In the spirit if Tony Abbott's UNDERWORLD books, comes the new kid on the block - Barkari Katari Johnson! Shy fourth-grader Bakari Katari Johnson is having a bad day. He's always coming up against Tariq Thomas, the most popular kid in their class, and today is no different. On top of that, Bakari has found a strange ring that appears to have magical powers--and the people from the ring's fantastical other world want it back! Can Bakari and his best friend Wardell stave off the intruders' attempts, keep the ring safe, and stand up to Tariq and his pal Keisha, all before the school bell rings? Media celebrity and Essence Magazine entertainment producer, Patrik Henry Bass delivers adventure, fun, fantasy and friendship in this illustrated action-packed adventure starring an African American boy hero and his classmates.

Writings from 1990-2006 by visionary curator Hans Ulrich Obrist.

Featuring an astonishing array of work by such artists and architects as Nam June Paik, Rem Koolhaas, Vito Acconci, Laurie Anderson, Chantal Akerman, Matthew Barney, Pierre Bismuth, Stefano Boeri, Christian Boltanski, Marco Brambilla, Angela Bulloch, Cai Guo-Qiang, Janet Cardiff and George Bures Miller, Dan Graham, Rodeny Graham, Lynn Hershmann, Gary Hill, Arthur Jafa, Joan Jonas, Kim Young-Jin, Charles Long and Stereolab, Bruce Nauman, Tony Oursler, Chan-Kyong Park, Paul Pfeiffer, Pipilotti Rist, Sam Taylor-Wood and Bill Viola--as well as a number of emerging Korean artists--media_city seoul 2000documents the recent international cultural festival in the South Korean capital city of Seoul.media_city seoul 2000 takes as its focus today's increasingly media-defined and media-centered cultural and physical landscape, and presents multimedia and video art along with architectural projects, as well as essays by Barbara London and Hans Ulrich Olbrist, and interviews with Nam June Paik, Rem Koolhaas and the philosopher Hans-Georg Gadamer.

The figure of the zombie is a familiar one in world culture, acting as a metaphor for "the other," a participant in narratives of life and death, good and evil, and of a fate worse than death--the state of being "undead." This book explores the phenomenon from its roots in Haitian folklore to its evolution on the silver screen and to its radical transformation during the 1960s countercultural revolution. Contributors from a broad range of disciplines here examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more--including potential signs that the zombie hordes may have finally achieved oversaturation. Instructors considering this book for use in a course may request an examination copy here.

This substantial and ambitious dictionary explores the languages and cultures of visual studies. It provides the basis for understanding the foundations and motivations of current theoretical and academic discourse, as well as the different forms of visual culture that have come to organize everyday life. The book is firmly placed in the context of the 'visual turn' in contemporary thought. It has been designed as an interdisciplinary or transdisciplinary introduction to the vocabularies and grammars of visuality that inform thinking in the arts and humanities today. It also offers insight into the philosophical frameworks which underpin the field of visual culture. A central theme that runs throughout the entries is the task of moving away from a narrow understanding of visuality inherited from traditional philosophy toward a richer cultural and multi-sensorial philosophy of concrete experience. The dictionary incorporates intertextual links that encourage readers to explore connections between major themes, theories and key figures in the field. In addition the author's introduction provides a comprehensive and critical introduction which documents the significance of the visual turn in contemporary theory and culture. It is accompanied by an extensive bibliography and further reading list. As both a substantive academic contribution to this growing field and a useful reference tool, this book offers a theoretical introduction to the many languages of visual discourse. It will be essential reading for graduate students and scholars in visual studies, the sociology of visual culture, cultural and media studies, philosophy, art history and theory, design, film and communication studies.

With more than three times as many defined entries, biographies, illustrations, and appendices than any other dictionary of psychology ever printed in the English language, Raymond Corsini's Dictionary of Psychology is indeed a landmark resource. The most comprehensive, up-to-date reference of its kind, the Dictionary also maintains a user-friendliness throughout. This combination ensures that it will serve as the definitive work for years to come. With a clear and functional design, and highly readable style, the Dictionary offers over 30,000 entries (including interdisciplinary terms and contemporary slang), more than 125 illustrations, as well as extensive cross-referencing of entries. Ten supportive appendices, such as the Greek Alphabet, Medical Prescription Terms, and biographies of more than 1,000 deceased contributors to psychology, further augment the Dictionary's usefulness. Over 100 psychologists as well as numerous physicians participated as consulting editors, and a dozen specialist consulting editors reviewed the material. Dr. Alan Auerbach, the American Psychological Association's de facto dictionary expert, served as the senior consulting editor. As a final check for comprehensiveness and accuracy, independent review editors were employed to re-examine, re-review, and re-approve every entry.

For the last three hundred years, fictions of the vampire have fed off anxieties about cultural continuity. Though commonly represented as a parasitic aggressor from without, the vampire is in fact a native of Europe, and its "metamorphoses," to quote Baudelaire, a distorted image of social transformation. Because the vampire grows strong whenever and wherever traditions weaken, its representations have multiplied with every political, economic, and technological revolution from the eighteenth century on. Today, in the age of globalization, vampire fictions are more virulent than ever, and the monster enjoys hunting grounds as vast as the international market. Metamorphoses of the Vampire explains why representations of vampirism began in the eighteenth century, flourished in the nineteenth, and came to eclipse nearly all other forms of monstrosity in the early twentieth century. Many of the works by French and German authors discussed here have never been presented to students and scholars in the English-speaking world. While there are many excellent studies that examine Victorian vampires, the undead in cinema, contemporary vampire fictions, and the vampire in folklore, until now no work has attempted to account for the unifying logic that underlies the vampire's many and often apparently contradictory forms. Erik Butler holds a PhD from Yale University and has taught at Emory University and Swarthmore College. His publications include The Bellum Gramaticale and the Rise of European Literature (2010) and a translation with commentary of Regrowth (Vidervuks) by the Soviet Jewish author Der Nister (2011).