The technological capacity to transform biology - repairing, reshaping and replacing body parts, chemicals and functions – is now part of our lives. Humanity is confronted with a variety of affordable and non-invasive 'enhancement technologies': anti-ageing medicine, aesthetic surgery, cognitive and sexual enhancers, lifestyle drugs, prosthetics and hormone supplements. This collection focuses on why people find these practices so seductive and provides ethnographic insights into people’s motives and aspirations as they embrace or reject enhancement technologies, which are closely entangled with negotiations over gender, class, age, nationality and ethnicity.

The technological capacity to transform biology - repairing, reshaping and replacing body parts, chemicals and functions – is now part of our lives. Humanity is confronted with a variety of affordable and non-invasive 'enhancement technologies': anti-ageing medicine, aesthetic surgery, cognitive and sexual enhancers, lifestyle drugs, prosthetics and hormone supplements. This collection focuses on why people find these practices so seductive and provides ethnographic insights into people’s motives and aspirations as they embrace or reject enhancement technologies, which are closely entangled with negotiations over gender, class, age, nationality and ethnicity.

How artists at the turn of the twentieth century broke with traditional ways of posing the bodies of human figures to reflect modern understandings of human consciousness. With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era’s canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being’s physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinsky— replete with new archival discoveries—Modern Art and the Remaking of Human Disposition combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses.

The aim of the contributors to this collection of chapters from the writings of well-known British and north American geographers is to bridge the gap between the historical-materialist and humanist interpretations of human geography. The book is aimed at sociologists, planners and geographers.

In the mid-1990s, civil war and genocide ravaged Rwanda. Since then, the country’s new leadership has undertaken a highly ambitious effort to refashion Rwanda’s politics, economy, and society, and the country’s accomplishments have garnered widespread praise. Remaking Rwanda is the first book to examine Rwanda’s remarkable post-genocide recovery in a comprehensive and critical fashion. By paying close attention to memory politics, human rights, justice, foreign relations, land use, education, and other key social institutions and practices, this volume raises serious concerns about the depth and durability of the country’s reconstruction. Edited by Scott Straus and Lars Waldorf, Remaking Rwanda brings together experienced scholars and human rights professionals to offer a nuanced, historically informed picture of post-genocide Rwanda—one that reveals powerful continuities with the nation’s past and raises profound questions about its future. Best Special Interest Books, selected by the American Association of School Librarians Best Special Interest Books, selected by the Public Library Reviewers

A leading geneticist explores the "brave new world" of baby-making in an age that looks onward from IVF and surrogacy to human clones and genetic engineering. Lee Silver explains the science of embryology, explores what science can and will be able to do to affect the natural processes, and through a series of individual stories, both contemporary and imagined from the future, looks at the moral, ethical and legal implications.

Inspired by a true story, this supernatural thriller for fans of horror and true crime follows a tale as it evolves every twenty years—with terrifying results. Ella Louise has lived in the woods surrounding Pilot’s Creek, Virginia, for nearly a decade. Publicly, she and her daughter, Jessica, are shunned by her upper-crust family and the local residents. Privately, desperate characters visit her apothecary for a cure to what ails them—until Ella Louise is blamed for the death of a prominent customer. Accused of witchcraft, Ella Louise and Jessica are burned at the stake in the middle of the night. Ella Louise’s burial site is never found, but the little girl has the most famous grave in the South: a steel-reinforced coffin surrounded by a fence of interconnected white crosses. Their story will take the shape of an urban legend as it’s told around a campfire by a man forever marked by his childhood encounters with Jessica. Decades later, a boy at that campfire will cast Amber Pendleton as Jessica in a ’70s horror movie inspired by the Witch Girl of Pilot’s Creek. Amber’s experiences on that set and its meta-remake in the ’90s will ripple through pop culture, ruining her life and career after she becomes the target of a witch hunt. Amber’s best chance to break the cycle of horror comes when a true-crime investigator tracks her down to interview her for his popular podcast. But will this final act of storytelling redeem her—or will it bring the story full circle, ready to be told once again? And again. And again . . .