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Basics in Human Evolution offers a broad view of evolutionary biology and medicine.The book is written for a non-expert audience, providing accessible and convenient content that will appeal to numerous readers across the interdisciplinary field.From evolutionary theory, to cultural evolution, this book fills gaps in the readers' knowledge from.

Examining cybernetic structures from genetic codes to communication networks, Thierry Bardini explores the idea that most of culture and nature, including humans, is composed of useless, but always potentially recyclable, material otherwise known as ‘junk.’ Junkware examines the cultural history that led to the encoding and decoding of life itself and the contemporary turning of these codes into a commodity.

Every man is enemy to every man.Thomas Hobbes Leviathan (1651/2004, p. 77)Adios losers.Jorge in Jens Lapidus's Easy Money (Snabba cash, 2006/2008, p. 467)Young punks go from rags to riches, enjoy a brief time in the sun before their downfall in a hail storm of bullets. So goes the classical dark tale of gangsters such as Rico in Little Caesar (novel 1929, film 1931). The American motion picture code's specification that there should be no sympathy for the criminals suggested that there was a dangerous aspect in the attraction to these films (Black 1994: 108). It could very well be that the Motion Picture Producers and Distributors of America (MPPDA) president Will H. Hayes was averse from seeing the harsh social realities of the 1930s Depression depicted on the screen, including a corrupt legal system, but a danger of the gangster film was also its disturbing allegory on the daring entrepreneur that capitalism held up as a social ideal.In essence, the gangster story is a warped Horatio Alger tale. Carl Freedman notes in his book Versions of Hollywood Crime Cinema (2013: 15–45) that it connects to the mystery of the origins of capitalism in what Karl Marx called ‘primitive accumulation’, the consciously repressed history about how common lands and natural resources were privatised and how companies, backed up by national armed forces, plundered non-European continents of their riches. The greedy and ruthless gangster's rise to social success is but a small-scale reflection of the genocides and the violent redistribution of wealth that gave birth to modern-day capitalism.Gangsterism is also the ultimate expression of what the German sociologist Ferdinand Tonnies called Gesellschaft. While his other key concept Gemeinschaft describes the ‘natural’ personal relations and values often found in rural communities, Gesellschaft stands for the ‘constructed’ impersonal relations through business and formal interaction that characterise life in the urban capitalist era (Asplund 1991: 63–90). As national identity became a central issue in twentieth-century Europe – Fascism being the most extreme ideological project – gangsters and other social, legal and moral transgressors were often defined in popular culture as an alien intrusion of an otherwise idyllic Gemeinschaft.

Generational issues were nothing new to the Western in the late 1950s. In fact, the post-World War II Western appeared to thrive on questions of generational difference. Howard Hawks's Red River (1948), presented the aging Thomas Dunson (John Wayne) as violent, tyrannical, and irrational, while his adopted son Matthew Garth (Montgomery Clift, one of the first Method actors to make the transition to Hollywood) demonstrated a measured and logical approach to leadership. Other major postwar Westerns frequently sided with youthful alternatives when presented with generational conflict. In John Ford's The Searchers (1956), Ethan Edwards (John Wayne) stands in for an aging and broken masculinity shot through with racism while Martin Pawley (Jeffrey Hunter)—in Edwards's mind a “half-breed”—embodies a younger and more sympathetic brand of multiracial masculinity. In many of Anthony Mann's 1950s Westerns, the conflicts are more familial, with strong Freudian overtones. Featuring brothers fighting brothers, in Winchester –73 (1950), and twisted relationships between both biological and adoptive parents and children—The Furies (1950), The Man from Laramie (1955), and Man of the West (1958)—Mann's films present a postwar world where parents such as Dock Tobin (of Man of the West) are the primary corrupting forces in the social and political landscape.The prevalence of heroic youngsters and broken, if not monstrous, father figures in these Westerns is curious in light of common assumptions about the genre's conservatism. It is doubly interesting in a period during which the Western redoubled its efforts to appeal to an adult audience that had followed the genre as children in 1930s B pictures. These heroic Western youths also stand out in light of the growth of films in the 1950s dealing with juvenile delinquency. After the release of Laslo Benedek's The Wild One (1953), starring celebrated young stage actor Marlon Brando, fresh from a successful film adaptation of Tennessee Williams's A Streetcar Named Desire (Elia Kazan, 1951), Hollywood studios began to capitalize on larger cultural fears of generational conflict, from the biker gangs of Benedek's film to the high school gangs in Richard Brooks's Blackboard Jungle (1955) and the confused and anxious characters of Nicholas Ray's Rebel Without a Cause (1955). Featuring troubled and inexplicable teenagers, these films presented the younger generation posing dangerous threats to existing social order.

The amazing level of interaction that a comic book has with its reader is what has had me hooked on to comic books right from the time I was a kid. Till today I feel the same excitement when I pick up a Maus by Art Speigelman or The Dark Knight Returns by Frank Miller. What has interested me over the years is how the narrative and the artwork have changed with the changing times. It is this medium, which has been primarily looked upon as an entertainment source, which has captured my imagination since as long as I can remember.My childhood fascination with comics which has continued till today has led me to further explore the nuances of this medium. This dissertation is an attempt to assess how socio-cultural aspects of America and India have impacted two of the most famous superheroes ever in the respective countries. An attempt was also made to understand how the portrayal of women in these comics changed over time. Furthermore, this will attempt to evaluate the use of comics as a medium for education and communication.My secondary research was directed at examining the above to as great an extent as possible. Along with this, it was imperative to research and analyse the opinions of different people on the role which comics have played in society and their impact on society. The research analysis threw up interesting facts on how comics have been put to different uses around the world and how they have been viewed in India over the years.

A B-movie released in the fall of 1958 illustrates just how far brainwashing had come by the end of the decade. Directed by Jacques Tournier and starring Dana Andrews as Alan Eaton, a former POW in North Korea,The Fearmakersopens with a scene that evokes many of the Korean War POW films that had come before it. As the title sequence rolls and ominous music plays in the background, a haggard-looking Eaton is repeatedly struck across the face by his Communist captors, shoved into a prison cell, and finally released at a United Nations compound with other prisoners. In

In the spring of 1946 theNew York Amsterdam Newsran a series of articles examining the nature of mental health services for African Americans in New York City. Its findings were damning. The articles highlighted discrimination against blacks at the hospital and outpatient clinic of the state-funded Psychiatric Institute, at the Mental Hygiene Clinic at Bellevue Hospital, and in the treatment of chronic alcoholics at city facilities. The final article in the series lambasted the disproportionate placement of black children in “retarded classes” by the Bureau of Children of Retarded Mental Development.¹ The April 27 lead editorial announced the

Is there a language still to be made, a language that will link the children of Holocaust victims and those of the perpetrators? This is the question around which a number of recent works by Israeli and German filmmakers turn. Circling around such a delicate question, the films tend to move indirectly about it, touching lightly and obliquely upon it. Yet, the films seem also to spiral ineluctably toward this question, addressing it only at their very limits in their clumsily tacked-on endings and patently forced moments of resolution. Such moments of closure no doubt concede in their strained, contrived