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In the prevailing liberal ethos, if there is one thing that is beyond the reach of others, it is our body in particular, and our person in general: our legal and political tradition is such that we have the right to deny others access to our person and body, even though doing so would harm those who need personal services from us, or body parts. However, we lack the right to use ourselves as we wish in order to raise income, even though we do not necessarily harm others by doing so--even though we might in fact benefit them by doing so. Cécile Fabre's aim in this book is to show that, according to the principles of distributive justice which inform most liberal democracies, both in practice and in theory, it should be exactly the other way around: that is, if it is true that we lack the right to withhold access to material resources from those who need them, we also lack the right to withhold access to our body from those who need it; but we do, under some circumstances, have the right to decide how to use it in order to raise income. More specifically, she argues in favor of the confiscation of body parts and personal services, as well as of the commercialization of organs, sex, and reproductive capacities.

A digital copy of "Whose Muse? Art Museums and the Public Trust" by James Ed. Cuno. Download is immediately available upon purchase!

Make it up. Make it quick. Make it funny. You'll find the makings of great comedy fun in this collection of the complete first season of the hilarious improvisational series where gifted comics devise sketches, impersonations and songs based on suggestions, props and inspired goofiness from offbeat and off-the-wall host Drew Carey and an equally playful audience. Ever wonder what an excitable dog would do on a Let's Make a Date TV show? Or how an astronaut would react to an alien inside him? And

In the prevailing liberal ethos, if there is one thing that is beyond the reach of others, it is our body in particular, and our person in general: our legal and political tradition is such that we have the right to deny others access to our person and body, even though doing so would harm those who need personal services from us, or body parts. However, we lack the right to use ourselves as we wish in order to raise income, even though we do not necessarily harm others by doing so--even though we might in fact benefit them by doing so. Cécile Fabre's aim in this book is to show that, according to the principles of distributive justice which inform most liberal democracies, both in practice and in theory, it should be exactly the other way around: that is, if it is true that we lack the right to withhold access to material resources from those who need them, we also lack the right to withhold access to our body from those who need it; but we do, under some circumstances, have the right to decide how to use it in order to raise income. More specifically, she argues in favor of the confiscation of body parts and personal services, as well as of the commercialization of organs, sex, and reproductive capacities.

Traces the history of the Bread Loaf Writer's Conference and examines the annual event within its literary, social, and political contexts

A beautiful pop-up book as you've never seen before.Swing through the lush jungle canopy, crunch across the glittering ice floes, prowl through the savanna grasslands. In each habitat, a wild creature hides. Can you guess who they are from the clues they give about themselves?Lift the spectacular spiral pop up to reveal the answer and meet each magnificent animal in its home.Children learn what the animal eats, where it lives, what it looks like and what animal family it belongs to, as well as some quirky and funny facts about it. The reader then reveals by pulling up a tab on the opposite page, a creature suspended on a sturdy but invisible plastic cord. The creature appears in a whirlwind of spiralling paper at home in its natural environment. At the animal's feet is its name and so the pop up reveals the answer in a uniquely beautiful and satisfying way. 1.6675

What do America's children learn about American history, American values, and human decency? Who decides? In this absorbing book, Jonathan Zimmerman tells the dramatic story of conflict, compromise, and more conflict over the teaching of history and morality in twentieth-century America. In history, whose stories are told, and how? As Zimmerman reveals, multiculturalism began long ago. Starting in the 1920s, various immigrant groups--the Irish, the Germans, the Italians, even the newly arrived Eastern European Jews--urged school systems and textbook publishers to include their stories in the teaching of American history. The civil rights movement of the 1960s and '70s brought similar criticism of the white version of American history, and in the end, textbooks and curricula have offered a more inclusive account of American progress in freedom and justice. But moral and religious education, Zimmerman argues, will remain on much thornier ground. In battles over school prayer or sex education, each side argues from such deeply held beliefs that they rarely understand one another's reasoning, let alone find a middle ground for compromise. Here there have been no resolutions to calm the teaching of history. All the same, Zimmerman argues, the strong American tradition of pluralism has softened the edges of the most rigorous moral and religious absolutism.

Whose Justice? Which Rationality?, the sequel to After Virtue, is a persuasive argument of there not being rationality that is not the rationality of some tradition. MacIntyre examines the problems presented by the existence of rival traditions of inquiry in the cases of four major philosophers: Aristotle, Augustine, Aquinas, and Hume.

With the advent of the printing press and the subsequent publishing culture that reproduces exact copies of texts en masse, most people who read the Bible today assume that they are reading the very words that Jesus spoke or St. Paul wrote. And yet, for almost 1,500 years manuscripts were copied by hand by scribes - many of them untrained, especially in the early centuries of Christendom - who were deeply influenced by the theological and political disputes of their day. Mistakes and intentional changes abound in the competing manuscript versions that continue to plague biblical scholars who determine which words, phrases, or stories are the most reliable and, therefore, merit publication in modern Bibles. Whose Word Is It? is the fascinating history of the words themselves. Biblical scholar Bart Ehrman shows us where and why changes were made in our earliest surviving manuscripts, changes that continue to have a dramatic impact on widely-held beliefs concerning the divinity of Jesus, the Trinity, and the divine origins of the Bible itself. Many books have been written about why some books made it into the New Testament and why others didn't (canonization) or about how the meaning of words change when translated from Aramaic to Greek to English. But this is the first time that a leading biblical scholar reveals for the general reader the many challenging - even disturbing - early variations of our cherished biblical stories and why only certain versions of those stories qualify for publication in the Bibles we read today.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.15

Shipped from UK, please allow 10 to 21 business days for arrival. A very good, clean & sound copy.

The international controversy over who "owns" antiquities has pitted museums against archaeologists and source countries where ancient artifacts are found. In his book Who Owns Antiquity?, James Cuno argued that antiquities are the cultural property of humankind, not of the countries that lay exclusive claim to them. Now in Whose Culture?, Cuno assembles preeminent museum directors, curators, and scholars to explain for themselves what's at stake in this struggle--and why the museums' critics couldn't be more wrong. Source countries and archaeologists favor tough cultural property laws restricting the export of antiquities, have fought for the return of artifacts from museums worldwide, and claim the acquisition of undocumented antiquities encourages looting of archaeological sites. In Whose Culture?, leading figures from universities and museums in the United States and Britain argue that modern nation-states have at best a dubious connection with the ancient cultures they claim to represent, and that archaeology has been misused by nationalistic identity politics. They explain why exhibition is essential to responsible acquisitions, why our shared art heritage trumps nationalist agendas, why restrictive cultural property laws put antiquities at risk from unstable governments--and more. Defending the principles of art as the legacy of all humankind and museums as instruments of inquiry and tolerance, Whose Culture? brings reasoned argument to an issue that for too long has been distorted by politics and emotionalism. In addition to the editor, the contributors are Kwame Anthony Appiah, Sir John Boardman, Michael F. Brown, Derek Gillman, Neil MacGregor, John Henry Merryman, Philippe de Montebello, David I. Owen, and James C. Y. Watt.

These brightly illustrated, lift the flap board books are an active and interactive way of sharing stories about our favorite animals

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.11

Whose Song / Accordian Music 20th C Stefan Hussong - CD 4003913121844

The book is the story of the life of the renowned healer, Gene Egidio. The story tells how he was reawakened to his powers by mere chance later in his life after his parents had forced Gene to forget his gift out of fear. It gives accounts of his ability

Whose Holy Land?: The Roots of the Conflict Between Jews and Arabs 0.76

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.77

Contains extensive notes, select bibliography, and index. Illustrated with black & white photographs and other reproductions.

From the very beginning of the nineteenth century, many elements of Spanish culture carried an air of 'exoticism' for the French-and nothing played more important of a role in shaping the French idea of Spain than the country's musical tradition. However, as Samuel Llano argues in Whose Spain?, perceptions and representations of Spanish musical identities changed in the early twentieth century, due to the emergence of the hispanistes. These specialists on Spanish music and culture, who wrote encyclopedic and 'scientific' articles on 'Spanish music,' strived to endow the world of Spanish music with a sense of authority and knowledge. Yet, the writings of those hispanistes and other music critics showed a highly sensationalist attitude, aimed at describing 'Spanish music' in a way that was instrumental to the interests of French musicians. At the same time, the Spanish fought to articulate their own identities through the creation and performance of new musical works.In this book, Llano analyzes the socio-political discourses underpinning critical and musicological descriptions of 'Spanish music' and the discourse's connection with French politics and culture. He also studies operas and other musical works for the stage as privileged sites for the production of Spanish musical identities, given the enhanced possibilities of performance for cultural and critical engagement. The study covers the period 1908 to 1929, when representations of 'Spanish music' in the writings of the hispaniste Henri Collet and other French musicians underwent several transformations, mostly sparked by the need to reformulate French identity during and after the First World War. Ultimately, Llano demonstrates that definitions of 'French' and 'Spanish' music were to some extent interdependent, and that the public performances of these pieces even helped the musical community in France to begein to reformulate their notions of 'Spanish music' and identity.