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In this groundbreaking ethnographic study, Patty Kelly examines the lives of the women who work in the Zona Galactica, a state-run brothel in Chiapas's capital city. By delving into lives that would otherwise go unremarked, Kelly documents the modernization of the sex industry during the neoliberal era in the city of Tuxtla Gutiérrez and illustrates how state-regulated sex became part of a broader effort by government officials to bring modernity to Chiapas, one of Mexico's poorest and most conflicted states. Kelly's innovative approach locates prostitution in a political-economic context by treating it as work. Most valuably, she conveys her analysis through vivid portraits of the lives of the sex workers themselves and shows how the women involved are neither victims nor heroines.
Adolescent Suicide and Self-Injury by Laurel L. Williams,Owen Muir Pdf
This volume presents a comprehensive and practical approach to the treatment of suicide and NSSI for adolescents utilizing a mentalizing framework. The beginning of the text provides up-to-date information on the theory of a mentalizing therapy in order to ground the readers in the neuroscientific underpinnings of a mentalizing approach. Next chapters provide information on the fundamental building blocks of a mentalizing therapy at the individual and family level. These chapters provide step-by-step approaches in order to provide examples of the techniques involved in mentalizing treatment that can be employed to address suicidality and NSSI. The next chapter builds on these concepts as the reader learns about mentalizing failures involved in common co-morbidities in adolescents who are experiencing suicidality and/or employing NSSI. The next several chapters cover practical issues related to working within this patient population including the key concept of social systems and connections for both providers and adolescents, the ability of mentalizing theory and therapy to integrate with other effective therapies, how to approach sessions after a suicide attempt, resiliency for patient, family and the provider, along with important self-care for a therapist if a patient commits suicide. The final chapter brings all of the aforementioned elements together in order for the reader to conceptualize employing a mentalizing approach to adolescents and their families when suicide and NSSI concerns are a predominate focus of care. Illustrations of specific therapeutic approaches and a list of resources and guidelines where available are also included. Adolescent Suicide and Self-Injury is an excellent resource for all clinicians working with youths at risk for suicide and/or self-injury, including psychiatrists, psychologists, pediatricians, family medicine physicians, emergency medicine specialists, social workers, and all others.
Using a variety of critical approaches - including semiotic, intertextual, and biographical - these fifteen essays cover the full range of Glasgow's writings, from well-known novels such as Virginia, Barren Ground, and The Sheltered Life to less familiar works such as The Battle-Ground, The Wheel of Life, the verse collected in The Freeman and Other Poems, and the short stories.
Plays for All Seasons, and All Ages by Sheila Cardano,Cardano Pdf
Grant Cole, like thousands of other young Americans, was drafted into the U. S. Army early in the Korean War. Grant grew up during the 1930s and 1940s in Los Angeles, California. After school, he entered the machinist trade. Because of this experience, the Army assigned him to the Ordnance Corps. In Korea, he was placed in a maintenance unit in Seoul and remained there for the remainder of his active duty. His view of the war there was very different from one on the front lines. Grant learned that the face of war is always an ugly one.
Show Me How to Share Christ in the Workplace by R. Larry Moyer Pdf
Whether they know it or not, every Christian is in full-time ministry at home, at school, at recreation, and at work. Colossians 4:5-6 says "Walk in wisdom toward those who are outside, redeeming the time, Let your speech always be with grace, seasoned with salt, that you may know how you ought to answer each one" (NKJV). Continuing his popular Show Me How series, expert evangelist R. Larry Moyer has written a practical guide for sharing Christ in the workplace. Step by step, Moyer shows what it really means to pray, live, and speak as God directs. He then outlines how to apply each at work and shows how to take advantage of public speaking opportunities that Christians may not even know are available to them. Whether they are turning workplace conversations to spiritual matters, answering questions of unbelieving co-workers, or just performing their jobs as a representative of Christ, readers will be encouraged and equipped to present the gospel with clarity and simplicity. Written to encourage those in the workplace to see their jobs as their calling, How to Share Christ in the Workplace offers practical help and inspiration to influence non-Christians for Christ.
Between 1854 and 1861, the Territory of Kansas was a bloody battleground of unrestrained terror and violence as Northern abolitionists and pro-slavery Southerners vied for the dominance of their respective causes, historically described as “Bleeding Kansas.”During the ferocious struggle between Free-Soilers and pro-slavery factions, Native American Indians were being betrayed by the U. S. government, stripped of their ancestral lands, and pushed relentlessly south and west to be confined slave-like on reservations. Few people noticed the incongruity ofthese two movements. Those who did were in double jeopardy.
He Said, She Said by Michelle Kallock Knight,Todd Outcalt Pdf
Life is experienced from each individual's perspective. Our views of the world are often influenced by nationality, race, creed, or religion. But there may be no greater factor influencing our perspective on life than our gender. He Said , She Said: Biblical Stories From a Male and Female Perspective, explores a host of Biblical narratives from both a male and female perspective, offering readers a unique blend of thought and commentary on relationships, marriage, parenting, work, and aging. This book is sure to strike a chord with pastors, study groups, and classes who are looking for a unique and engaging vantage point from which to explore the Bible.
Maverick Slovenian cultural theorist, philosopher and psychoanalyst Slavoj Žižek has made his name elaborating the complexities of psychoanalytic and Marxist theory through the exotic use of examples from film and popular culture. But what if we were to take Žižek’s pretensions to cinephilia and film criticism seriously? In this book, adopting Žižek’s own tactic of counterintuitive observation, we shall read the corpus of Alfred Hitchcock’s films (‘one of the great achievements of Western civilization’) and Žižek’s idiosyncratic citation of them in order to arrive at a position where we can identify the core commitments that inform Žižek’s own work. From the practice of Hitchcock we shall (hopefully) arrive at a theory of Žižek (just as Žižek in his collection Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock) (Verso, 1992) arrives at a theory of Lacan from the practice of Hitchcock). To achieve this goal each chapter looks at a specific film by Hitchcock and explores a specific key concept crucial to the elaboration and core of Žižek’s ideas.
The three books of Horace's Odes were published in 23 BC and gained him his reputation as the greatest Latin lyric poet. This book provides the Latin text (from the Oxford Classical Text series) of the third book together with a new translation by David West which attempts to be close to the Latin while catching the flavour of the original. There is also a commentary which explains the poems aimed at students of Latin literature and Roman history, whether or not they know Latin.
Annie McMuffit must infuse her new business, Annies Attic, with a large amount of hard cash or abandon her long-time desire to own an antique shop. Joe Carter offers Annie a money-spinning job evaluating the contents of a ten-room Victorian house, his recent inheritance. Annie, a novice at appraising antiques but desperate for money, accepts the job. While Annie works and stays at the isolated, menacing Carter house, someone tries to frighten her away. She proves why her nickname is Granite-head and stays her course. After Annie reads a collection of diaries she finds in a secret compartment of an old armoire, the discovery leads heras a wannabe detectivein a new direction when she sets forth to solve an old murder.
Maybe Harley Jean Davidson should have finished college, but at the time it hadn't seemed nearly as important as it did now. She should have stayed in corporate banking. She should have settled down with Mr. Right instead of dallying with Mr. Right Now--irresistible Memphis detective Mike Morgan. It was time to put her shallow youth behind her. She was closing in on thirty, entering the halls of maturity, and proving that she has a talent for catching bad guys. Things could be worse. Much worse. Her job as a Memphis tour guide is about to get even stranger than usual. "Hey," she called, "last stop for all Elvi. This is it, sir. Sir?" He didn't respond, just remained in his seat on the bus, staring out the window. Maybe he'd gotten cold feet about the Elvis contest. With a sigh, Harley walked to the back. "Hey, buddy," she said when she reached his seat, "we're here. Time to go on stage and sing your heart out. Knock 'em dead." When he still didn't respond, Harley put a hand on his shoulder to give him a slight shake. He slumped forward, his head hit the back of the seat in front of him, and she jumped into the aisle. The hilt of a knife protruded from his back. She froze. This couldn't be happening. Not to him, not to her, again. She leaned closer, and the rusty smell of blood made her stomach lurch. Backing slowly away, she fumbled at her waist for the cell phone that she now kept tethered to her with a chain, and hit speed dial. The police dispatcher answered quickly. "Nine-one-one?" Harley said in a voice that sounded a lot calmer than she felt. "We have another dead Elvis." Will her talent (jinx?) for stumbling into crime scenes eighty-six her relationship with Mike? Was he working up to a break up or just still upset about the dead Elvis in her van? Only one way to find out. "So," she said when she put the heated plate of fried rice and egg rolls in front of him, "is this a break up?" He gave her a startled look. "What are you talking about?" "Me finding bodies. You not liking that. Us. Maybe we need to talk about it." "Yeah. Well. I'm not really good at that kind of conversation." "Me either." She sat down in the chair opposite him, and Sam immediately jumped up on the cushioned arm to sniff her plate. He purred. Little beggar. She gave him a piece of rice and he gave her a horrified look. Then he leaped down to cross to Morgan, who had chicken fried rice. Morgan obliged the cat with a piece of chicken, and then looked over at Harley. "Maybe we just need a break from each other. Just for a couple weeks or a month. Something like that. Give us time to think about . . . things." Her throat got tight, but she nodded casually. "I think you're right. I don't want you to feel like I'm jeopardizing your job, and lately I can't seem to stop tripping over bodies. I don't know what it is. Some kind of murder magnet, I guess." One corner of his mouth tucked into a wry smile. "Any chance you can get rid of it?" Virginia Brown is the author of more than fifty novels, most recently the bestselling Dixie Diva Mysteries and the acclaimed mystery/drama, Dark River Road.
A new collection of short stories from the woman Rick Moody has called "the best prose stylist in America" Her stories may be literal one-liners: the entirety of "Bloomington" reads, "Now that I have been here for a little while, I can say with confidence that I have never been here before." Or they may be lengthier investigations of the havoc wreaked by the most mundane disruptions to routine: in "A Small Story About a Small Box of Chocolates," a professor receives a gift of thirty-two small chocolates and is paralyzed by the multitude of options she imagines for their consumption. The stories may appear in the form of letters of complaint; they may be extracted from Flaubert's correspondence; or they may be inspired by the author's own dreams, or the dreams of friends. What does not vary throughout Can't and Won't, Lydia Davis's fifth collection of stories, is the power of her finely honed prose. Davis is sharply observant; she is wry or witty or poignant. Above all, she is refreshing. Davis writes with bracing candor and sly humor about the quotidian, revealing the mysterious, the foreign, the alienating, and the pleasurable within the predictable patterns of daily life.