Books published by publisher Cambridge Scholars Publishing

The essays in this volume are written by clinicians, psychologists, sociologists, educators, parents and de-transitioners. Contributors demonstrate how ‘transgender children and young people’ are invented in different medical, social and political contexts: from specialist gender identity development services to lobby groups and their school resources, gender guides and workbooks; from the world of the YouTube vlogger to the consulting rooms of psychiatrists; from the pharmaceutical industry to television documentaries; and from the developmental models of psychologists to the complexities of intersex medicine. Far from just investigating how they are invented the authors demonstrate the considerable psychological and physical harms perpetrated on children and young people by transgender ideology, and offer tangible examples of where and how adults should intervene to protect them.

The essays in this volume are written by clinicians, psychologists, sociologists, educators, parents and de-transitioners. Contributors demonstrate how transgender children and young people are invented in different medical, social and political contexts: from specialist gender identity development services to lobby groups and their school resources, gender guides and workbooks; from the world of the YouTube vlogger to the consulting rooms of psychiatrists; from the pharmaceutical industry to television documentaries; and from the developmental models of psychologists to the complexities of intersex medicine. Far from just investigating how they are invented the authors demonstrate the considerable psychological and physical harms perpetrated on children and young people by transgender ideology, and offer tangible examples of where and how adults should intervene to protect them.

Since his arrival in Detroit on July 4, 1930, W.D. Fard, known also as Wallace Fard Muhammad and over fifty other aliases, has elicited an enormous amount of curiosity. Who was this man who claimed that he was both the Messiah and the Mahdi, and who was identified as God in Person by his disciple, Elijah Muhammad, whom he reportedly appointed as his Final Messenger? The people who actually met him, and the scholars who have studied him, have suggested that he was variously an African American, an Arab from Syria, Lebanon, Algeria, Morocco or Saudi Arabia, a Jamaican, a Turk, an Afghan, an Indo-Pakistani, an Iranian, an Azeri, a white American, a Bosnian, a Mexican, a Greek or even a Jew. In an attempt to determine the origins of W.D. Fard, most scholars have relied on his teachings as passed down, and perhaps modified, by Elijah Muhammad. Some have suggested that he was a member of the Moorish Science Temple of America or the Ahmadiyyah Movement. Others have suggested that he was a Druze or a Shiite. Finding W.D. Fard: Unveiling the Identity of the Founder of the Nation of Islam provides an overview of the scholarly literature related to this mysterious subject and the theories concerning his ethnic and racial origins. It provides the most detailed analysis of his teachings to date in order to identify their original and multifarious sources. Finding W.D. Fard considers the conflicting views shared by his early followers to decipher the doctrine he actually taught. Did W.D. Fard really profess to be Allah, or was he deified after his death by Elijah Muhammad? The book features a meticulous study of any and all subjects who fit the profile of W.D. Fard, and provides the most detailed information regarding his life to date. It also offers an overview of turn-of-the-20th-century Islam in the state of Oregon, demonstrating how much W.D. Fard learned about the Muslim faith while residing in the Pacific Northwest. The work finishes with a series of conclusions and suggestions for further scholarship.

This Yea, Alabama historical series explores the narrative of the storied University of Alabama in Tuscaloosa, Alabama in the United States, in a way not previously published. Years of research into primary documents, many only recently discovered or rediscovered, bring to the fore many new facts, new stories, new characters, new revelations, and new photos that offer the fullest picture of the University yet. This history of bringing higher education to what was just a few years earlier the American western frontier is filled with enthralling human interest stories that, just in volume one (1819-1871), include: dramatic intergenerational rivalries (wilderness-influenced, wealthy young men challenging professors and presidents whom the students consider to be of a lower social class) that on more than one occasion force the University to close its doors and try again; political power and intrigue that often bring the school to its knees; town versus gown issues that sometimes explode onto the pages of history; a fateful decision that brings the University into the crosshairs of the Union, ultimately resulting in the near total destruction of the institution; the Universitys multiyear post-bellum effort to reopen that witnesses major confrontations between the people of Alabama and the radical state government; the never-before-told story of the University of Alabama, African Americans, and slavery.

As the field of conflict analysis and resolution continues to grow, scholars and practitioners increasingly recognize that we can learn from one another. Theory must be informed by practice and practice must draw on sound theory. Above and beyond this lies a further recognition: without at least attempting to actually engage and transform entrenched conflicts, our field cannot hope to achieve its potential. We will merely remain in a more diverse, multi-disciplinary ivory tower. This edition breaks new ground in explicitly connecting the Scholarship of Engagement to the work of conflict resolution professionals including those in the academy, those in the field, and those who refuse to choose between the two. The text explores a wide variety of examples of, and thinking on, the Scholarship of Engagement from participatory action research to peace education, and from genocide prevention to community mediation and transitional justice.

Truth, Dare or Promise: Art and Documentary Revisited reflects on the ways that artists and filmmakers address the innovations and limitations of producing and exhibiting their work. Ranging from community collaboration to individual interpretation, and from gallery installation to cinematic screening, this book explores the differences and overlaps between definitions and methodologies. With an international reach, including contributors who are both practitioners and theorists, this book maps out developments in art and documentary, covering themes that include explorations of personal experience and representations of the past, while examining interactive galleries and the cinematic space.

As the field of conflict analysis and resolution continues to grow, scholars and practitioners increasingly recognize that we can learn from one another. Theory must be informed by practice and practice must draw on sound theory. Above and beyond this lies a further recognition: without at least attempting to actually engage and transform entrenched conflicts, our field cannot hope to achieve its potential. We will merely remain in a more diverse, multi-disciplinary ivory tower. This edition breaks new ground in explicitly connecting the Scholarship of Engagement to the work of conflict resolution professionals including those in the academy, those in the field, and those who refuse to choose between the two. The text explores a wide variety of examples of, and thinking on, the Scholarship of Engagement from participatory action research to peace education, and from genocide prevention to community mediation and transitional justice.

“Go On, Girl!” is a powerful anthem for girls everywhere presented through rhythmic verses. This amazing narrative encourages girls of all cultures to be strong, courageous and confident in whatever they choose to do. This book includes an inscription page to use for gifting, self-esteem activities for use by parents and educators and fun journal pages at the end! Share this inspiring and heartfelt story with your daughter, student or special young lady in your life. Empower them with the message, “When someone tells you no, go on girl, put on your show!”

The focus of this volume is on essential themes, images and generic patterns, beginning with a Talmudic legend about four scholars. They, by means of daring mystical interpretations of Scripture, entered a Paradise, representing different means of imaginative reading, perception, memory and application of the law. One of them died, one went mad, another became a heretic and the other came back as a traditional exegete and teacher. Based on that legend, this book examines a small group of late 19th and early 20th century European Jewish intellectuals and artists in the light of their dreams, writings, and moments of crisis. These men and women, comedians in both the sense of stage actors and clowns or witty performers, believed they had entered a new secular and tolerant society, but discovered that there was no escape from their Jewish heritage and way of seeing the world. This monograph looks into the imperfect mirror of cultural experience, discovers a hazy world of illusions, dreams and nightmares on the other side of the looking glass, and sometimes constructs a midrashic conceit of the comical and grotesque screen between them.

Decolonising the Mediterranean means, first and foremost, investigating how the legacy of colonial rule over bodies and land has been used by other entities and powers to impose new forms of hegemony after the fall of empires and European powers. It means denouncing and dissecting the tools employed in the production of new geometries of power in the global Mediterranean, as well as in the farthest, most recondite corners of the Mediterranean World. Decolonising the Mediterranean is an epistemological practice of border dismantling and scrutiny of the ways in which powers overlap and intertwine. The multiplication of the border is investigated in this volume from an in-between position, namely a specific positionality of subjectivities, in order to connect the global and local, and address Mediterranean issues with a transnational approach. Decolonising the Mediterranean means thinking of the Mediterranean as a space of investigation beyond its geographical boundaries. Finally, it requires deconstructing the power relations at play, viewing the Mediterranean as an excess space of signification in order to reconsider the past and present stories and subjectivities erased by Eurocentric, nationalist historical discourse. In this sense, the Mediterranean may, then, be more than a method: a matter of politics, or a space without borders where the future can be reinvented from the bottom up. This volume is structured into six chapters, each written by a different author focusing on a single North African, Maghreb and Mashrek countrys colonial legacy to investigate borders in a transnational perspective. While the research directions and topics of investigation adopted here are different, they can all be situated on the boundary line described above, and each chapter suggests a specific path for decolonising knowledge.

Recent literary expressions of the immigrant experience reveal the postmodern narrative obsession with the immigrant as cultural and political outlier. 'Wretched Refuge: Immigrants and Itinerants in the Postmodern' asks us to reimagine this preoccupation with what Junot Diaz calls the 'actual flows of third world bodies' as part of a larger, more pertinent motif of the postmodern itinerant. As a figure of cultural becoming, the itinerant stands for displacement and dispersion, exceeding the confines of physical location, political subjectivity, and relation to the natural world. Thus, 'Wretched Refuge' seeks to map the cosmopolitan positionalities of an immigrant or exilic experience: the itinerant, the migrant, and other 'foreign' bodies. The essays in 'Wretched Refuge' consider fiction, memoir, and pop-culture genres that reconceive time, space, and the shifting situatedness of the subject within nature, politics, and culture. The book weaves together modern and postmodern visions of itinerancy in the writings of Cormac McCarthy, Bob Dylan, Junot Diaz, Edwidge Danticat, Jeffrey Eugenides, Jhumpa Lahiri, Roberto Bolano, Paul Bowles, and Bill McKibben, among others. Throughout these radically different narratives, the trace of the itinerant suggests a cosmopolitan response to localized anxieties about global hegemony.

The Spectral Body: Aspects of the Cinematic Oeuvre of Istvan Szabo analyses some of the films made by Academy Award winner Hungarian filmmaker Istvan Szabo to establish an interpretative matrix disclosing the root of haunting effects in the visual and the narrative levels of the diegeses. By combining two distinct and often incongruous lines of psychoanalytic thought (by Nicolas Abraham and Jacques Lacan), Zoltán Dragon argues that these films are fuelled by the work of a phantom on all levels, hiding the secrets of the family history of the characters and producing uncanny visual scenarios to make the act of hiding even more effective. The book brings the reader into the realm of the phantom text generating the film texts and crypt screens of the oeuvre, and investigates the causes of undiscussible and painful secrets that propel some pivotal characters to reappear in subsequent films, apparently driven by a compulsion to continue their narration, failing to finish their stories even when they appear to be successful. The Spectral Body: Aspects of the Cinematic Oeuvre of Istvan Szabo introduces a visual reinterpretation of Abraham s phantom theory that opens up possibilities for an alternative way of studying film. I first saw this work in the form of a full and detailed draft. I was impressed by the boldness of the ideas, the attempt to integrate and work with different theoretical positions and the quite extraordinary reading of the films of Istvan Szabo. There was clearly a powerful and creative and original intelligence at work. A further draft accomplished one important thing that had been missing from the first one the direct analysis of the visual material and its contribution to the overall narrative and theoretical framework. The work employs a psychoanalytic framework with some key concepts such as the phantom drawn from the work of Torok and Abraham. This theory is fairly well known but it has not, to my knowledge, been used in any extensive way in the analysis of film texts before. Zoltan also makes reference to Freud and uses some Lacanian ideas in his analysis at the level of the visual. These multiple theoretical references are not inconsistent; they are finely judged and are most productive. Theory is never used as a grid to be imposed on the material. There is a fine balance between theory and textual analysis that is hard to achieve, but it is successful here. I think that the position that Zoltan Dragon has forged for himself and from which he writes, is a highly original and interesting one. He has been most successful in developing his framework in relation to Szabó s oeuvre which he knows in the greatest detail. His readings of that oeuvre are rich and powerful and will provoke considerable debate in the world of film studies and also of psychoanalytical studies. Parveen Adams, Core Teaching Faculty, London Consortium