This book is about the social psychological dynamics and phenomenology of social inclusion and exclusion. The editors take as their starting point the assumption that social life is conducted in a framework of relationships in which individuals seek inclusion and belongingness. Relationships necessarily include others, but equally they have boundaries that exclude. Frequently these boundaries are challenged or crossed. The book will draw together research on individual motivation, small group processes, stigmatization and intergroup relations, to provide a comprehensive social psychological account of social inclusion and exclusion.

In Cold War Anthropology, David H. Price offers a provocative account of the profound influence that the American security state has had on the field of anthropology since the Second World War. Using a wealth of information unearthed in CIA, FBI, and military records, he maps out the intricate connections between academia and the intelligence community and the strategic use of anthropological research to further the goals of the American military complex. The rise of area studies programs, funded both openly and covertly by government agencies, encouraged anthropologists to produce work that had intellectual value within the field while also shaping global counterinsurgency and development programs that furthered America’s Cold War objectives. Ultimately, the moral issues raised by these activities prompted the American Anthropological Association to establish its first ethics code. Price concludes by comparing Cold War-era anthropology to the anthropological expertise deployed by the military in the post-9/11 era.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

"Lovesey is a wizard at mixing character-driven comedy with realistic-to-grim suspense. And in a writing career spanning four decades, he has created a stylish and varied body of work." —The Wall Street Journal Pop diva, Clarion Calhoun, has packed the house with a celebrity appearance in Bath's Theatre Royal production of I Am a Camera. But within moments of her much-anticipated onstage appearance, she's pulled out of character as she screams and claws at her face. When tainted stage makeup is found to have caused the disfiguring burn, fingers point to her makeup artist. Detective Peter Diamond investigates when the makeup artist is found dead, pushed from a catwalk far above the stage. As Diamond digs deeper, he uncovers rivalries among the cast and crew and is forced to confront his own mysterious and deep-seated theatre phobia to find the killer.