--

Signed and inscribed by the author on the free endpaper " to Belle, I hope you enjoy this...one of my earlier efforts. Good luck with your writing. A. Sontag 10.13.92"

"Based on five years of fieldwork in Boston, Can't Catch a Break documents the day-to-day lives of forty women as they struggle to survive sexual abuse, violent communities, ineffective social and therapeutic programs, discriminatory local and federal policies, criminalization, incarceration, and a broad cultural consensus that views suffering as a consequence of personal flaws and bad choices. Combining hard-hitting policy analysis with an intimate account of how marginalized women navigate an unforgiving world, Susan Sered and Maureen Norton-Hawk shine new light on the deep and complex connections between suffering and social inequality"--Provided by publisher.

Kaysen's search for a diagnosis and cure for excruciating and incessant personal physical pain.

In the mid-1990s, two major Hollywood studios, Warner Bros. and Paramount Pictures, each launched their own broadcast television network with the hope of becoming the fifth major player in an industry long dominated by ABC, CBS, NBC, and, more recently, Fox. Despite the odds against them, the WB and UPN went on to alter the landscape of primetime television, only to then merge as the CW network in 2006—each a casualty of conflicting personalities, relentless competition, and a basic failure to anticipate the future of the entertainment business. Unfolding amid this backdrop of high-stakes business ventures, fanatical creative struggles, and corporate power plays, Season Finale traces the parallel stories of the WB and UPN from their prosperous beginnings to their precipitous demise. Following the big money, big egos, and big risks of network television, Susanne Daniels, a television executive with the WB for most of its life, and Cynthia Littleton, a longtime television reporter for Variety, expose the difficult reality of trying to launch not one but two traditional broadcast networks at the moment when cable television and the Internet were ending the dominance of network television. Through in-depth reportage and firsthand accounts, Daniels and Littleton expertly re-create the creative and business climate that gave birth to the WB and UPN, illustrating how the race to find suitable programming spawned a heated rivalry between the two but also created shows that became icons of American youth culture. Offering insider stories and never-before-published details about shows such as Buffy the Vampire Slayer, Dawson's Creek, 7th Heaven, Gilmore Girls, Smallville, Felicity, Girlfriends, Everybody Hates Chris, and America's Next Top Model, Daniels and Littleton provide an exhaustive account of the two creative teams that ushered these groundbreaking programs into the hearts, minds, and living rooms of Americans across the country. But in spite of these successes, the WB and UPN unraveled, and here the authors elucidate the corporate miscalculations that led to their undoing, examining the management missteps and industry upheaval that brought about their rapid decline and the surprising teamwork that united them as the CW. The result is a cautionary and compelling entertainment saga that skillfully captures a precarious moment in television history, when the dramatic transformation of the broadcast networks signaled an inevitable shift for all pop culture.

Fascinating and extraordinary, thrilling and poignant, My Judy Garland Life will speak to anyone who has ever nursed an obsession or held a candle to a star. Judy Garland has been an important figure in Susie Boyt's life since she was three years old, comforting, inspiring and at times disturbing her. In this unique book, Boyt travels deep into the underworld of hero worship, reviewing through the prism of Judy our understanding of rescue, consolation, love, grief and fame. What does it mean to adore someone you don't know? What is the proper husbandry of a twenty-first century obsession? Boyt's journey takes in a duetting breakfast with Mickey Rooney, a Munchkin luncheon, tea with the largest collector of Garlandia, an illicit late-night spree at the Minnesota Judy Garland Museum and a breathless, semi-sacred encounter with Miss Liza Minnelli . . .

'Eating is pleasurable, eating is delicious, eating is sensual' says Susie. But for so many of us eating is associated with anguish and abstinence. From the first page this little book shows us how to think and feel differently about what we eat. So that we eat when we are hungry, eat what we want to eat to satisfy us and stop when we are full. Each page contains an easily absorbed bite-sized statement to transform eating that hurts into eating that nourishes and calms. This book isn't magic but it feels as if it is.

The therapeutic relationship with particular emphasis on what happens during the analytic hour and how the therapist thinks and feels.