White-collar crime costs the United States more than $300 billion each year. It is surprisingly common, with one in every three Americans eventually becoming a victim. The criminals often dismiss these crimes as victimless, but those unfortunate enough to fall prey would disagree. An Introduction to Corporate and White-Collar Crime provides readers
It was like some shadowy pantomime: The dark mouth of an alleyway thrown into murky relief by the rays of a distant street lamp...the swift, forward leap of a skulking figure...a girl's form swaying and struggling in the man's embrace. Then, a pantomime no longer, there came a half threatening, half triumphant oath; and then the girl's voice, quiet, strangely contained, almost imperious: "Now, give me back that purse, please. Instantly!" The man, already retreating into the alleyway, paused to fling back a jeering laugh. "Say, youse've got yer nerve, ain't youse!" The girl turned her head so that the rays of the street lamp, faint as they were, fell full upon her, disclosing a sweet, oval face, out of which the dark eyes gazed steadily at the man. And suddenly the man leaned forward, staring for an instant, and then his hand went awkwardly to touch his cap. "De White Moll!" he mumbled deferentially. He pulled the peak of his cap down over his eyes in a sort of shame-faced way, as though to avoid recognition, and, stepping nearer, returned the purse. "'Scuse me, miss," he said uneasily. "I didn't know it was youse—honest to Gawd, I didn't! 'Scuse me, miss. Good-night!
Red, White & Black is a provocative critique of socially engaged films and related critical discourse. Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the “settler,” “master,” and “human”), the Red (the “savage” and “half-human”), and the Black (the “slave” and “non-human”). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity. Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster’s Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films’ non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.
From Science fiction grandmaster Frank Herbert, creator of the Dune universe, comes this novel of bioterrorism and gendercide. What if women were an endangered species? It begins in Ireland, but soon spreads throughout the entire world: a virulent new disease expressly designed to target only women. As fully half of the human race dies off at a frightening pace and life on Earth faces extinction, panicked people and governments struggle to cope with the global crisis. Infected areas are quarantined or burned to the ground. The few surviving women are locked away in hidden reserves, while frantic doctors and scientists race to find a cure. Anarchy and violence consume the planet. The plague is the work of a solitary individual who calls himself the Madman. As government security forces feverishly hunt for the renegade scientist, he wanders incognito through a world that will never be the same. Society, religion, and morality are all irrevocably transformed by the White Plague. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
This is a truly astonishing book, invaluable for anyone with an interest in astronomy." Physics Bulletin "Just the thing for a first year university science course." Nature "This is a beautiful book in both concept and execution." Sky & Telescope
Written for architects, interior designers, and color consultants, this ambitious study explores the psychological and physiological effects of color in the man-made environment. Scientific findings and industry-by-industry examples are furnished to help professionals specify colors that will create healthful environments in hospitals, schools, restaurants, and other public facilities.
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