The world is full of hate but few people know how to hate well. So begins Gerald Schoenewolf's study of hate. His main argument is that most people hate in destructive ways. As individuals we routinely act out hateful feelings - from jealousy to loathing to bitterness to contempt to disgust to irritation to rage - with hardly a backward glance. We are concerned with the immediate need to protect ourselves, or to get and create a climate of animosity and distrust.

I hate hate hated my friend. When I moved over in the school bus, she sat somewhere else. When her point broke in arithmetic and I passed her my pencil, she took Peter's instead. "Ask her," my mother said. "Ask your friend why."

Which sort of seducer could you be? Siren? Rake? Cold Coquette? Star? Comedian? Charismatic? Or Saint? This book will show you which. Charm, persuasion, the ability to create illusions: these are some of the many dazzling gifts of the Seducer, the compelling figure who is able to manipulate, mislead and give pleasure all at once. When raised to the level of art, seduction, an indirect and subtle form of power, has toppled empires, won elections and enslaved great minds. In this beautiful, sensually designed book, Greene unearths the two sides of seduction: the characters and the process. Discover who you, or your pursuer, most resembles. Learn, too, the pitfalls of the anti-Seducer. Immerse yourself in the twenty-four manoeuvres and strategies of the seductive process, the ritual by which a seducer gains mastery over their target. Understand how to 'Choose the Right Victim', 'Appear to Be an Object of Desire' and 'Confuse Desire and Reality'. In addition, Greene provides instruction on how to identify victims by type. Each fascinating character and each cunning tactic demonstrates a fundamental truth about who we are, and the targets we've become - or hope to win over. The Art of Seduction is an indispensable primer on the essence of one of history's greatest weapons and the ultimate power trip. From the internationally bestselling author of The 48 Laws of Power, Mastery, and The 33 Strategies Of War.

Anthropology is the study of all humans in all times in all places. But it is so much more than that. "Anthropology requires strength, valor, and courage," Nancy Scheper-Hughes noted. "Pierre Bourdieu called anthropology a combat sport, an extreme sport as well as a tough and rigorous discipline. ... It teaches students not to be afraid of getting one's hands dirty, to get down in the dirt, and to commit yourself, body and mind. Susan Sontag called anthropology a "heroic" profession." What is the payoff for this heroic journey? You will find ideas that can carry you across rivers of doubt and over mountains of fear to find the the light and life of places forgotten. Real anthropology cannot be contained in a book. You have to go out and feel the world's jagged edges, wipe its dust from your brow, and at times, leave your blood in its soil. In this unique book, Dr. Michael Wesch shares many of his own adventures of being an anthropologist and what the science of human beings can tell us about the art of being human. This special first draft edition is a loose framework for more and more complete future chapters and writings. It serves as a companion to anth101.com, a free and open resource for instructors of cultural anthropology. This 2018 text is a revision of the "first draft edition" from 2017 and includes 7 new chapters.

It is never too soon in the life of a child for it to receive education. The soul of an infant is like a photographic plate which has never been exposed before, and whatever impression falls on that photographic plate covers it. No other impressions which come afterwards have the same effect. Therefore when the parents or guardians lose the opportunity of impressing an infant in its early childhood they lose the greatest opportunity. In the Orient there is a superstition that an undesirable person must not be allowed to come near an infant. If the parents or relatives see that a certain person should not be in the presence of an infant, that person is avoided, for the very reason that the infant is like a photographic plate. The soul is negative, fully responsive, and susceptible to every influence; and the first impression that falls on a soul takes root in it. In the first place an infant brings with it to the earth the spirit with which it is impressed from the angelic spheres and from the plane of the jinn; it has also inherited from the earth qualities from both its parents and of their families. After coming on earth the first impression that an infant receives is from the environment, the surroundings, from those who touch it and move and work in its surroundings. And the impression after coming to earth is so strong that very often it erases the impressions that an infant has inherited from the higher spheres, and also the heritage from its parents. This happens because the mind that has been formed of the impressions which the infant has brought from the higher spheres is not yet positive. It is just like a pot of clay which has not yet gone through the fire; it has not yet developed.

Hate, malice, rage, and enmity: what would Shakespeare’s plays be without these demonic, unruly passions? This book studies how the tirades and unrestrained villainy of Shakespeare’s art explode the decorum and safety of our sanitized lives and challenge the limits of our selfhood. Everyone knows Shakespeare to be the exemplary poet of love, but how many celebrate his clarifying expressions of hatred? How many of us do not at some time feel that we have come away from his plays transformed by hate and washed clean by savage indignation? Saval fills the great gap in the interpretation of Shakespeare’s unsocial feelings. The book asserts that emotions, as Aristotle claims in the Rhetoric, are connected to judgments. Under such a view, hatred and rage in Shakespeare cease to be a "blinding" of judgment or a loss of reason, but become claims upon the world that can be evaluated and interpreted. The literary criticism of anger and hate provides an alternative vision of the experience of Shakespeare’s theater as an intensification of human experience that takes us far beyond criticism’s traditional contexts of character, culture, and ethics. The volume, which is alive to the judgmental character of emotions, transforms the way we see the rancorous passions and the disorderly and disobedient demands of anger and hatred. Above all, it reminds us why Shakespeare is the exemplary creator of that rare yet pleasurable thing: a good hater.