Titlebook: Methodological Imaginations; E. Stina Lyon,Joan Busfield Book 1996 Palgrave Macmillan, a division of Macmillan Publishers Limited 1996 com

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Geoff Cooper,Steve Woolgarther areas such as statistics, engineering, and economics. Written by one of the leading scholars in the field, it elegantly explores the core concepts in real analysis and introduces new, accessible methods for both students and instructors..The first half of the book develops both Lebesgue measure

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Paul Connollyoundation for future coursework and research in applied mathematics.  Written in a clear and concise style, it covers all of the necessary subjects as well as those often absent from standard introductory texts.  Each chapter features a “Problems and Complements” section that includes additional mat

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Surrealism, Mass-Observation and Researching Imagination,-mological directions, for . is defined in the Oxford English Dictionary as the close study of material phenomena and . as a mental representation of something that is not physically present. . implies even more diversity. However, leaving aside the vast philosophical literature that comments on the

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,Researching Moving Targets: Using Diaries to Explore Supply Teachers’ Lives,h horizons. First, we may choose themes, issues, phenomena, or groups which have previously been disregarded, perhaps because they appeared unworthy of attention, apparently peripheral to mainstream concerns. In articulating such themes we make visible what was invisible, and allow the reader to jud

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,Every Picture ‘Tells a Story’: Uses of the Visual in Sociological Research,a sources which have, for too long, been on the margins of research practice in the discipline. The cause of the life history method was taken up by Ken Plummer (1983) in the early 1980s, and we are now witnessing the growth of a range of auto/biographical approaches. It now seems timely to consider

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Visual Imagery and the Iconography of the Social World: Some Considerations of History, Art and Proous Hour’ (Pryce 1989), was concerned, at least as a starting point, with images of death in the nineteenth century (see Plate 1). As such it provided the challenge of selecting visual material from a huge array of sources, genres and locations. The interrogation of pictures yielded a great richness

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