"Bude" describes the interactions of two different cultures and religions not only separated by the ocean but also by distance. Polar, a character in "Bude" depicts the culture and the religion of the Igodo people prior to an external cultural and religious influences while Bude the main character of the book depicts the transformation process of the culture and religion of the same Igodo people during the external cultural and religious interactions. "Bude" shows that the original culture and religion of a people are dependent on the peoples’ environment and experience and should not be judged by others but respected. The Igodo people were aware that their culture and religion were under attack in the name of education and religion but their desire for education without the necessary funding made them vulnerable to the external cultural and religious influences. The book concluded that a more financially stable culture and religion will dominate others after interactions. "Bude" is original and the contents are actual events of the nineteenth and the twentieth centuries’ colonization of an ancient nation and it is based on actual people and places with the names changed. Daniel Iyeks, the author of this book was an observer at the time and he was also a part of that transformation. It is memorable because "Bude" depicts how most of the world was colonized by the western powers without the use of any weapons and that the approach could be applied in most of the world volatile places today.
Through reference to over six hundred scenes from film and television—as well as a diverse and cross-disciplinary academic bibliography—Masturbation in Pop Culture investigates the role that masturbation serves within narratives.
When Michael, a strong, sexist alpha male, is caught fooling around on his wife Annie the worst possible way—when the maid shows up crying at his doorstep, six months toward an unexpected bundle of joy—he expects his wife to be furious. But why get angry when she can get even instead? She punishes him by using a magical talisman to swap his body with the young, weak, foreign maid, and then calls her Russian boyfriend Rolf over to teach Michael a lesson about sticking his things where they don’t belong. That’s only the beginning of his lesson, though, since Rolf shows up with friends, and he can't swap back until Annie is satisfied with his performance… it looks like Michael’s punishment is going to be crowded, long, and hard!
The Day of the Dead is the most important annual celebration in Oaxaca, Mexico. Skillfully combining textual information and photographic imagery, this book begins with a discussion of the people of Oaxaca, their way of life, and their way of looking at the world. It then takes the reader through the celebration from the preparations that can begin months in advance through to the private gatherings in homes and finally to the cemetery where the villagers celebrate together - both the living and the dead. The voices in the book are of those people who have participated in the Day of the Dead for as long as they can remember. There are no ghosts here. Only the souls of loved ones who have gone to the Village of the Dead and who are allowed to return once a year to be with their family. Very readable and beautifully illustrated, this book provides an extensive discussion of the people of Oaxaca, their way of life and their beliefs, which make the Day of the Dead logical and easily comprehensible.
The book addresses the scientific debates on Rembrandt, Metsu, Vermeer, and Hoogstraten that are currently taking place in art history and cultural studies. These focus mainly on the representation of gender difference, the relationship between text and image, and the emotional discourse. They are also an appeal for art history as a form of cultural studies that analyses the semantic potential of art within discursive and social contemporary practices. Dutch painting of the seventeenth century reflects its relationship to visible reality. It deals with ambiguities and contradictions. As an avant-garde artistic media, it also contributes to the emergence of a subjectivity towards the modern “bourgeois”. It discards subject matter from its traditional fixation with iconology and evokes different imaginations and semantizations - aspects that have not been sufficiently taken into account in previous research. The book is to be understood as an appeal for art history as a form of cultural science that analyses the semantic potential of art within discursive and social contemporary practices, and, at the same time, demonstrates its relevance today. Works by Rembrandt, Metsu, Vermeer, Hoogstraten, and others serve as exemplary case studies for addressing current debates in art history and cultural studies, such as representation of gender difference, relationship between text and image, and emotional discourse.
From the head of the U.S. Civil Rights Commission comes a landmark study of the ways in which prejudice has shaped American justice, covering episodes of racism and sexism in the courts from 1865 to the present.