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Analyzes the ascendancy of the cultural ideal of the "normal" in the aftermath of World War II.
Phallacies: Historical Intersections of Disability and Masculinity is a collection of essays that focuses on disabled men who negotiate their masculinity as well as their disability. The chapters cover a broad range of topics: institutional structures that define what it means to be a man with a disability; the place of women in situations where masculinity and disability are constructed; men with physical and war-related disabilities; male hysteria, suicide clubs, and mercy killing; male disability in literature and popular culture; and more. All the authors regard masculinity and disability in the historical contexts of the Americas and Western Europe, with particular attention to the nineteenth and twentieth centuries. Taken together, the essays in this volume offer a nuanced portrait of the complex, and at times competing, interactions between masculinity and disability.
In this lively account of the writing, publication, and legacy of the 1956 bestselling novel, "Peyton Place," Ardis Cameron tells how the story of a patricide in a small New England village became a cultural phenomenon.
This early work by Ford Madox Ford was originally published in 1923 and we are now republishing it with a brand new introduction. Ford Madox Ford was born Ford Madox Hueffer in Merton, Surrey, England on 17th December 1873. The creative arts ran in his family - Hueffer's grandfather, Ford Madox Brown, was a well-known painter, and his German émigré father was music critic of The Times - and after a brief dalliance with music composition, the young Hueffer began to write. Although Hueffer never attended university, during his early twenties he moved through many intellectual circles, and would later talk of the influence that the "Middle Victorian, tumultuously bearded Great" - men such as John Ruskin and Thomas Carlyle - exerted on him. In 1908, Hueffer founded the English Review, and over the next 15 months published Thomas Hardy, H. G. Wells, Joseph Conrad, Henry James, John Galsworthy and W. B. Yeats, and gave débuts to many authors, including D. H. Lawrence and Norman Douglas. Hueffer's editorship consolidated the classic canon of early modernist literature, and saw him earn a reputation as of one of the century's greatest literary editors. Ford's most famous work was his Parade's End tetralogy, which he completed in the 1920's and have now been adapted into a BBC television drama. Ford continued to write through the thirties, producing fiction, non-fiction, and two volumes of autobiography: Return to Yesterday (1931) and It was the Nightingale (1933). In his last years, he taught literature at the Olivet College in Michigan. Ford died on 26th June 1939 in Deauville, France, at the age of 65.
Conventional models of voting behavior depict individuals who judge governments for how the world unfolds during their time in office. This phenomenon of retrospective voting requires that individuals integrate and appraise streams of performance information over time. Yet past experimental studies short-circuit this 'integration-appraisal' process. In this Element, we develop a new framework for studying retrospective voting and present eleven experiments building on that framework. Notably, when we allow integration and appraisal to unfold freely, we find little support for models of 'blind retrospection.' Although we observe clear recency bias, we find respondents who are quick to appraise and who make reasonable use of information cues. Critically, they regularly employ benchmarking strategies to manage complex, variable, and even confounded streams of performance information. The results highlight the importance of centering the integration-appraisal challenge in both theoretical models and experimental designs and begin to uncover the cognitive foundations of retrospective voting.
Required reading at Harvard Business School and Columbia Business School. Everyone wants to be more appealing and effective, but few believe we can manage the personal magnetism of a Bill Clinton or an Oprah Winfrey. John Neffinger and Matthew Kohut trace the path to influence through a balance of strength (the root of respect) and warmth (the root of affection). Each seems simple, but only a few of us figure out the tricky task of projecting both at once. Drawing on cutting-edge social science research as well as their own work with Fortune 500 executives, members of Congress, TED speakers, and Nobel Prize winners, Neffinger and Kohut reveal how we size each other up—and how we can learn to win the admiration, respect, and affection we desire.
Accuracy in judging personality is important in clinical assessment, applied settings, and everyday life. Personality judgments are important in assessing job candidates, choosing friends, and determining who we can trust and rely on in our personal lives. Thus, the accuracy of those judgments is important to both individuals and organizations. In examining personality judgment, Personality Judgment takes a sweeping look at the field's history, assumptions, and current research findings. The book explores the construct of traits within the person-situation debate, defends the human judge in the face of the fundamental attribution error, and discusses research on four categories of moderators in judgment: the good judge, the judgeable target, the trait being judged, and the information on which the judgment is based. Spanning two decades of accuracy research, this book makes clear not only how personality judgment has come to its current standing but also where it may move in the future. - Covers 20 years worth of historical, current and future trends in personality judgment - Includes discussions of debatable issues related to accuracy and error. The author is well known for his recently developed theoy of the process by which one person may render an accurate judgment of the personality traits of another
This step-by-step approach allows students to master testing and measurement concepts through practical exercises and feedback. Using humor, cartoons and real-world examples, Sharon E. Robinson Kurpius and Mary E. Stafford guide the reader through the essential components of measurement, starting with measurement scales and ending with reliability and validity. The authors show that everyone can learn testing and measurement concepts, and they make the learning process fun and non-threatening. For those who want to challenge themselves beyond the self-instructional exercises included throughout each chapter, data sets are provided as an aid to further learning. The book is invaluable for all introductory courses in measurement and testing at undergraduate and lower-level graduate level in the social and behavioral sciences.
'A total page-turner...very moving and touching.' JACQUELINE WILSON A brilliantly funny and wonderfully warm-hearted story about love, family, and what it means to be different. Sydney thinks her mum Amy is the best mum in the world - even if she is a bit different. When everyone else kept growing, Amy got to four feet tall and then stopped right there. The perfect height, in Sydney's opinion: big enough to reach the ice cream at the supermarket, small enough to be special. Sydney's dad died when she was only five, but her memories of him, her mum's love and the company of her brave big sister Jade means she never feels alone . . . But when the family are forced to move house, things get tricky. Sydney and Jade must make new friends, deal with the bullies at their new school and generally figure out the business of growing up in a strange new town. And Sydney doesn't want to grow up - not if it means getting bigger than her mum...
Includes: It Folds by Brokentalkers and junk ensemble; LOVE + by MALAPROP Theatre; The Windstealers by Jane Madden; Our Island by Barry McStay; Tryst by Finbarr Doyle and Jeda de Brí; Half Light by Mollie Molumby; Briseis After the Black by Dylan Coburn Gray and Traitor by Shane Mac an Bhaird. 'For the last twenty-two years, Dublin Fringe Festival has staged a city takeover every September. We are Ireland’s largest multidisciplinary arts festival and one of the world’s only entirely curated Fringes. Fringe is where trends get set, where new styles of work and ideas are born. The radicals and experimentalists, the artists whose projects just don’t fit in the box, the crafters, the grafters, the misfits and the clarion voices all thrive at Fringe. We champion glorious, sensorial performances that you feel, that you see when you close your eyes; consequent work that makes demands of both artist and audience, and artists who have a contagious sense of purpose. It’s the festival where Irish artists make their mark. This volume, Fresh Cuts, has just a taster of the bold theatre artists from the 2015 and 2016 editions of our festival, Tiger Dublin Fringe. It’s a selection of indelible and adventurous works from playwrights and makers whose lead you’ll want to follow.'