The arts: general topics Books

Book SynopsisArtists have always had a role in imagining a more socially just, inclusive world many have devoted their lives to realizing this possibility. In a culture ever more embedded in performance and the visual, an examination of the role of the arts in multicultural teaching for social justice is timely. This book examines and critiques approaches to using activist art to teach a multicultural curriculum. Examples of activist artists and their strategies illustrate how study of and engagement in this process connect local and global issues that can deepen critical literacy and a commitment to social justice. This book is relevant to those interested in teaching more about artist/activist social movements around the globe; preparing pre-service teachers to teach for social justice; concerned about learning how to engage diverse learners through the arts; and teaching courses related to arts-based multicultural education, critical literacy, and culturally relevant teaching.Table of ContentsContents: Barbara Beyerbach: Introduction – Barbara Beyerbach: Social Justice Education Through the Arts – Tania Ramalho/Leah Russell: Learningabout the Farmworkers and the Landless Rural Workers Movements Through the Arts – Leah Russell: Art and Change in the AfroReggae Cultural Group – Jacquelyn S. Kibbey: Media Literacy and Social Justice in a Visual World – Mary Harrell: Enlivening the Curriculum Through Imagination – Dennis Parsons: Photography and Social Justice: Preservice Teachers and the Ocularized, Urban Other – Jane Winslow: Creating Student Activists Through Community Participatory Documentaries – Jennifer Kagan/Chris Capella: Art Class at the Onondaga Nation School: A Practice of the Good Mind – Lisa Roberts Seppi: Indigenous Activism: Art, Identity, and the Politics of the Quincentenary – Carrie Nordlund/Peg Speirs/Marilyn Stewart/Judy Chicago: Activist Art and Pedagogy: The Dinner Party Curriculum Project – Lisa Langlois: Acting Up In and Out of Class: Student Social Justice Activism in the Tertiary General Education, Fine Arts, and Performing Arts Curriculum – Patricia E. Clark/Ulises A. Mejias/Peter Cavana/Daniel Herson/Sharon M. Strong: Interactive Social Media and the Art of Telling Stories: Strategies for Social Justice Through Osw3go.net 2010: Racism on Campus – Barbara Stout: In the Grey: Finding Beauty Without Labels – Suzanne Bellamy: The Art of Growing Food – Barbara Beyerbach/Tania Ramalho: Activist Art in Social Justice Pedagogy.

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Book SynopsisArtists have always had a role in imagining a more socially just, inclusive world many have devoted their lives to realizing this possibility. In a culture ever more embedded in performance and the visual, an examination of the role of the arts in multicultural teaching for social justice is timely. This book examines and critiques approaches to using activist art to teach a multicultural curriculum. Examples of activist artists and their strategies illustrate how study of and engagement in this process connect local and global issues that can deepen critical literacy and a commitment to social justice. This book is relevant to those interested in teaching more about artist/activist social movements around the globe; preparing pre-service teachers to teach for social justice; concerned about learning how to engage diverse learners through the arts; and teaching courses related to arts-based multicultural education, critical literacy, and culturally relevant teaching.Table of ContentsContents: Barbara Beyerbach: Introduction – Barbara Beyerbach: Social Justice Education Through the Arts – Tania Ramalho/Leah Russell: Learningabout the Farmworkers and the Landless Rural Workers Movements Through the Arts – Leah Russell: Art and Change in the AfroReggae Cultural Group – Jacquelyn S. Kibbey: Media Literacy and Social Justice in a Visual World – Mary Harrell: Enlivening the Curriculum Through Imagination – Dennis Parsons: Photography and Social Justice: Preservice Teachers and the Ocularized, Urban Other – Jane Winslow: Creating Student Activists Through Community Participatory Documentaries – Jennifer Kagan/Chris Capella: Art Class at the Onondaga Nation School: A Practice of the Good Mind – Lisa Roberts Seppi: Indigenous Activism: Art, Identity, and the Politics of the Quincentenary – Carrie Nordlund/Peg Speirs/Marilyn Stewart/Judy Chicago: Activist Art and Pedagogy: The Dinner Party Curriculum Project – Lisa Langlois: Acting Up In and Out of Class: Student Social Justice Activism in the Tertiary General Education, Fine Arts, and Performing Arts Curriculum – Patricia E. Clark/Ulises A. Mejias/Peter Cavana/Daniel Herson/Sharon M. Strong: Interactive Social Media and the Art of Telling Stories: Strategies for Social Justice Through Osw3go.net 2010: Racism on Campus – Barbara Stout: In the Grey: Finding Beauty Without Labels – Suzanne Bellamy: The Art of Growing Food – Barbara Beyerbach/Tania Ramalho: Activist Art in Social Justice Pedagogy.

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Book SynopsisTechnological changes have radically altered the ways in which people use visual images. Since the invention of photography, imagery has increasingly been used for entertainment, journalism, information, medical diagnostics, instruction, and communication. These functions move the image beyond aesthetic issues associated with art and into the realm of communication studies. This introductory textbook introduces students to the terminology of visual literacy, methods for analyzing visual media, and theories on the relationship between visual communication and culture. Exploring the meanings associated with visual symbols and the relationship of visual communication to culture, this book will provide students with a better understanding of the visually oriented world in which they live. Student-friendly features such as boxed topics, key terms, web resources, and suggestions for exercises are provided throughout.Trade Review«This book is a joy to read. The credible and extensive body of critical thought it addresses immediately makes clear how visual communication is a topic relevant to virtually everybody. This book makes for an excellent introduction to visual communication approaches, providing analytical, historical, semiotic, and other rich approaches to understanding visual texts. The wide range of examples are cogent, imparting appreciation of and insight into ways in which visual worlds shape human experiences. With a philosophical approach that is both historically and pedagogically sound, this important work provides a clear set of principles and a language for us to speak about visual communication.» (Mark Lipton, Associate Professor in the College of Arts, University of Guelph; Director of the Media Education Project) «Few undergraduate texts look at the visual design of information and most do not embrace an applied approach where students learn specific cognitive theories and then apply them in the construction of visual messages. Susan B. Barnes’s extensive background and profound knowledge of art and design is coupled with her up-to-date grasp on visual literacy in the digital age, making this text distinctly different from other introductions to visual communication. Her writing style and content organization is highly accessible to the undergraduate student. Meticulously researched, this text is comprehensive enough for programs that have only one visual course and, at the same time, rich enough to be shared over two related courses.» (Roxanne O’Connell, Associate Professor and Chair of the Department of Communication and Graphic Design, Roger Williams University)«This book is a joy to read. The credible and extensive body of critical thought it addresses immediately makes clear how visual communication is a topic relevant to virtually everybody. This book makes for an excellent introduction to visual communication approaches, providing analytical, historical, semiotic, and other rich approaches to understanding visual texts. The wide range of examples are cogent, imparting appreciation of and insight into ways in which visual worlds shape human experiences. With a philosophical approach that is both historically and pedagogically sound, this important work provides a clear set of principles and a language for us to speak about visual communication.» (Mark Lipton, Associate Professor in the College of Arts, University of Guelph; Director of the Media Education Project) «Few undergraduate texts look at the visual design of information and most do not embrace an applied approach where students learn specific cognitive theories and then apply them in the construction of visual messages. Susan B. Barnes’s extensive background and profound knowledge of art and design is coupled with her up-to-date grasp on visual literacy in the digital age, making this text distinctly different from other introductions to visual communication. Her writing style and content organization is highly accessible to the undergraduate student. Meticulously researched, this text is comprehensive enough for programs that have only one visual course and, at the same time, rich enough to be shared over two related courses.» (Roxanne O’Connell, Associate Professor and Chair of the Department of Communication and Graphic Design, Roger Williams University)

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Book SynopsisFollowing the premise that race and the process of racialization is performative, this book is a critical examination of the performative sustainability of race, particularly blackness, through commentaries on White Studies, art depictions of African American culture in the rural south, educational and pedagogical contexts, dramatic and film representation, and the intersections of race and gender performance. The book examines issues impacting the sustainability of race and race relations through multiple methodological and critical perspectives most notably framed through performance (performance studies) and autoethnography.Trade Review«‘The Performative Sustainability of Race’ represents a watershed moment in race and performance studies [...] Alexander never lets the reader (or himself) off the hook, always reminding us of the hermeneutical trap that race poses. Rather than leave us in a place of paralysis, however, this book suggests that it is the process of performance itself where the possibility of transformation and hope lie.» (E. Patrick Johnson, Carlos Montezuma Professor, Department of Performance Studies and African American Studies, Northwestern University; Author of ‘Appropriating Blackness: Performance and the Politics of Authenticity’) «In this brilliant, boldly confrontative, and paradigm-shifting book Bryant Keith Alexander treats us to a very personal, exhilarating, and yet fiercely intellectual examination of the complexities of power, performance, and the politics of racial identity […]. You will want to read this book again and again.» (Ronald L. Jackson II, Dean, McMicken College of Arts & Sciences, Professor, Department of Communication, University of Cincinnati; Author of ‘Communicating Marginalized Masculinities’ and editor of ‘Critical Studies in Media Communication’) «This is a critical autoethnography at its best, a persuasive demonstration in concrete personal detail and astute textual and critical analysis of how we all are held down and held back by the structures and strains of race relations and racism.» (Carolyn Ellis, Professor of communication, University of South Florida; Author of ‘Revision: Autoethnographic Reflections on Life and Word’)«‘The Performative Sustainability of Race’ represents a watershed moment in race and performance studies [...] Alexander never lets the reader (or himself) off the hook, always reminding us of the hermeneutical trap that race poses. Rather than leave us in a place of paralysis, however, this book suggests that it is the process of performance itself where the possibility of transformation and hope lie.» (E. Patrick Johnson, Carlos Montezuma Professor, Department of Performance Studies and African American Studies, Northwestern University; Author of ‘Appropriating Blackness: Performance and the Politics of Authenticity’) «In this brilliant, boldly confrontative, and paradigm-shifting book Bryant Keith Alexander treats us to a very personal, exhilarating, and yet fiercely intellectual examination of the complexities of power, performance, and the politics of racial identity […]. You will want to read this book again and again.» (Ronald L. Jackson II, Dean, McMicken College of Arts & Sciences, Professor, Department of Communication, University of Cincinnati; Author of ‘Communicating Marginalized Masculinities’ and editor of ‘Critical Studies in Media Communication’) «This is a critical autoethnography at its best, a persuasive demonstration in concrete personal detail and astute textual and critical analysis of how we all are held down and held back by the structures and strains of race relations and racism.» (Carolyn Ellis, Professor of communication, University of South Florida; Author of ‘Revision: Autoethnographic Reflections on Life and Word’)

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Book SynopsisPortable phones are now miniature multi-media centers that can fit neatly in one's pocket, and media industries of all types are adapting content for these new platforms, or innovating entirely new forms. In the light of this explosive growth, this diverse collection of essays establishes conceptual, critical frameworks for evaluating the latest transformations of the media landscape. Some essays provide historical context, exploring older phenomena such as the CB radio, automobile radio, and hand-held video games, while others unpack the behind-the-scenes negotiations that determine what kinds of services are available to consumers of the latest technology. The Mobile Media Reader is a comprehensive road map, enabling both scholars and students to examine the social, cultural, and commercial implications of media that are available anywhere at any time.Trade Review«In ‘The Mobile Media Reader’, Noah Arceneaux and Anandam Kavoori bring together a fine collection of essays on the history, design, and affordances of mobile communication. In particular, the historical material adds a needed dimension to the study of this rapidly growing phenomenon.» (Rich Ling, IT University of Copenhagen, Denmark) «An up-to-date, insightful anthology about the devices we carry in our pockets, which connect us not only to each other but to the burgeoning cosmos of information which is the Web. If you’d like this ongoing revolution placed in historical context and pitched into our future, pick up this book.» (Paul Levinson, Fordham University; Author of ‘Cellphone: The Story of the World’s Most Mobile Medium and New New Media’)«In ‘The Mobile Media Reader’, Noah Arceneaux and Anandam Kavoori bring together a fine collection of essays on the history, design, and affordances of mobile communication. In particular, the historical material adds a needed dimension to the study of this rapidly growing phenomenon.» (Rich Ling, IT University of Copenhagen, Denmark) «An up-to-date, insightful anthology about the devices we carry in our pockets, which connect us not only to each other but to the burgeoning cosmos of information which is the Web. If you’d like this ongoing revolution placed in historical context and pitched into our future, pick up this book.» (Paul Levinson, Fordham University; Author of ‘Cellphone: The Story of the World’s Most Mobile Medium and New New Media’)Table of ContentsContents: Noah Arceneaux/Anandam Kavoori: Introduction: Mapping Mobile Media – Jason Farman: Historicizing Mobile Media: Locating the Transformations of Embodied Space – Scott W. Ruston: Calling Ahead: Cinematic Imaginations of Mobile Media’s Critical Affordances – Matthew A. Killmeier: Analog Analogue: U.S. Automotive Radio as Mobile Medium – Noah Arceneaux: CB Radio: Mobile Social Networking in the 1970s – Thomas W. Hazlett: A Brief History of U.S. Mobile Spectrum – Aymar Jean Christian: Not TV, Not the Web: Mobile Video Between Openness and Control – Gerard Goggin/Caroline Hamilton: Reading After the Phone: E-readers and Mobile Media – Collette Snowden: As It Happens: Mobile Communications Technology, Journalists and Breaking News – Samuel Tobin: Time and Space in Play: Saving and Pausing with the Nintendo DS – Ben Aslinger: You Can Ring My Bell and Tap My Phone: Mobile Music, the Ringtone Economy, and the Rise of Apps – Burçe Çelik: Appropriation of Cell Phones by Kurds: The Social Practice of Struggle for Political Identities in Turkey – Imar de Vries: Through the Looking Cell Phone Screen: Dreams of Omniscience in an Age of Mobile Augmented Reality.

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Book SynopsisPortable phones are now miniature multi-media centers that can fit neatly in one's pocket, and media industries of all types are adapting content for these new platforms, or innovating entirely new forms. In the light of this explosive growth, this diverse collection of essays establishes conceptual, critical frameworks for evaluating the latest transformations of the media landscape. Some essays provide historical context, exploring older phenomena such as the CB radio, automobile radio, and hand-held video games, while others unpack the behind-the-scenes negotiations that determine what kinds of services are available to consumers of the latest technology. The Mobile Media Reader is a comprehensive road map, enabling both scholars and students to examine the social, cultural, and commercial implications of media that are available anywhere at any time.Trade Review«In ‘The Mobile Media Reader’, Noah Arceneaux and Anandam Kavoori bring together a fine collection of essays on the history, design, and affordances of mobile communication. In particular, the historical material adds a needed dimension to the study of this rapidly growing phenomenon.» (Rich Ling, IT University of Copenhagen, Denmark) «An up-to-date, insightful anthology about the devices we carry in our pockets, which connect us not only to each other but to the burgeoning cosmos of information which is the Web. If you’d like this ongoing revolution placed in historical context and pitched into our future, pick up this book.» (Paul Levinson, Fordham University; Author of ‘Cellphone: The Story of the World’s Most Mobile Medium and New New Media’)«In ‘The Mobile Media Reader’, Noah Arceneaux and Anandam Kavoori bring together a fine collection of essays on the history, design, and affordances of mobile communication. In particular, the historical material adds a needed dimension to the study of this rapidly growing phenomenon.» (Rich Ling, IT University of Copenhagen, Denmark) «An up-to-date, insightful anthology about the devices we carry in our pockets, which connect us not only to each other but to the burgeoning cosmos of information which is the Web. If you’d like this ongoing revolution placed in historical context and pitched into our future, pick up this book.» (Paul Levinson, Fordham University; Author of ‘Cellphone: The Story of the World’s Most Mobile Medium and New New Media’)Table of ContentsContents: Noah Arceneaux/Anandam Kavoori: Introduction: Mapping Mobile Media – Jason Farman: Historicizing Mobile Media: Locating the Transformations of Embodied Space – Scott W. Ruston: Calling Ahead: Cinematic Imaginations of Mobile Media’s Critical Affordances – Matthew A. Killmeier: Analog Analogue: U.S. Automotive Radio as Mobile Medium – Noah Arceneaux: CB Radio: Mobile Social Networking in the 1970s – Thomas W. Hazlett: A Brief History of U.S. Mobile Spectrum – Aymar Jean Christian: Not TV, Not the Web: Mobile Video Between Openness and Control – Gerard Goggin/Caroline Hamilton: Reading After the Phone: E-readers and Mobile Media – Collette Snowden: As It Happens: Mobile Communications Technology, Journalists and Breaking News – Samuel Tobin: Time and Space in Play: Saving and Pausing with the Nintendo DS – Ben Aslinger: You Can Ring My Bell and Tap My Phone: Mobile Music, the Ringtone Economy, and the Rise of Apps – Burçe Çelik: Appropriation of Cell Phones by Kurds: The Social Practice of Struggle for Political Identities in Turkey – Imar de Vries: Through the Looking Cell Phone Screen: Dreams of Omniscience in an Age of Mobile Augmented Reality.

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Book SynopsisNarrating the Portuguese Diaspora presents a variety of perspectives on the Portuguese diaspora, from literature to identity discourse to biography and autobiography. The book is divided into three parts: reading literary identities within and without borders; constructing/constructed extra-literary identities at home and abroad; and literary ethnic voices from the North American diaspora and beyond. The 22 texts presented in this volume highlight the diasporic themes and backgrounds upon which the scope of the scholarly texts as well as the personal contributions of short stories, poetry, interviews, and autobiographical memory can be interwoven in a narrative identity construction.Table of ContentsContents: Christopher Damien Auretta: António Gedeão and Jorge de Sena: Myth, Tradition, and the Poetics of Diaspora – Francisco Cota Fagundes: Stories of Forgotten «Gees»: William S. Birge’s Senhor Antone: A Tale of the Portuguese Colony – Frank F. Sousa: Alfred Lewis and the American Dream – Reinaldo Silva: Her Story vs. His Story: Narrating the Portuguese Diaspora in the United States of America – Albert Braz: Anthony De Sa and the Paradoxes of Immigration – David Brookshaw: Diasporas of Diasporas: Brian Castro’s Shanghai Dancing – Teresa F. A. Alves: A Poetics of Disquietude for Gaspar’s Tales of the Soul – Memory Holloway: Home Away from Home: Visual Narratives of the Portugues Court in Brazil – Carolin Overhoff Ferreira: Brothers or Strangers - The Construction of Identity Discourses in Contemporary Luso-Brazilian Co-productions with Portuguese Migrating Characters – Orquídea Moreira Ribeiro: Representations of Portuguese-speaking Immigrants in the United States: The Federal Writers’ Project and the Farmer Security Administration - Office of War Information Collection – Pamila Gupta: «Going for a Sunday Drive»: Angolan Decolonization, Learning Whiteness and the Portuguese Diaspora of South Africa – João Sardinha: «Neither Here nor There?» Conceptions of «Home,» Identity Constructions and the Transnational Lives of Second Generation Luso-Canadians and Luso-French in Portugal – M. Glória de Sá: The Portuguese of the United States and Self-employment: Ethnic and Class Resources or Opportunity Structure? – David J. Silva: Language, Networks, and Identity in the Azorean Diaspora: One Family’s Sociolinguistic Profile – George Monteiro: Portingale to Portugee - The Genesis and History of the Ethnic Slur – Francisco Cota Fagundes: «I Write Nonfiction Fiction»: An Interview with Charles Reis Felix – Alexandre Quintanilha: Crossing diasporas – Julian Silva: A Portuguese Heritage and Twice a Cousin: A Family Portrait – Anthony De Sa: Personal Reflection: The Need to Look Back – Frank X. Gaspar: Poems – Ana Cristina Alves: A Meditation on Diaspora.

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Book SynopsisVideo journalism, the process by which one person shoots, writes, and edits video for broadcast or the web, is a form of newsgathering taking hold in newsrooms of all kinds, by professionals and would-be citizen journalists around the world. Some proponents have celebrated it as an improved narrative form, one that uses more intimate, emotional documentary filmmaking techniques than conventional television. Its detractors consider it simply a cheaper way to make news. Video Journalism: Beyond the One-Man Band weighs in on the controversy while addressing two overall concerns: What is video journalism, exactly? And how do the stories created by video journalists compare with other forms of news? This book presents more than two years of ethnographic research in a wide variety of contexts in the United States and the United Kingdom, including local newspapers, The New York Times, local television stations, the BBC, the Voice of America radio network, and several profesTrade Review«Video Journalism is a rare investigation at this point in time, demonstrating the kind of breadth and flexibility the field itself now demands. If you were setting out to produce a comprehensive understanding of this discipline, your storyboard would necessarily interweave the technical, practical, commercial, historical, ethical, vocational as well as the aesthetic. Mary Angela Bock has got the script down, providing a view of visual journalism as a fixed snapshot. More artfully and accurately, however, she also renders the workings of a discipline in an almost permanent state of flux.» (Michael Shaw, Publisher of ‘BagNewsNotes.com’)«Video Journalism is a rare investigation at this point in time, demonstrating the kind of breadth and flexibility the field itself now demands. If you were setting out to produce a comprehensive understanding of this discipline, your storyboard would necessarily interweave the technical, practical, commercial, historical, ethical, vocational as well as the aesthetic. Mary Angela Bock has got the script down, providing a view of visual journalism as a fixed snapshot. More artfully and accurately, however, she also renders the workings of a discipline in an almost permanent state of flux.» (Michael Shaw, Publisher of‘BagNewsNotes.com’)

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Book SynopsisVideo journalism, the process by which one person shoots, writes, and edits video for broadcast or the web, is a form of newsgathering taking hold in newsrooms of all kinds, by professionals and would-be citizen journalists around the world. Some proponents have celebrated it as an improved narrative form, one that uses more intimate, emotional documentary filmmaking techniques than conventional television. Its detractors consider it simply a cheaper way to make news. Video Journalism: Beyond the One-Man Band weighs in on the controversy while addressing two overall concerns: What is video journalism, exactly? And how do the stories created by video journalists compare with other forms of news? This book presents more than two years of ethnographic research in a wide variety of contexts in the United States and the United Kingdom, including local newspapers, The New York Times, local television stations, the BBC, the Voice of America radio network, and several profesTrade Review«Video Journalism is a rare investigation at this point in time, demonstrating the kind of breadth and flexibility the field itself now demands. If you were setting out to produce a comprehensive understanding of this discipline, your storyboard would necessarily interweave the technical, practical, commercial, historical, ethical, vocational as well as the aesthetic. Mary Angela Bock has got the script down, providing a view of visual journalism as a fixed snapshot. More artfully and accurately, however, she also renders the workings of a discipline in an almost permanent state of flux.» (Michael Shaw, Publisher of‘BagNewsNotes.com’)«Video Journalism is a rare investigation at this point in time, demonstrating the kind of breadth and flexibility the field itself now demands. If you were setting out to produce a comprehensive understanding of this discipline, your storyboard would necessarily interweave the technical, practical, commercial, historical, ethical, vocational as well as the aesthetic. Mary Angela Bock has got the script down, providing a view of visual journalism as a fixed snapshot. More artfully and accurately, however, she also renders the workings of a discipline in an almost permanent state of flux.» (Michael Shaw, Publisher of ‘BagNewsNotes.com’)

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Book SynopsisThis book explores the paradox of mediated authenticity the idea that our understanding of society is based on mediated representations of reality. Enli argues that mediated authenticity is established through negotiations between producers and audiences in what is coined the authenticity contract'. Sometimes the contract is broken, leading to authenticity scandals and the need to renegotiate this contract. These moments of truth, some of which are analysed in this book, are important moments in media history. Through case studies, this book examines mediated authenticity in broadcast and online media, from the infamous War of the Worlds broadcast, quiz show scandals, to manufactured reality-TV shows, blog hoaxes and fake social media, and the construction of Obama as an authentic politician. The book demonstrates that authenticity has become an increasingly important factor in the media, and that solving authenticity puzzles' separating the fake from the real has become an iTrade Review«A terrific and timely book that through a historical journey of authenticity in the broadcast and digital ages gives us new ways of thinking about mediated authenticity and reveals the complex relationships we have with what we discover (or perhaps always already knew) to be the illusion of the real.» (Jennifer Stromer-Galley, Syracuse University) «Enli offers an important new way to think about the history of reality as presented by the media. The book demonstrates how the media secure public faith, as well as why people’s faith in the media breaks down over time.» (Lynn Spigel, Northwestern University) «A fascinating study of the ambiguity at the heart of all mediated communication. Real or not? True or not? Authentic… or not? In ‘Mediated Authenticity’ Gunn Enli deftly examines how radio, television and social media construct reality and how global audiences respond to them. An invaluable contribution to current international research into reality TV and beyond.» (Paddy Scannell, University of Michigan)«A terrific and timely book that through a historical journey of authenticity in the broadcast and digital ages gives us new ways of thinking about mediated authenticity and reveals the complex relationships we have with what we discover (or perhaps always already knew) to be the illusion of the real.» (Jennifer Stromer-Galley, Syracuse University) «Enli offers an important new way to think about the history of reality as presented by the media. The book demonstrates how the media secure public faith, as well as why people’s faith in the media breaks down over time.» (Lynn Spigel, Northwestern University) «A fascinating study of the ambiguity at the heart of all mediated communication. Real or not? True or not? Authentic… or not? In ‘Mediated Authenticity’ Gunn Enli deftly examines how radio, television and social media construct reality and how global audiences respond to them. An invaluable contribution to current international research into reality TV and beyond.» (Paddy Scannell, University of Michigan)

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Book SynopsisThis book explores the paradox of mediated authenticity the idea that our understanding of society is based on mediated representations of reality. Enli argues that mediated authenticity is established through negotiations between producers and audiences in what is coined the authenticity contract'. Sometimes the contract is broken, leading to authenticity scandals and the need to renegotiate this contract. These moments of truth, some of which are analysed in this book, are important moments in media history. Through case studies, this book examines mediated authenticity in broadcast and online media, from the infamous War of the Worlds broadcast, quiz show scandals, to manufactured reality-TV shows, blog hoaxes and fake social media, and the construction of Obama as an authentic politician. The book demonstrates that authenticity has become an increasingly important factor in the media, and that solving authenticity puzzles' separating the fake from the real has become an iTrade Review«A terrific and timely book that through a historical journey of authenticity in the broadcast and digital ages gives us new ways of thinking about mediated authenticity and reveals the complex relationships we have with what we discover (or perhaps always already knew) to be the illusion of the real.» (Jennifer Stromer-Galley, Syracuse University) «Enli offers an important new way to think about the history of reality as presented by the media. The book demonstrates how the media secure public faith, as well as why people’s faith in the media breaks down over time.» (Lynn Spigel, Northwestern University) «A fascinating study of the ambiguity at the heart of all mediated communication. Real or not? True or not? Authentic… or not? In ‘Mediated Authenticity’ Gunn Enli deftly examines how radio, television and social media construct reality and how global audiences respond to them. An invaluable contribution to current international research into reality TV and beyond.» (Paddy Scannell, University of Michigan)«A terrific and timely book that through a historical journey of authenticity in the broadcast and digital ages gives us new ways of thinking about mediated authenticity and reveals the complex relationships we have with what we discover (or perhaps always already knew) to be the illusion of the real.» (Jennifer Stromer-Galley, Syracuse University) «Enli offers an important new way to think about the history of reality as presented by the media. The book demonstrates how the media secure public faith, as well as why people’s faith in the media breaks down over time.» (Lynn Spigel, Northwestern University) «A fascinating study of the ambiguity at the heart of all mediated communication. Real or not? True or not? Authentic… or not? In ‘Mediated Authenticity’ Gunn Enli deftly examines how radio, television and social media construct reality and how global audiences respond to them. An invaluable contribution to current international research into reality TV and beyond.» (Paddy Scannell, University of Michigan)

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Book SynopsisIl s'agit dans cette reflexion de comprendre et de saisir les enjeux que suscite la pratique de l'humour et de l'ironie dans des situations dramatiques, deplorables voire tragiques qu'est le contexte de l'Afrique: rire pour (se) corriger, contester, sans pour autant etre agressif? Denoncer sans en avoir l'air? Est-ce une nouvelle esthetique? A travers l'analyse des oeuvres qui vont des annees 1958 a nos jours, a savoir celles de Mongo Beti, Ferdinand Oyono, et plus contemporaines comme celles de A. Mabanckou..., ce livre demontre comment le rire, a travers toutes les differentes formes qu'il peut prendre, a savoir la derision, la parodie, le sarcasme, le grotesque par le biais de l'humour et de l'ironie qui sont les manifestations apparentes, est un outil a la fois de la contestation, de dedramatisation des situations tragiques, mais aussi une esthetique d'ecriture en soi dans la representation du reel, du serieux, que ce soit au niveau social, politique ou de l'ecriture elle-meme qui

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Book SynopsisA Theater Criticism/Arts Journalism Primer: Refereeing the Muses examines the skill set associated with being a critic and arts journalist. It explores the history, evolution, and future of the profession in the United States, and carefully and purposefully dissects the preparation, observation, and writing process associated with generating thoughtful and interesting arts criticism. Using theatrical productions as the best and most vivid example of a storytelling enterprise that employs creativity, imagination, collaboration, aesthetics, and artisanship to effectively engage an audience, this book is intended to generate the critical thinking and critical writing skills necessary to effectively engage in all forms of arts journalism. It is designed to be used as a college-level textbook on theater criticism and arts journalism courses, for those looking to become more thoughtful, critical consumers, for casual critics thinking about starting a blog or working for their Trade Review«Bob Abelman and Cheryl Kushner’s accessible and information-rich primer is useful to beginners eager to develop their critical voices. It’s also worthwhile to those of us who have been practicing criticism for years but need to recall the basics: Why we write criticism, how to do it well, and why it matters.matters.» (David Cote, Theater Editor and Chief Drama Critic, Time Out New York) «The authors’ passion and obsession are what make this book invaluable.» (Sasha Anawalt, Director, Arts Journalism Programs, USC Annenberg School for Communication & Journalism) «Refereeing the Muses provides an element-by-element analysis of what goes into constructing an artful, journalistically sound review. The book’s insights into how critics prepare and then react to a work of art are valid and valuable. The authors also acknowledge that the best criticism, like the work it analyzes, requires creativity.» (Christine Dolen, Theater Critic, The Miami Herald) «The art and practice of criticism is undergoing fundamental change. Before we figure out where it’s going we have to understand what it’s been and how it’s been done. ‘Refereeing the Muses’ is a valuable and compelling place from which to start.» (Douglas McLennan, Editor, ArtsJournal.com) «Bob Abelman and Cheryl Kushner have delivered a book of remarkable clarity, a detailed survey and breakdown of critic-craft that’s granular without ever getting grainy. Even if we end up living in that much-feared near-future where ‘Everyone’s a Critic’, ‘Refereeing the Muses’ will be required reading for every drive-by Twitterer and citizen-kvetcher.» (Scott Brown, Theater Critic, New York Magazine) «As one who has been heralded and eviscerated in reviews, I can only hope that both critics and artists take the time to truly digest the insightful information in this book – to more fully understand not only where the ideals of criticism come from, but where critics fit in today’s theatrical ecosystem.» (Eric Coble, Playwright (‘Bright Ideas’, ‘The Velocity of Autumn’))«Bob Abelman and Cheryl Kushner’s accessible and information-rich primer is useful to beginners eager to develop their critical voices. It’s also worthwhile to those of us who have been practicing criticism for years but need to recall the basics: Why we write criticism, how to do it well, and why it matters.» (David Cote, Theater Editor and Chief Drama Critic, Time Out New York) «The authors’ passion and obsession are what make this book invaluable.» (Sasha Anawalt, Director, Arts Journalism Programs, USC Annenberg School for Communication & Journalism) «Refereeing the Muses provides an element-by-element analysis of what goes into constructing an artful, journalistically sound review. The book’s insights into how critics prepare and then react to a work of art are valid and valuable. The authors also acknowledge that the best criticism, like the work it analyzes, requires creativity.» (Christine Dolen, Theater Critic, The Miami Herald) «The art and practice of criticism is undergoing fundamental change. Before we figure out where it’s going we have to understand what it’s been and how it’s been done. ‘Refereeing the Muses’ is a valuable and compelling place from which to start.» (Douglas McLennan, Editor, ArtsJournal.com) «Bob Abelman and Cheryl Kushner have delivered a book of remarkable clarity, a detailed survey and breakdown of critic-craft that’s granular without ever getting grainy. Even if we end up living in that much-feared near-future where ‘Everyone’s a Critic’, ‘Refereeing the Muses’ will be required reading for every drive-by Twitterer and citizen-kvetcher.» (Scott Brown, Theater Critic, New York Magazine) «As one who has been heralded and eviscerated in reviews, I can only hope that both critics and artists take the time to truly digest the insightful information in this book – to more fully understand not only where the ideals of criticism come from, but where critics fit in today’s theatrical ecosystem.» (Eric Coble, Playwright (‘Bright Ideas’, ‘The Velocity of Autumn’))Table of ContentsContents: The Arts at Arm’s Length – Criticizing the Arts, or Not – The Critic – Critical Thinking – The Evolution of Criticism: From Dramatic to Theater – The Evolution of Theater Criticism: The Modern Era – Storytelling Conventions – The Storytell ers – Prelude to a Critique – Writing a Critique – Deconstruction of a Critique.

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Book SynopsisA Theater Criticism/Arts Journalism Primer: Refereeing the Muses examines the skill set associated with being a critic and arts journalist. It explores the history, evolution, and future of the profession in the United States, and carefully and purposefully dissects the preparation, observation, and writing process associated with generating thoughtful and interesting arts criticism. Using theatrical productions as the best and most vivid example of a storytelling enterprise that employs creativity, imagination, collaboration, aesthetics, and artisanship to effectively engage an audience, this book is intended to generate the critical thinking and critical writing skills necessary to effectively engage in all forms of arts journalism. It is designed to be used as a college-level textbook on theater criticism and arts journalism courses, for those looking to become more thoughtful, critical consumers, for casual critics thinking about starting a blog or working for their Trade Review«Bob Abelman and Cheryl Kushner’s accessible and information-rich primer is useful to beginners eager to develop their critical voices. It’s also worthwhile to those of us who have been practicing criticism for years but need to recall the basics: Why we write criticism, how to do it well, and why it matters.» (David Cote, Theater Editor and Chief Drama Critic, Time Out New York) «The authors’ passion and obsession are what make this book invaluable.» (Sasha Anawalt, Director, Arts Journalism Programs, USC Annenberg School for Communication & Journalism) «Refereeing the Muses provides an element-by-element analysis of what goes into constructing an artful, journalistically sound review. The book’s insights into how critics prepare and then react to a work of art are valid and valuable. The authors also acknowledge that the best criticism, like the work it analyzes, requires creativity.» (Christine Dolen, Theater Critic, The Miami Herald) «The art and practice of criticism is undergoing fundamental change. Before we figure out where it’s going we have to understand what it’s been and how it’s been done. ‘Refereeing the Muses’ is a valuable and compelling place from which to start.» (Douglas McLennan, Editor, ArtsJournal.com) «Bob Abelman and Cheryl Kushner have delivered a book of remarkable clarity, a detailed survey and breakdown of critic-craft that’s granular without ever getting grainy. Even if we end up living in that much-feared near-future where ‘Everyone’s a Critic’, ‘Refereeing the Muses’ will be required reading for every drive-by Twitterer and citizen-kvetcher.» (Scott Brown, Theater Critic, New York Magazine) «As one who has been heralded and eviscerated in reviews, I can only hope that both critics and artists take the time to truly digest the insightful information in this book – to more fully understand not only where the ideals of criticism come from, but where critics fit in today’s theatrical ecosystem.» (Eric Coble, Playwright (‘Bright Ideas’, ‘The Velocity of Autumn’))«Bob Abelman and Cheryl Kushner’s accessible and information-rich primer is useful to beginners eager to develop their critical voices. It’s also worthwhile to those of us who have been practicing criticism for years but need to recall the basics: Why we write criticism, how to do it well, and why it matters.matters.» (David Cote, Theater Editor and Chief Drama Critic, Time Out New York) «The authors’ passion and obsession are what make this book invaluable.» (Sasha Anawalt, Director, Arts Journalism Programs, USC Annenberg School for Communication & Journalism) «Refereeing the Muses provides an element-by-element analysis of what goes into constructing an artful, journalistically sound review. The book’s insights into how critics prepare and then react to a work of art are valid and valuable. The authors also acknowledge that the best criticism, like the work it analyzes, requires creativity.» (Christine Dolen, Theater Critic, The Miami Herald) «The art and practice of criticism is undergoing fundamental change. Before we figure out where it’s going we have to understand what it’s been and how it’s been done. ‘Refereeing the Muses’ is a valuable and compelling place from which to start.» (Douglas McLennan, Editor, ArtsJournal.com) «Bob Abelman and Cheryl Kushner have delivered a book of remarkable clarity, a detailed survey and breakdown of critic-craft that’s granular without ever getting grainy. Even if we end up living in that much-feared near-future where ‘Everyone’s a Critic’, ‘Refereeing the Muses’ will be required reading for every drive-by Twitterer and citizen-kvetcher.» (Scott Brown, Theater Critic, New York Magazine) «As one who has been heralded and eviscerated in reviews, I can only hope that both critics and artists take the time to truly digest the insightful information in this book – to more fully understand not only where the ideals of criticism come from, but where critics fit in today’s theatrical ecosystem.» (Eric Coble, Playwright (‘Bright Ideas’, ‘The Velocity of Autumn’))Table of ContentsContents: The Arts at Arm’s Length – Criticizing the Arts, or Not – The Critic – Critical Thinking – The Evolution of Criticism: From Dramatic to Theater – The Evolution of Theater Criticism: The Modern Era – Storytelling Conventions – The Storytell ers – Prelude to a Critique – Writing a Critique – Deconstruction of a Critique.

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Book SynopsisThis Festschrift is dedicated to Edward J. Olszewski and was created by his former PhD students in gratitude and honor of a professor whose innovative and comprehensive research spans the Renaissance and Baroque periods. His research provided much insight to the arts, issues of patronage, conservation, and context. The text includes an array of topics conceived by each author while studying with Olszewski. His intense seminar on Michelangelo was the catalyst for many articles: Jennifer Finkel introduces new ideas regarding the proposed sculptural plan for the façade of San Lorenzo; Dena M. Woodall provides keen insight on the representations of genii on the Sistine Ceiling; Karen Edwards proposes the early creation of the figura serpentinata in Michelangelo's own drawings and paintings; and Rachel Geshwind offers a new interpretation of his use of color symbolism in the Sistine Chapel. This seminar, and another on Mannerism, involved provocative discussion of the c

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Book SynopsisEn 1901, deprimido por el suicidio de su íntimo amigo, Carles Casagemas, Picasso se sumerge en los lienzos austeros y melancólicos del Período Azul. Con sólo veintidós años de edad y desesperadamente pobre, decide restringir su paleta a colores predominantemente fríos, sugerentes de la nocturnidad, el misterio y la muerte. Su creciente obsesión con estos temas alcanza su punto culminante con La vie, un lienzo emblemático de la relación del pintor con la muerte, considerada una fuerza maléfica con la que uno debe enfrentarse mediante el poder del exorcismo que le ha sido otorgado como artista/chaman. Esta pintura se ha interpretado como una referencia al ciclo de la vida, existiendo en ella referencias autobiográficas inequívocas. Los bosquejos preliminares muestran sin la menor duda que la figura masculina es un autorretrato del artista. Picasso posteriormente reemplazaría su imagen con la de Casagemas. El crítico John Richardson ha sugerido que al sustituir la imagen del suicid

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Book SynopsisLa peinture occupe une place privilégiée dans A la recherche du temps perdu dans la mesure où elle fonctionne comme métaphore de l'écriture. La peinture et l'écriture, toutes les deux créatrices d'images, sont les moyens qui permettent à l'artiste de dévoiler l'essence des choses. En intégrant la peinture dans son écriture, Proust propose un équivalent visible de l'écriture. La peinture fait sortir du livre l'image et la met à la portée du lecteur. Ainsi, grace à la peinture, l'écriture sort du cadre des mots pour avoir une existence visuelle. Dans La Peinture ou les leçons esthétiques chez Marcel Proust, Yae-Jin Yoo développe une théorie de la métaphore proustienne à laquelle mèneront les analyses de la relation entre la peinture et l'écriture dans le progrès du narrateur en quête de son identité et de son art. Ce livre propose une nouvelle perspective de la peinture chez Proust faisant appel à l'esthétique de la métaphore.

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Book SynopsisThis book has received the AESA (American Educational Studies Association) Critics Choice Award 2012. This book introduces a progressive type of education called Critical Aesthetic Pedagogy. This pedagogy utilizes the arts to promote critical learning, and incorporates particular types of aesthetic experiences into pedagogical practices to increase students' social empowerment and commitment to social justice. The first coherent body of work that marries critical pedagogy and aesthetics, the book guides theory and practice for teacher educators interested in infusing their critical pedagogical practices with the arts. It also proposes tangible reforms in the public school system that will enable a critical aesthetic process to take root and thrive. Critical Aesthetic Pedagogy can be used in upper-level undergraduate and graduate teacher education and art education courses. It can also help P-12 teachers and art organizations to successfully develop and carry out

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Book SynopsisThis book has received the AESA (American Educational Studies Association) Critics Choice Award 2012. This book introduces a progressive type of education called Critical Aesthetic Pedagogy. This pedagogy utilizes the arts to promote critical learning, and incorporates particular types of aesthetic experiences into pedagogical practices to increase students' social empowerment and commitment to social justice. The first coherent body of work that marries critical pedagogy and aesthetics, the book guides theory and practice for teacher educators interested in infusing their critical pedagogical practices with the arts. It also proposes tangible reforms in the public school system that will enable a critical aesthetic process to take root and thrive. Critical Aesthetic Pedagogy can be used in upper-level undergraduate and graduate teacher education and art education courses. It can also help P-12 teachers and art organizations to successfully develop and carry out

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Book SynopsisWeimar and Work: Labor, Literature, and Industrial Modernity on the Weimar Left analyzes writing about work that was published in communist and anarchist newspapers during the Weimar Republic. By discussing texts that have been almost completely neglected, this book's approach departs from existing scholarship on Weimar in two significant ways. First, it analyzes these texts in the context of the period's dominant theories, practices, psychologies, and utopian ideas concerning labor. Due to the proximity of artistic and industrial production, particularly in the minds and practices of Weimar communists, this book considers these literary treatments of work also within the framework of literary and artistic meta-discourses during the Weimar Republic (e.g., Expressionism, New Objectivity, and Productivism). Second, Weimar and Work demonstrates how the works of B. Traven and other anarchist writers opened up real and conceptual spaces beyond the hegemonic and allegedly binar

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Book SynopsisSeventy-five years after the infamous broadcast, does War of the Worlds still matter? This book answers with a resounding yes! Contributors revisit the broadcast event in order to reconsider its place as a milestone in media history, and to explore its role as a formative event for understanding citizens' media use in times of crisis. Uniquely focused on the continuities between radio's new media moment and our contemporary era of social media, the collection takes War of the Worlds as a starting point for investigating key issues in twenty-first-century communication, including: the problem of misrepresentation in mediated communication; the importance of social context for interpreting communication; and the dynamic role of listeners, viewers and users in talking back to media producers and institutions. By examining the crisis moment of the original broadcast in its international, academic, technological, industrial, and historical context, as well as the role of conteTrade Review«This fascinating volume traces the rich themes of new media, crisis and interactivity from the ‘War of the Worlds’ broadcast to now, but even more importantly, these smart and engaged essays demonstrate strikingly just how well carefully researched media history can illuminate the present.» (David Goodman, University of Melbourne) «As a whole the book represents a thoughtful read for anyone who wants to dig a bit deeper, and a wonderful resource for those who want to stimulate debate in a class or reading group. The authors convincingly show that a historical grasp is essential to understand contemporary issues in the present, and that the narratives of the past can disguise just as much as they reveal.» (Tim Wall, Birmingham City University) «In this wonderful collection, the ‘War of the Worlds’ broadcast represents, variously, the founding object of study in an emerging communication-industrial complex, a training tool for covering twenty-first century wars, and a template for understanding crisis communications ever since. A must-read for anyone interested in the symbiotic relationship between new communication technologies and the crises they mediate.» (Jason Loviglio, University of Maryland, Baltimore County)«This fascinating volume traces the rich themes of new media, crisis and interactivity from the ‘War of the Worlds’ broadcast to now, but even more importantly, these smart and engaged essays demonstrate strikingly just how well carefully researched media history can illuminate the present.» (David Goodman, University of Melbourne) «As a whole the book represents a thoughtful read for anyone who wants to dig a bit deeper, and a wonderful resource for those who want to stimulate debate in a class or reading group. The authors convincingly show that a historical grasp is essential to understand contemporary issues in the present, and that the narratives of the past can disguise just as much as they reveal.» (Tim Wall, Birmingham City University) «In this wonderful collection, the ‘War of the Worlds’ broadcast represents, variously, the founding object of study in an emerging communication-industrial complex, a training tool for covering twenty-first century wars, and a template for understanding crisis communications ever since. A must-read for anyone interested in the symbiotic relationship between new communication technologies and the crises they mediate.» (Jason Loviglio, University of Maryland, Baltimore County)Table of ContentsContents: Joy Elizabeth Hayes/Kathleen Battles: Exchange and Interconnection in US Network Radio: A Reinterpretation of the 1938 War of the Worlds Broadcast – Jefferson Pooley/Michael J. Socolow: War of the Words: The Invasion from Mars and its Legacy for Mass Communication Scholarship – Kate Lacey: Assassination, Insurrection and Alien Invasion: Interwar Wireless Scares in Cross-National Comparison – Neil Washbourne: Receiving the War of the Worlds «Panic» from Across the Atlantic: British Press and Public Responses in 1938 (and Since) – Wendy Hilton-Morrow: Network Radio’s Greatest Test: CBS News’ Coverage of the D-Day Invasion – Keith Somerville: War of the Worlds as a Radio News Training Tool – Joy Elizabeth Hayes/Dana Gravesen: Body Contact: Interconnection and Embodiment in Howard Stern’s 9/11 Radio Broadcast – Zack Stiegler/Brandon Szuminsky: Mediating Misinformation: Hoaxes and the Digital Turn – Diana Bossio/Saba Bebawi: War of Worlds? Alternative and Mainstream Journalistic Practices in Coverage of the «Arab Spring» Protests – Vittoria Sacco/Marco Giardina/ Katarina Stanoevska-Slabeva: Social Media Curation and Journalistic Reporting on the «Arab Spring» – Melissa Tully: Microblogging and Crises: Information Needs and Online Narratives During Two «Bombing» Events in Nairobi, Kenya – Adam Rugg: Risk, Crisis, and Mobilization in the Twitter Use of US Senatorial Candidates in 2010.

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Book SynopsisTextile Messages focuses on the emerging field of electronic textiles, or e-textiles computers that can be soft, colorful, approachable, and beautiful. E-textiles are articles of clothing, home furnishings, or architectures that include embedded computational and electronic elements. This book introduces a collection of tools that enable novices including educators, hobbyists, and youth designers to create and learn with e-textiles. It then examines how these tools are reshaping technology education and DIY practices across the K-16 spectrum, presenting examples of the ways educators, researchers, designers, and young people are employing them to build new technology, new curricula, and new creative communities.Trade Review«This book will delight and inspire you with stories of wonderfully-inventive e-textile fashions and crafts. But don’t focus too much on the creations themselves, charming as they might be. What’s most exciting is not what people are creating, but how the act of creating is changing the ways people think about themselves. With e-textiles, a broader and more diverse range of people are starting to see themselves as designers and creators of new technologies, with growing confidence that they, too, can be active contributors to today’s digital culture.» (Mitchel Resnick, LEGO Papert Professor of Learning Research, MIT Media Lab) «Textile Messages is such an extraordinary book, especially for anyone who marvels in the juxtaposition of unsuspecting elements (fashion and technology) and ways of being in the world (traditional crafts and modern innovation). If you are someone who loves the arts, is fascinated with the current technology and all it can do, this book will thrill you. If you are someone who is concerned about breaking the gender gap in computing, and making computer science accessible to all people, this book will inspire you, give you lots of ideas, and give you hope.» (Jane Margolis, Senior Researcher, UCLA Graduate School of Education and Information Studies, author of Stuck in the Shallow End: Education, Race, and Computing and Unlocking the Clubhouse: Women in Computing) «Re-connecting craft with technology, e-textiles is a growing field that inspires new forms of personal expression and interaction design. This book elevates the practice of learning to use e-textiles by mapping the busy intersection of physical materials, electronics, and computation.» (Dale Dougherty, President and CEO of Maker Media, ake magazine, and Maker Faire) «Textile Messages chronicles the creative integration of textiles, electronics, and computation in the service of education, innovation, and a more inclusive engineering culture. Bringing together the voices of engineers, artists, and educators, the book weaves together concrete examples of creative work and educational practice with thoughtful discussions of learning theory, feminist agendas, and historical perspective. It will appeal to educators, parents, makers, and researchers – anyone with an interest in women and technology, DIY culture, and educational innovation.» (Mizuko Ito, Professor, Donald Bren School of Information and Computer Sciences, University of California, Irvine, author of Hanging Out, Messing Around, and Geeking Out: Kids Living and Learning with New Media)«This book will delight and inspire you with stories of wonderfully-inventive e-textile fashions and crafts. But don’t focus too much on the creations themselves, charming as they might be. What’s most exciting is not what people are creating, but how the act of creating is changing the ways people think about themselves. With e-textiles, a broader and more diverse range of people are starting to see themselves as designers and creators of new technologies, with growing confidence that they, too, can be active contributors to today’s digital culture.» (Mitchel Resnick, LEGO Papert Professor of Learning Research, MIT Media Lab) «Textile Messages is such an extraordinary book, especially for anyone who marvels in the juxtaposition of unsuspecting elements (fashion and technology) and ways of being in the world (traditional crafts and modern innovation). If you are someone who loves the arts, is fascinated with the current technology and all it can do, this book will thrill you. If you are someone who is concerned about breaking the gender gap in computing, and making computer science accessible to all people, this book will inspire you, give you lots of ideas, and give you hope.» (Jane Margolis, Senior Researcher, UCLA Graduate School of Education and Information Studies, author of Stuck in the Shallow End: Education, Race, and Computing and Unlocking the Clubhouse: Women in Computing) «Re-connecting craft with technology, e-textiles is a growing field that inspires new forms of personal expression and interaction design. This book elevates the practice of learning to use e-textiles by mapping the busy intersection of physical materials, electronics, and computation.» (Dale Dougherty, President and CEO of Maker Media, ake magazine, and Maker Faire) «Textile Messages chronicles the creative integration of textiles, electronics, and computation in the service of education, innovation, and a more inclusive engineering culture. Bringing together the voices of engineers, artists, and educators, the book weaves together concrete examples of creative work and educational practice with thoughtful discussions of learning theory, feminist agendas, and historical perspective. It will appeal to educators, parents, makers, and researchers – anyone with an interest in women and technology, DIY culture, and educational innovation.» (Mizuko Ito, Professor, Donald Bren School of Information and Computer Sciences, University of California, Irvine, author of Hanging Out, Messing Around, and Geeking Out: Kids Living and Learning with New Media)Table of ContentsContents: Becky Stern: Vignette: LilyPad Arduino Embroidery – Michel Guglielmi/Hanne-Louise Johannesen: Vignette: The Climate Dress – Kalani Craig: Vignette: Know-It-All Knitting Bag – Leah Buechley: LilyPad Arduino: E-Textiles for Everyone – Despina Papadopoulos/Zach Eveland: Vignette: FabricKit & Masai Dress – Grace Ngai/Stephen C.F. Chan/Vincent T.Y. Ng: i*CATch: A Plug-n-Play Kit for Wearable Computing – Nwanua Elumeze: Traveling Light: Making Textiles Programmable «Through the Air» – Lynne Bruning: Vignette: Mrs. Mary Atkins-Holl – Hannah Perner-Wilson/Leah Buechley: Handcrafting Textile Sensors – Kylie Peppler/Diane Glosson: Learning about Circuitry with E-textiles in After-school Settings – Yasmin Kafai/Deborah Fields/Kristin Searle: Making Connections Across Disciplines in High School E-Textile Workshops – Heidi Schelhowe/Eva-Sophie Katterfeldt/Nadine Dittert/Milena Reichel: EduWear: E-Textiles in Youth Sports and Theater – Eric Lindsay: Vignette: The Space Between Us: Electronic Music + Modern Dance + E-Textiles – Kylie Peppler/ Leslie Sharpe/Diane Glosson: E-Textiles and the New Fundamentals of Fine Arts – Diana Eng: Vignette: FairyTale Fashion – Mike Eisenberg/Ann Eisenberg/Yingdan Huang: Bringing E-Textiles into Engineering Education – Osamu Iwasaki: Vignette: Amirobo: Crocheted Robot – Kylie Peppler /Joshua Danish: E-Textiles for Educators: Participatory Simulations with e-Puppetry – Leah Buechley/Jennifer Jacobs/Benjamin Mako Hill: LilyPad in the Wild: Technology DIY, E-Textiles, and Gender – Thecla Schiphorst/Jinsil Seo: Vignette: Tendrils: Sensing & Sharing Touch – Daniela K. Rosner: Mediated Craft: Digital Practices around Creative Handwork – Joanna Berzowska: E-Textile Technologies in Design, Research and Pedagogy – Kate Hartman: Vignette: Muttering Hat – Shaowen Bardzell: E-Textiles and the Body: Feminist Technologies and Design Research – Maggie Orth: Adventures in Electronic Textiles.

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Book SynopsisThe question What is Latin America? has been at the heart of writing from and about Latin America from Columbus' conquest to present-day discussions and nationalising projects. What this belies is the inherent question What is Latin America compared to Europe? This book lays bare the underlying logic of a Latin Americanist discourse through some of the continent's most influential thinkers, including Domingo Faustino Sarmiento, José Martí, José Enrique Rodó, José Vasconcelos, Fernando Ortiz, Roberto Fernández Retamar, Néstor García Canclini, and Walter Mignolo. Civilisation and Authenticity presents case studies of two of Latin America's most renowned and representative twentieth-century writers, the Cuban Alejo Carpentier and the Argentine Julio Cortázar and reveals how desire to define Latin America is entwined throughout their groundbreaking experimental novels, focusing on Carpentier's Los pasos perdidos (1953) and Cortázar's Rayuela (1963). New research iTrade Review«‘Civilisation and Authenticity’ makes a worthy effort to summarize and synthesize the long-running internal debates about Latin America’s political and cultural identity. It also offers solid readings of Alejo Carpentier’s and Julio Cortázar’s novels that can serve as useful guides for students and scholars alike and shows its author to be a capable and serious scholar.» (Aníbal González, Professor, Department of Spanish and Portuguese, Yale University)

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Book SynopsisOne important legacy of colonialism is the separation of a culture from the land upon which its people live. Populations are displaced; topographical objects are renamed, and the land becomes a resource to be exploited. Starting with three landscapes viewed as threatening by the Europeans who colonized them, Imagined Topographies examines the ways artists, writers, and musicians distill new meaning in formerly colonized spaces through the articulation of landscapes that are homelands, not commodities. In the Irish bog Seamus Heaney explores legacies of violence, John Dunne looks at rural poverty and religious faith, and Catherine Harper creates art connecting landscape and gender. Influenced by the Amazon, Wilson Harris creates dense multi-layered Guyanese epics, Karen Tei Yamashita plays with the telenovela to explore the role of multinational corporations in deforestation, and in recordings Douglas Quin combines the natural world with the technological, raising questions of coTrade Review«‘Imagined Topographies’ is in every sense a vital work of materialist scholarship, alive to the way landscapes act as imaginative repositories for stories and meanings. Working across the arts, Jonathan Bishop Highfield is an astute interpreter of the complex topographies of colonial dispossession and creative repossession. This is an impressive, essential book that straddles postcolonial, visual, and environmental studies.» (Rob Nixon, Author of ‘Slow Violence and the Environmentalism of the Poor’) «With the lyrics of Bob Marley as signposts urging us to reflect on our existential condition and with a range of poets and writers, ‘Imagined Topographies’ takes us into some of the unanswered issues of coloniality and its traces upon our contemporary moment. Reminding us that colonial power is about conquest and dispossession and that decolonization is a time yet to arrive, this book takes us on a journey from Ireland to Guyana and Australia. The reading of Wilson Harris is original and we are treated to insights into how landscape repossessed becomes home. The text broadens the field of postcolonial theory and should be read.» (Anthony Bogues, Harmon Family Professor of Africana Studies, Brown University; Author of ‘Empire of Liberty: Power, Desire, and Freedom’)

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Book SynopsisThe work of editing is by and large something that happens behind the scenes, noticed only when it is done badly, or not done at all. There is not much information about what editors do. The result is that editing is not often talked about in its own right not even by the people who do it. This collection of interviews attempts to fill some of the gaps. The author, a former editor herself, interviews practitioners at the top of their game from newspapers, magazines, broadcast news, book publishing, scholarly editing, academic publishing and digital curation. The interviewees think out loud about creativity and human judgment; what they have in common and what makes them different; how editing skills and culture can be shared; why editing continues to fascinate; and why any of this might matter.Trade Review«At last, someone has given editors their day in the sun. Greenberg’s skilful interviewing brings to light this largely invisible work. She tracks editing practices across digital news, magazines, books and scholarly publishing in ways that no one else has done, always with an eye toward the historical, theoretical significance of the editing function. A lively-minded and valuable book.» (John Pauly, Professor and Chair, Journalism and Media Studies, Marquette University) «Greenberg’s interviews succeed in giving us a privileged view of the art and business of editing, from a wide variety of perspectives. Each interview offers insights into different practices and approaches. Cumulatively – and this is the art of the interviewer, who is an experienced editor herself – they give the reader a concerted, structured and engaging understanding of this often hidden process.» (Claire Squires, Professor of Publishing Studies, University of Stirling) «Everyone understands what writers do. They write. But editors are a mystery. What is it they do? Editing is serious intellectual labor, a rigorous skill set borne of hard-won experience, which is why Susan Greenberg's wonderful Editors Talk About Editing is such a much-needed addition to every word-worker's library. Greenberg is a terrific interviewer, gentle and shrewd, and her conversations with editors brim with both practical advice and nuanced insights. Most important, the book reveals one of the real mysteries of the editing craft: a cast of mind animated by a genuine affinity for ideas, for language and, not least, for one's beloved writers.» (David Abrahamson, The Medill School, Northwestern University)«At last, someone has given editors their day in the sun. Greenberg’s skilful interviewing brings to light this largely invisible work. She tracks editing practices across digital news, magazines, books and scholarly publishing in ways that no one else has done, always with an eye toward the historical, theoretical significance of the editing function. A lively-minded and valuable book.» (John Pauly, Professor and Chair, Journalism and Media Studies, Marquette University) «Greenberg’s interviews succeed in giving us a privileged view of the art and business of editing, from a wide variety of perspectives. Each interview offers insights into different practices and approaches. Cumulatively – and this is the art of the interviewer, who is an experienced editor herself – they give the reader a concerted, structured and engaging understanding of this often hidden process.» (Claire Squires, Professor of Publishing Studies, University of Stirling) «Everyone understands what writers do. They write. But editors are a mystery. What is it they do? Editing is serious intellectual labor, a rigorous skill set borne of hard-won experience, which is why Susan Greenberg's wonderful Editors Talk About Editing is such a much-needed addition to every word-worker's library. Greenberg is a terrific interviewer, gentle and shrewd, and her conversations with editors brim with both practical advice and nuanced insights. Most important, the book reveals one of the real mysteries of the editing craft: a cast of mind animated by a genuine affinity for ideas, for language and, not least, for one's beloved writers.» (David Abrahamson, The Medill School, Northwestern University)Table of ContentsContent: Johnny Grimond, The Economist – Adam Moss, New York magazine – Ileene Smith, Farrar, Straus and Giroux – Jerome McGann, University of Virginia – Mary Hockaday, BBC Multimedia Newsroom – John McIntyre, The Baltimore Sun – Philip Campbell, Nature – Louise Doughty, Novelist – Carole Blake, Literary Agent, Blake Friedmann – Constance Hale, Book Editor – Peter Binfield, PeerJ – Phoebe Ayers, Wikimedia Foundation – Evan Ratliff, Atavist.

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Book SynopsisThe work of editing is by and large something that happens behind the scenes, noticed only when it is done badly, or not done at all. There is not much information about what editors do. The result is that editing is not often talked about in its own right not even by the people who do it. This collection of interviews attempts to fill some of the gaps. The author, a former editor herself, interviews practitioners at the top of their game from newspapers, magazines, broadcast news, book publishing, scholarly editing, academic publishing and digital curation. The interviewees think out loud about creativity and human judgment; what they have in common and what makes them different; how editing skills and culture can be shared; why editing continues to fascinate; and why any of this might matter.Trade Review«At last, someone has given editors their day in the sun. Greenberg’s skilful interviewing brings to light this largely invisible work. She tracks editing practices across digital news, magazines, books and scholarly publishing in ways that no one else has done, always with an eye toward the historical, theoretical significance of the editing function. A lively-minded and valuable book.» (John Pauly, Professor and Chair, Journalism and Media Studies, Marquette University) «Greenberg’s interviews succeed in giving us a privileged view of the art and business of editing, from a wide variety of perspectives. Each interview offers insights into different practices and approaches. Cumulatively – and this is the art of the interviewer, who is an experienced editor herself – they give the reader a concerted, structured and engaging understanding of this often hidden process.» (Claire Squires, Professor of Publishing Studies, University of Stirling) «Everyone understands what writers do. They write. But editors are a mystery. What is it they do? Editing is serious intellectual labor, a rigorous skill set borne of hard-won experience, which is why Susan Greenberg's wonderful Editors Talk About Editing is such a much-needed addition to every word-worker's library. Greenberg is a terrific interviewer, gentle and shrewd, and her conversations with editors brim with both practical advice and nuanced insights. Most important, the book reveals one of the real mysteries of the editing craft: a cast of mind animated by a genuine affinity for ideas, for language and, not least, for one's beloved writers.» (David Abrahamson, The Medill School, Northwestern University)«At last, someone has given editors their day in the sun. Greenberg’s skilful interviewing brings to light this largely invisible work. She tracks editing practices across digital news, magazines, books and scholarly publishing in ways that no one else has done, always with an eye toward the historical, theoretical significance of the editing function. A lively-minded and valuable book.» (John Pauly, Professor and Chair, Journalism and Media Studies, Marquette University) «Greenberg’s interviews succeed in giving us a privileged view of the art and business of editing, from a wide variety of perspectives. Each interview offers insights into different practices and approaches. Cumulatively – and this is the art of the interviewer, who is an experienced editor herself – they give the reader a concerted, structured and engaging understanding of this often hidden process.» (Claire Squires, Professor of Publishing Studies, University of Stirling) «Everyone understands what writers do. They write. But editors are a mystery. What is it they do? Editing is serious intellectual labor, a rigorous skill set borne of hard-won experience, which is why Susan Greenberg's wonderful Editors Talk About Editing is such a much-needed addition to every word-worker's library. Greenberg is a terrific interviewer, gentle and shrewd, and her conversations with editors brim with both practical advice and nuanced insights. Most important, the book reveals one of the real mysteries of the editing craft: a cast of mind animated by a genuine affinity for ideas, for language and, not least, for one's beloved writers.» (David Abrahamson, The Medill School, Northwestern University)Table of ContentsContent: Johnny Grimond, The Economist – Adam Moss, New York magazine – Ileene Smith, Farrar, Straus and Giroux – Jerome McGann, University of Virginia – Mary Hockaday, BBC Multimedia Newsroom – John McIntyre, The Baltimore Sun – Philip Campbell, Nature – Louise Doughty, Novelist – Carole Blake, Literary Agent, Blake Friedmann – Constance Hale, Book Editor – Peter Binfield, PeerJ – Phoebe Ayers, Wikimedia Foundation – Evan Ratliff, Atavist.

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Book SynopsisThe twenty-two essays in this volume are contributed by Belgian, French, and American scholars to honor the memory and work of Adrienne Fontainas (1929-2010). The interdisciplinary scholarship this community of international scholars has produced is of lasting importance in underlining the significant role of Brussels from 1870 to 1914. A leading European scholar and bibliophile, Adrienne Fontainas served as Vice President of the International Association of Bibliophiles and membre d'honneur of the Royal Society of Bibliophiles and Iconophiles of Belgium. Her groundbreaking books on the Symbolist poet Stéphane Mallarmé and his Brussels' editor Edmond Deman (Edmond Deman éditeur : Art et édition au tournant du siècle and Edmond Deman : Publications de la librairie) are model studies of the book publishing trade in France and Belgium. The essays in this book explore a wide variety of interdisciplinary fields, including art history, book collecting, publishing, liTrade Review« Adrienne Fontainas était une grande dame de la bibliophilie et de l’étude du livre belge. On ne pouvait lui rêver plus bel hommage que ce bouquet dans lequel trois générations de chercheuses et de chercheurs européens ont, sous la direction de la grande spécialiste américaine Jane Block, réuni des études qui éclairent de manière inédite ce moment privilégié où la Belgique était un des hauts lieux du symbolisme et de l’union des arts. » (Dario Gamboni, Professeur d’histoire de l’art, Université de Genève) « Vingt-deux études inédites sur les arts du livre, les hommes de lettres, la musique, les spectacles, les arts graphiques et l’architecture en Belgique, à la fin du XIXe siècle et au début du XXe siècle, ont été réunies par Jane Block et Claude Sorgeloos, pour rendre hommage à Adrienne Fontainas, érudite enthousiaste et bibliophile éclairée qui se spécialisa dans l’histoire des arts et des lettres de la Belgique autour de 1900 et y consacra de nombreux travaux dont on trouvera ici la bibliographie complète établie par sa fille, Nathalie Trouveroy. Outre l’hommage rendu à une érudite et bibliophile spécialisée dans la Belgique fin de siècle, ce recueil d’études ouvrage apporte une vision neuve et inédite sur plusieurs points de cette période au point de vue des arts et des lettres. » (Annie Charon, Professeur à l’École des chartes, Rédactrice en chef du ‘Bulletin du bibliophile’)Table of ContentsContents: Jane Block/Claude Sorgeloos : Remerciements – Nathalie Trouveroy : Adrienne Fontainas : Genèse d’une érudition – Nathalie Trouveroy : Adrienne Fontainas : Bibliographie – René Fayt : Le Cabinet André Fontainas de la Réserve précieuse de l’Université libre de Bruxelles – Anne Pingeot : Adrienne Fontainas – Paul Aron : Petite contribution à l’étude d’un art de vivre : Edmond Picard et le cercle d’escrime Arte et Marte – Jean-Michel Nectoux : « Mobilité et illusion » : Sur quelques photographies de Stéphane Mallarmé rue de Rome – Rik Hemmerijckx : Maeterlinck-Verhaeren & le Prix Nobel de Littérature – André Fontainas (translated by Donald Flanell Friedman) : Croquis La Ferté Choisel – Malou Haine : Liszt acclamé en Belgique comme pianiste et compositeur – Fabrice van de Kerckhove : Maeterlinck à l’école du livre anglais – Hélène Védrine : « Dramatique et sombre » : L’illustration du Rideau cramoisi par Armand Rassenfosse pour Edmond Deman (1907) – Claude Sorgeloos : Chalon, Scheler et les autres : Edmond Deman et la Bibliothèque royale de Belgique – Anne Adriaens-Pannier : Léon Spilliaert, illustrateur de Marcel Lecomte et de Paul Neuhuys, 1941 – Véronique Carpiaux : « À l’œuvre ! » Félicien Rops ou la modernité à l’épreuve du dessin – Laurent Houssais : Notes sur une monographie inédite : François Rude par André Fontainas – Edwin Becker: Wilhelm List and the Swan Motif – Jane Block : Paul Signac’s Au temps d’harmonie at Victor Horta’s Maison du Peuple – Stephen Goddard: Pieter Dupont’s Engraved Portrait of Théophile-Alexandre Steinlen – Denis Laoureux : Symbolisme, élitisme, excentricité ou la « belle légende du moi » dans la Belgique fin de siècle – Roger Cardon : Au bordel de Maurice de Vlaminck : Précisions nouvelles – Catherine Krahmer : Quatre lettres d’Ernst Barlach (1910-1915) à propos de Kandinsky, Nolde, Goethe – Jean-David Jumeau-Lafond : Le « voyage dans les yeux » : De la vision symboliste à l’œil surréaliste – Marc Quaghebeur : Postface : Chère Adrienne.

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Book SynopsisEmpathy must be part of education because knowledge without it is incomplete (Swanger, Essays in Aesthetic Education, 1990). Aesthetics, Empathy and Education pursues Swanger's assertion in myriad ways. The text is divided into four sections. The first addresses research methodology from widely differing perspectives. The second section scrutinizes research again, this time addressing the self as the research subject. The third section takes a more specifically philosophical approach to the topic, challenging some underlying assumptions about education and empathy. Finally, the fourth section looks at classroom practice. Aesthetics, Empathy and Education is essential reading for pre-service teachers, graduate students and instructors.Table of ContentsContents: Liora Bresler: The Spectrum of Distance: Empathic Understanding and the Pedagogical Power of the Arts – Terry Barrett: Writing Towards Empathy – Laura Evans: Food for Thought: Idiom, Empathy, and Context in Lauren Greenfield’s THIN – Sherry Mayo: Art in the Expanded Field: Notions of Empathy, Aesthetic Consciousness, and Implications for Education – Indrani Margolin: Expanding Empathy Through Dance – Boyd White: Pay Attention, Pay Attention, Pay Attention – David Swanger: Notes on Empathy in Poetry – Sean Wiebe: Aesthetic/Empathetic Punctures Through Poetry: A Lacanian Slip into Something Other Than Education – Donald Blumenfeld-Jones: Johnson, Levinas, and Sensibility: An Aesthetic Avenue to Ethics? – Juli Kramer: Multisensory Aesthetic Experiences and the Development of Empathy: The Big Bad Wolf’s Not So Bad After All – Tom Anderson/Anniina Suominen Guyas: Earth Education: Interbeing and Empathy for Mother Earth – Tracie Costantino: Cultivating the Social Imagination of Preservice Teachers Through Aesthetic Reflection – Lauren Phillips/Richard Siegesmund: Teaching What We Value: Care as an Outcome of Aesthetic Education – Richard Hickman: Empathy and Art Education.

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Book SynopsisEmpathy must be part of education because knowledge without it is incomplete (Swanger, Essays in Aesthetic Education, 1990). Aesthetics, Empathy and Education pursues Swanger's assertion in myriad ways. The text is divided into four sections. The first addresses research methodology from widely differing perspectives. The second section scrutinizes research again, this time addressing the self as the research subject. The third section takes a more specifically philosophical approach to the topic, challenging some underlying assumptions about education and empathy. Finally, the fourth section looks at classroom practice. Aesthetics, Empathy and Education is essential reading for pre-service teachers, graduate students and instructors.Table of ContentsContents: Liora Bresler: The Spectrum of Distance: Empathic Understanding and the Pedagogical Power of the Arts – Terry Barrett: Writing Towards Empathy – Laura Evans: Food for Thought: Idiom, Empathy, and Context in Lauren Greenfield’s THIN – Sherry Mayo: Art in the Expanded Field: Notions of Empathy, Aesthetic Consciousness, and Implications for Education – Indrani Margolin: Expanding Empathy Through Dance – Boyd White: Pay Attention, Pay Attention, Pay Attention – David Swanger: Notes on Empathy in Poetry – Sean Wiebe: Aesthetic/Empathetic Punctures Through Poetry: A Lacanian Slip into Something Other Than Education – Donald Blumenfeld-Jones: Johnson, Levinas, and Sensibility: An Aesthetic Avenue to Ethics? – Juli Kramer: Multisensory Aesthetic Experiences and the Development of Empathy: The Big Bad Wolf’s Not So Bad After All – Tom Anderson/Anniina Suominen Guyas: Earth Education: Interbeing and Empathy for Mother Earth – Tracie Costantino: Cultivating the Social Imagination of Preservice Teachers Through Aesthetic Reflection – Lauren Phillips/Richard Siegesmund: Teaching What We Value: Care as an Outcome of Aesthetic Education – Richard Hickman: Empathy and Art Education.

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Book SynopsisThrough detailed in-depth exegeses of Proust's literary texts (A la Recherche du temps perdu, Jean Santeuil, and Contre Sainte-Beuve), Judaism in Marcel Proust: Anti-Semitism, Philo-Semitism, and Judaic Perspectives in Art explains anti-Semitism and philo-Semitism as present in actual French literary texts. Unlike other studies about Proust and Judaism, the narrative in this book is in English; the focus is on the actual French texts, not on Proust's biography. Primary Judaic sources such as the Hebrew Bible, the Babylonian Talmud, Moses Maimonides' Mishneh Torah, and Rashi's commentaries illuminate Proust's texts and skillfully demonstrate their anti-Semitic and philo-Semitic subtexts. The principal Proustian themes that are examined in depth include, first of all, the anti-Semitism and philo-Semitism of the characters as informed by Jean-Paul Sartre's Réflexions sur la queston juive; second, Christian interpretations of Judaic biblical references and t

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Book SynopsisIn this book Yoram Lubling and Eric Evans offer a Deweyan reconstruction of our philosophical understanding of well-being. They begin with Dewey's critique of the philosophical fallacy to examine the legitimacy and value of theories of well-being offered by traditional philosophy. However, such theories fail to provide an authentic account of well-being due to a false understanding of experience as either epistemic or cognitive. Next, using Dewey's theory of experience, they reconstruct happiness as the target for evaluation of well-being. This leads them to reject the traditional view of a private encapsulated self, and to offer in its place a transactionally situated self which is an embodied, enculturated agent. Through their emphasis on the importance of the qualitative aspects of Dewey's understanding of a situation, the pervasive quality of the situation emerges as the most plausible criterion for the evaluation of well-being. The authors use Dewey's theoriesTrade Review«The assumption of ‘intellectualism’ goes contrary to the facts of what is primarily experienced. For things are objects to be treated, used, acted upon and with, enjoyed and endured, even more than things to be known. They are things had before they are things cognized…If we start from primary experience, occurring as it does chiefly in modes of action and undergoing, it is easy to see what knowledge contributes – namely, the possibility of intelligent administration of the elements of doing and suffering.» (John Dewey, Experience & Nature) «We cannot seek or attain health, wealth, learning, justice or kindness in general. Action is always specific, concrete, individualized and unique. And consequently judgments as to acts to be performed must be similarly specific. To say that a man seeks health or justice is only to say that he seeks to live healthy or justly. These things, like truth, are adverbial.» (John Dewey, Reconstruction in Philosophy)Table of ContentsContents: Frontispiece John Dewey – Seeing Further than Dewey – The Falsicfication of Well-Being – Experience and the Situated Self – Inquiry and Creative Intelligence – Ethics and Value – The Live Creature and the Aesthetic Mode – The Enlargement of Experience –The Seat of Intellectual Authority.

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Book SynopsisThe Revelations of Asher: Toward Supreme Love in Self is an endarkened, feminist, new literacies event. It critically and creatively explores Black women's terror in love. With poetry, prose, and analytic memos, Jeanine Staples shows how a group of Black women's talk and writings about relationships revealed epistemological and ontological revelations, after 9/11. These revelations are presented in the context of a third wave new literacies framework. They are voiced and storied dynamically by the women's seven fragmented selves. Through the selves, we learn the five ways the women lived as lovers: Main Chick, Side Chick, Bonnie, Bitch, and Victim. As an alternative-response to these identities in love, the author presents a new way. She introduces the Supreme Lover Identity and illuminates its integral connection to social and emotional justice for and through Black women's wisdom.Trade Review«This book is a tour de force. The Revelations of Asher brings endarkened feminisms to life in powerful, creative, dare I say revolutionary ways. Reading this book is the kind of literacy event that is at once an invitation to pull up a chair and sit in sacred sister circle, to attend a master class by a brilliant intellectual, and to reflect and revel in the quiet spaces of one’s own heart. Jeanine Staples – in text and in tale – shows us the epistemological underpinnings and dynamisms of Black love, the spirit she describes as the Supreme Lover Identity. Through her deft use of metaphor, she shows us, in exquisite detail, the nuanced pieces of Black women’s selves in love. They are the selves that Baldwin suggested years ago that we sometimes ‘can’t live within but are afraid to live without.’ This is an epistemic treatise that reads like a novel of Black women’s wisdom and magic.» (Cynthia B. Dillard (Nana Mansa II of Mpeasem, Ghana, West Africa), Department Chair and Mary Frances Early Professor of Teacher Education, Director, Ghana Study Abroad in Education Program, Department of Educational Theory and Practice, University of Georgia) «Jeanine Staples sets off to explore post-9/11 popular culture and the ways a group of Black women critically engaged and deployed their own gazes on these representations. Yet, she found another story, one about relationships, community, personal literacy, and the violence and terror that plagues the daily lives of women of color. Heeding Tricia Rose’s 2003 call to share voices, create spaces committed to and engaging with black women’s voices, in addition to privileging Black women’s stories, Staples delivers a myriad of stories and voices in the most unique, dynamic, and unprecedented ways. She highlights multiple literacies, offering readers the chance to become literate on multiple planes. The book itself, and the voices included, spotlight the complex and amazing levels of emotional, relational, and interpersonal literacies within the group of women who took part in the ethnographic inquiry on which this book is based. The book’s power, candor, passion, and vulnerability are refreshing; its risks and unique approaches to creative and critical interpretivist work are novel and needed; its complexity in absence of jargon and ubiquitous citations are intensely appealing. Staples’ determination to reveal Black women’s voices; their love; their truths and literacies; their agency; and senses of community results in a book that will challenge for generations, reminding us all that Black women and girls – their voices, and stories – matter.» (David J. Leonard, Associate Professor and Chair, Department of Critical Culture, Gender, and Race Studies, Washington State University) «The Revelations of Asher is a remarkable book. On the cutting edge of third wave new literacy studies, Jeanine Staples has produced a layered meditation on literacies and selves as always emergent, as deeply relational, and as relentlessly searching. In this shimmering, moving, and beautiful text, Staples invites us to engage in ‘literate witnessing’ of the searing pains and soaring healing of Black women across a range of texts, breaking down barriers of the social, the personal, and the global. On every revelatory page, she creates a generative space to reimagine love (of each other, of the world, of ourselves) as fertile ground for literacy research in the service of social justice.» (Kelly K. Wissman, Associate Professor, Department of Literacy Teaching and Learning, State University of New York, Albany) «Profound. Compelling. Compassionate… Jeanine Staples has put together a feminist blueprint that meticulously lays a foundation of how resilience and«This book is a tour de force. The Revelations of Asher brings endarkened feminisms to life in powerful, creative, dare I say revolutionary ways. Reading this book is the kind of literacy event that is at once an invitation to pull up a chair and sit in sacred sister circle, to attend a master class by a brilliant intellectual, and to reflect and revel in the quiet spaces of one’s own heart. Jeanine Staples – in text and in tale – shows us the epistemological underpinnings and dynamisms of Black love, the spirit she describes as the Supreme Lover Identity. Through her deft use of metaphor, she shows us, in exquisite detail, the nuanced pieces of Black women’s selves in love. They are the selves that Baldwin suggested years ago that we sometimes ‘can’t live within but are afraid to live without.’ This is an epistemic treatise that reads like a novel of Black women’s wisdom and magic.» (Cynthia B. Dillard (Nana Mansa II of Mpeasem, Ghana, West Africa), Department Chair and Mary Frances Early Professor of Teacher Education, Director, Ghana Study Abroad in Education Program, Department of Educational Theory and Practice, University of Georgia) «Jeanine Staples sets off to explore post-9/11 popular culture and the ways a group of Black women critically engaged and deployed their own gazes on these representations. Yet, she found another story, one about relationships, community, personal literacy, and the violence and terror that plagues the daily lives of women of color. Heeding Tricia Rose’s 2003 call to share voices, create spaces committed to and engaging with black women’s voices, in addition to privileging Black women’s stories, Staples delivers a myriad of stories and voices in the most unique, dynamic, and unprecedented ways. She highlights multiple literacies, offering readers the chance to become literate on multiple planes. The book itself, and the voices included, spotlight the complex and amazing levels of emotional, relational, and interpersonal literacies within the group of women who took part in the ethnographic inquiry on which this book is based. The book’s power, candor, passion, and vulnerability are refreshing; its risks and unique approaches to creative and critical interpretivist work are novel and needed; its complexity in absence of jargon and ubiquitous citations are intensely appealing. Staples’ determination to reveal Black women’s voices; their love; their truths and literacies; their agency; and senses of community results in a book that will challenge for generations, reminding us all that Black women and girls – their voices, and stories – matter.» (David J. Leonard, Associate Professor and Chair, Department of Critical Culture, Gender, and Race Studies, Washington State University) «The Revelations of Asher is a remarkable book. On the cutting edge of third wave new literacy studies, Jeanine Staples has produced a layered meditation on literacies and selves as always emergent, as deeply relational, and as relentlessly searching. In this shimmering, moving, and beautiful text, Staples invites us to engage in ‘literate witnessing’ of the searing pains and soaring healing of Black women across a range of texts, breaking down barriers of the social, the personal, and the global. On every revelatory page, she creates a generative space to reimagine love (of each other, of the world, of ourselves) as fertile ground for literacy research in the service of social justice.» (Kelly K. Wissman, Associate Professor, Department of Literacy Teaching and Learning, State University of New York, Albany) «Profound. Compelling. Compassionate… Jeanine Staples has put together a feminist blueprint that meticulously lays a foundation of how resilience and

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Book SynopsisThe Revelations of Asher: Toward Supreme Love in Self is an endarkened, feminist, new literacies event. It critically and creatively explores Black women's terror in love. With poetry, prose, and analytic memos, Jeanine Staples shows how a group of Black women's talk and writings about relationships revealed epistemological and ontological revelations, after 9/11. These revelations are presented in the context of a third wave new literacies framework. They are voiced and storied dynamically by the women's seven fragmented selves. Through the selves, we learn the five ways the women lived as lovers: Main Chick, Side Chick, Bonnie, Bitch, and Victim. As an alternative-response to these identities in love, the author presents a new way. She introduces the Supreme Lover Identity and illuminates its integral connection to social and emotional justice for and through Black women's wisdom.Trade Review«This book is a tour de force. The Revelations of Asher brings endarkened feminisms to life in powerful, creative, dare I say revolutionary ways. Reading this book is the kind of literacy event that is at once an invitation to pull up a chair and sit in sacred sister circle, to attend a master class by a brilliant intellectual, and to reflect and revel in the quiet spaces of one’s own heart. Jeanine Staples – in text and in tale – shows us the epistemological underpinnings and dynamisms of Black love, the spirit she describes as the Supreme Lover Identity. Through her deft use of metaphor, she shows us, in exquisite detail, the nuanced pieces of Black women’s selves in love. They are the selves that Baldwin suggested years ago that we sometimes ‘can’t live within but are afraid to live without.’ This is an epistemic treatise that reads like a novel of Black women’s wisdom and magic.» (Cynthia B. Dillard (Nana Mansa II of Mpeasem, Ghana, West Africa), Department Chair and Mary Frances Early Professor of Teacher Education, Director, Ghana Study Abroad in Education Program, Department of Educational Theory and Practice, University of Georgia) «Jeanine Staples sets off to explore post-9/11 popular culture and the ways a group of Black women critically engaged and deployed their own gazes on these representations. Yet, she found another story, one about relationships, community, personal literacy, and the violence and terror that plagues the daily lives of women of color. Heeding Tricia Rose’s 2003 call to share voices, create spaces committed to and engaging with black women’s voices, in addition to privileging Black women’s stories, Staples delivers a myriad of stories and voices in the most unique, dynamic, and unprecedented ways. She highlights multiple literacies, offering readers the chance to become literate on multiple planes. The book itself, and the voices included, spotlight the complex and amazing levels of emotional, relational, and interpersonal literacies within the group of women who took part in the ethnographic inquiry on which this book is based. The book’s power, candor, passion, and vulnerability are refreshing; its risks and unique approaches to creative and critical interpretivist work are novel and needed; its complexity in absence of jargon and ubiquitous citations are intensely appealing. Staples’ determination to reveal Black women’s voices; their love; their truths and literacies; their agency; and senses of community results in a book that will challenge for generations, reminding us all that Black women and girls – their voices, and stories – matter.» (David J. Leonard, Associate Professor and Chair, Department of Critical Culture, Gender, and Race Studies, Washington State University) «The Revelations of Asher is a remarkable book. On the cutting edge of third wave new literacy studies, Jeanine Staples has produced a layered meditation on literacies and selves as always emergent, as deeply relational, and as relentlessly searching. In this shimmering, moving, and beautiful text, Staples invites us to engage in ‘literate witnessing’ of the searing pains and soaring healing of Black women across a range of texts, breaking down barriers of the social, the personal, and the global. On every revelatory page, she creates a generative space to reimagine love (of each other, of the world, of ourselves) as fertile ground for literacy research in the service of social justice.» (Kelly K. Wissman, Associate Professor, Department of Literacy Teaching and Learning, State University of New York, Albany) «Profound. Compelling. Compassionate… Jeanine Staples has put together a feminist blueprint that meticulously lays a foundation of how resilience and«This book is a tour de force. The Revelations of Asher brings endarkened feminisms to life in powerful, creative, dare I say revolutionary ways. Reading this book is the kind of literacy event that is at once an invitation to pull up a chair and sit in sacred sister circle, to attend a master class by a brilliant intellectual, and to reflect and revel in the quiet spaces of one’s own heart. Jeanine Staples – in text and in tale – shows us the epistemological underpinnings and dynamisms of Black love, the spirit she describes as the Supreme Lover Identity. Through her deft use of metaphor, she shows us, in exquisite detail, the nuanced pieces of Black women’s selves in love. They are the selves that Baldwin suggested years ago that we sometimes ‘can’t live within but are afraid to live without.’ This is an epistemic treatise that reads like a novel of Black women’s wisdom and magic.» (Cynthia B. Dillard (Nana Mansa II of Mpeasem, Ghana, West Africa), Department Chair and Mary Frances Early Professor of Teacher Education, Director, Ghana Study Abroad in Education Program, Department of Educational Theory and Practice, University of Georgia) «Jeanine Staples sets off to explore post-9/11 popular culture and the ways a group of Black women critically engaged and deployed their own gazes on these representations. Yet, she found another story, one about relationships, community, personal literacy, and the violence and terror that plagues the daily lives of women of color. Heeding Tricia Rose’s 2003 call to share voices, create spaces committed to and engaging with black women’s voices, in addition to privileging Black women’s stories, Staples delivers a myriad of stories and voices in the most unique, dynamic, and unprecedented ways. She highlights multiple literacies, offering readers the chance to become literate on multiple planes. The book itself, and the voices included, spotlight the complex and amazing levels of emotional, relational, and interpersonal literacies within the group of women who took part in the ethnographic inquiry on which this book is based. The book’s power, candor, passion, and vulnerability are refreshing; its risks and unique approaches to creative and critical interpretivist work are novel and needed; its complexity in absence of jargon and ubiquitous citations are intensely appealing. Staples’ determination to reveal Black women’s voices; their love; their truths and literacies; their agency; and senses of community results in a book that will challenge for generations, reminding us all that Black women and girls – their voices, and stories – matter.» (David J. Leonard, Associate Professor and Chair, Department of Critical Culture, Gender, and Race Studies, Washington State University) «The Revelations of Asher is a remarkable book. On the cutting edge of third wave new literacy studies, Jeanine Staples has produced a layered meditation on literacies and selves as always emergent, as deeply relational, and as relentlessly searching. In this shimmering, moving, and beautiful text, Staples invites us to engage in ‘literate witnessing’ of the searing pains and soaring healing of Black women across a range of texts, breaking down barriers of the social, the personal, and the global. On every revelatory page, she creates a generative space to reimagine love (of each other, of the world, of ourselves) as fertile ground for literacy research in the service of social justice.» (Kelly K. Wissman, Associate Professor, Department of Literacy Teaching and Learning, State University of New York, Albany) «Profound. Compelling. Compassionate… Jeanine Staples has put together a feminist blueprint that meticulously lays a foundation of how resilience and

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Book SynopsisThe stories that are told about the death of Osama bin Laden are interculturally significant as a reminder of the many culturally contested junctures, fissures, and ruptures that circulate in the true stories that are told about Operation Neptune's Spear. This book's critical intercultural approach investigates what U.S. and international audiences were saying about other cultures while they wrote and talked about the bin Laden raid. The book explains why so many elite and public cultural communities have a vested interest in telling the story of what happened during the famous raid. The authors argue that these mediated debates have become inextricably entangled in political, military, cultural, and legal rhetorics of American exceptionalism, where various U.S. and international audiences defend or attack particular interpretations of the raid and comment on the unique values and characteristics of America's Way of War. This important book gives readers a sense of what these excepTable of ContentsContents: Intercultural Rhetorics and the Nature of American – American Myths, the Beginning of the Global War on Terrorism, and the Decade-Long «Manhunt» for bin Laden – Cosmopolitanism and International Reactions to the bin Laden Raid – Presidential Politics, Imperial Presidencies, and the Early Strategic Usages of «The Situation Room» – Liberal Exceptionalism and Ambivalent American Critiques of the bin Laden Raid – No Easy Day: Mark Owen’s Raiding Tale, Presidential Appearances, and the New American Exceptionalism – The bin Laden Raid at the Cineplex: Zero Dark Thirty, Intertextuality and the Future of America’s Overseas Contingency.

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Book SynopsisThis volume is an up-to-date account of communication theories from around the world. Authored by a group of eminent scholars, each chapter is a history and state-of-the-art description of the major issues in international communication theory. While the book draws on an understanding of communication theory as a product of its socio-political and cultural context, and the challenges posed by that context, it also highlights each author's lifetime effort to critique the existing trends in communication theory and bring out the very best in each multicultural context.Table of ContentsContents: Kaarle Nordenstreng: Preface: Toward a Better World – Robert A. White: Keeping the Public Sphere(s) Public – Brenda Dervin/Peter Shields: Talking Communicatively About Mass Communication in Communication Theories: Beyond Multiplicity, Toward Communicating – Denis McQuail: Social Scientific Theory of Communication Encounters Normativity: A Personal Memoir – Janet Wasko: Understanding the Critical Political Economy of the Media – Peter Golding/Karen Williamson: Power, Inequality, and Citizenship: The Enduring Importance of the Political Economy of Communications – Roger Bromley: Cultural Studies: Dialogue, Continuity, and Change – Michael Real/David Black: A Mutually Radicalizing Relationship: Communication Theory and Cultural Studies in the United States – Jesús Martin-Barbero: Thinking Communication in Latin America – Joseph Oládèjo Fáníran: Toward a Theory of African Communication – Keval J. Kumar: Theorizing About Communication in India: Sadharanikaran, Rasa, and Other Traditions in Rhetoric and Aesthetics – Thomas Tufte: Voice, Citizenship, and Civic Action: Challenges to Participatory Communication – Stewart M. Hoover: Media, Culture, and the Imagination of Religion – Pradip N. Thomas: Theorizing Development, Communication, and Social Change – Cees J. Hamelink: Human Rights and Communication: Reflections on a Challenging Relationship – Ruth Teer-Tomaselli/Keyan G. Tomaselli: Struggle, Vatican II, and Development Communication Practice – Paul A. Soukup, SJ: Media Ecology – Theodore L. Glasser/Isabel Awad: Journalism, Multiculturalism, and the Struggle for Solidarity – Clifford G. Christians: Media Ethics in Transnational, Gender Inclusive, and Multicultural Terms.

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Book SynopsisSubaltern Writings focuses on one of the most important Brazilian novelists of the first half of the twentieth century, Graciliano Ramos, and critically examines two of his novels, Caetés and Angústia. The analysis is based on the premise that the reader must bring to the forefront the notion of a subject that is close to non-subjectivity and must develop heterodox forms of cultural production as Ramos himself sketches them. Rather than insisting on the protagonists' assumed mediocrity or derangement, which has been the norm in previous critical readings of the novels, Subaltern Writings reconstructs how their attempts at composing fictional texts constitute examples of subaltern approaches, often standing alongside high cultural production. Unable to enter a circuit of literary writing that silences subaltern speakers, the novels' protagonists create narratives that, instead of becoming finished objects of consumption, end up as fragments or notes. In this sense, SubaTable of ContentsContents: In the Beginning Was the Lesser Being (And the Word) – A Few Viventes – Acquisition (i): Home-made Indianist Writing (at Hand’s Reach) – Acquisition (ii): Graphic (and Real) Death and the Maiden – Impossible, Inevitable Caetés - or - Unending Primitivism – Among Bulls and Goats – Literary Barbarians and a Modernist Sublation - Lullabying – The Death of the Poet is the Birth of the Domestic Voice – Looming Revolution – The Solitary Act before the Letter of the Law (And Final Notes).

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Book SynopsisThe transcripted conversations that represent the substance of this volume are the result of a research project funded by the United Kingdom's Arts and Humanities Research Council. The product of nearly three years of interviews conducted with senior religious figures from a diversity of religious traditions, this book represents a physical and political-theological journey around England from metropolitan capital through provincial cities and rural hinterlands, from rural episcopal palaces to industrial estates, from London mansion houses to remote mountain monastery and provides a snapshot of how religious leaders and authority figures respond to contemporary issues of freedom of expression. Religious Authority and the Arts has a substantial introduction that situates the conversations within a theological, political, and cultural framework.Table of ContentsContents: Religious Authority and the Arts: Aesthetics, Politics, Theology – Political-Theological Convergence: The Church of England – Political-Theological Conservatism: Catholicism, Orthodox Christianity and Evangelical Protestantism – Political-Theological Crisis: Judaism – Political-Theological Confrontation: Islam – Political-Theological (Re-) Construal (I): Hinduism – Political-Theological (Re-) Construal (II): Buddhism – Political-Theological Condemnation – Political-Theological Critique: What the Writers Say.

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Book SynopsisIn Making Media Studies, David Gauntlett turns media and communications studies on its head. He proposes a vision of media studies based around doing and making not about the acquisition of skills, as such, but an experience of building knowledge and understanding through creative hands-on engagement with all kinds of media. Gauntlett suggests that media studies scholars have failed to recognise the significance of everyday creativity the vital drive of people to make, exchange, and learn together, supported by online networks. He argues that we should think about media in terms of conversations, inspirations, and making things happen. Media studies can be about genuine social change, if we recognise the significance of everyday creativity, work to transform our tools, and learn to use them wisely. Making Media Studies is a lively, readable, and heartfelt manifesto from the author of Making is Connecting.Trade Review«Sitting down with David Gauntlett’s ‘Making Media Studies’ is like having a conversation with an erudite, yet still optimistic scholar. Gauntlett celebrates ‘everyday makers’ on digital platforms such as YouTube, giving readers the pragmatic and conceptual tools needed to understand the positive aspects of this ongoing cultural shift. The result is a deeply engaging antidote to more pessimistic stirrings.» (Matt Ratto, Associate Professor, Faculty of Information, University of Toronto) «What Gauntlett offers is a bold, imaginative – and occasionally provocative – view of what media studies might become. This is a lively contribution to thinking about media and communications.» (Shaun Moores, Professor, University of Sunderland)«Sitting down with David Gauntlett’s ‘Making Media Studies’ is like having a conversation with an erudite, yet still optimistic scholar. Gauntlett celebrates ‘everyday makers’ on digital platforms such as YouTube, giving readers the pragmatic and conceptual tools needed to understand the positive aspects of this ongoing cultural shift. The result is a deeply engaging antidote to more pessimistic stirrings.» (Matt Ratto, Associate Professor, Faculty of Information, University of Toronto) «What Gauntlett offers is a bold, imaginative – and occasionally provocative – view of what media studies might become. This is a lively contribution to thinking about media and communications.» (Shaun Moores, Professor, University of Sunderland)Table of ContentsContents: Media Studies 2.0 – Further Reflections on Media Studies 2.0 – Creativity and Participatory Culture: A Conversation with Henry Jenkins – On Making Media Studies - a Crowdsourced Interview – Academia-Industry Collaboration and Innovation: Three Case Studies, and Eight Principles, for Fostering People’s Creativity on Digital Platforms – The Lego System as a Tool for Thinking, Creativity, and Changing the World – Creativity and Digital Innovation – The Internet is Ancient, Small Steps are Important, and Four Other Theses about Making Things in a Digital World.

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Book SynopsisIn Making Media Studies, David Gauntlett turns media and communications studies on its head. He proposes a vision of media studies based around doing and making not about the acquisition of skills, as such, but an experience of building knowledge and understanding through creative hands-on engagement with all kinds of media. Gauntlett suggests that media studies scholars have failed to recognise the significance of everyday creativity the vital drive of people to make, exchange, and learn together, supported by online networks. He argues that we should think about media in terms of conversations, inspirations, and making things happen. Media studies can be about genuine social change, if we recognise the significance of everyday creativity, work to transform our tools, and learn to use them wisely. Making Media Studies is a lively, readable, and heartfelt manifesto from the author of Making is Connecting.Trade Review«Sitting down with David Gauntlett’s ‘Making Media Studies’ is like having a conversation with an erudite, yet still optimistic scholar. Gauntlett celebrates ‘everyday makers’ on digital platforms such as YouTube, giving readers the pragmatic and conceptual tools needed to understand the positive aspects of this ongoing cultural shift. The result is a deeply engaging antidote to more pessimistic stirrings.» (Matt Ratto, Associate Professor, Faculty of Information, University of Toronto) «What Gauntlett offers is a bold, imaginative – and occasionally provocative – view of what media studies might become. This is a lively contribution to thinking about media and communications.» (Shaun Moores, Professor, University of Sunderland)«Sitting down with David Gauntlett’s ‘Making Media Studies’ is like having a conversation with an erudite, yet still optimistic scholar. Gauntlett celebrates ‘everyday makers’ on digital platforms such as YouTube, giving readers the pragmatic and conceptual tools needed to understand the positive aspects of this ongoing cultural shift. The result is a deeply engaging antidote to more pessimistic stirrings.» (Matt Ratto, Associate Professor, Faculty of Information, University of Toronto) «What Gauntlett offers is a bold, imaginative – and occasionally provocative – view of what media studies might become. This is a lively contribution to thinking about media and communications.» (Shaun Moores, Professor, University of Sunderland)Table of ContentsContents: Media Studies 2.0 – Further Reflections on Media Studies 2.0 – Creativity and Participatory Culture: A Conversation with Henry Jenkins – On Making Media Studies - a Crowdsourced Interview – Academia-Industry Collaboration and Innovation: Three Case Studies, and Eight Principles, for Fostering People’s Creativity on Digital Platforms – The Lego System as a Tool for Thinking, Creativity, and Changing the World – Creativity and Digital Innovation – The Internet is Ancient, Small Steps are Important, and Four Other Theses about Making Things in a Digital World.

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Book SynopsisThe Story of the Mexican Screenplay: A Study of the Invisible Art Form and Interviews with Women Screenwriters contributes to the international development of screenplay studies. While the debate on the ontology of the screenplay continues, a fact remains clear for screenwriters: the screenplay is the film's skeleton and the main base that sustains a story told through images. Certainly, lack of visibility, including publication, distribution, and promotion, are some of the problems that the screenplay confronts, but these are not the only challenges. Traditionally, the form has been unappreciated and regarded by many as only an initial step in the complexity of film production. In this study, the author elaborates on the cultural baggage that the screenplay carries since it is text imbued with multiple signs that for various reasons often get lost in the process and never make it to the screen. In this context, the author touches on the concept of adaptation since it is often

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Book SynopsisWhile Indian visual culture and Tantric images have drawn wide attention, the culture of images, particularly that of the divine images, is broadly misunderstood. This book is the first to systematically address the hermeneutic and philosophical aspects of visualizing images in Tantric practices. While examining the issues of embodiment and emotion, this volume initiates a discourse on image-consciousness, imagination, memory, and recall. The main objective of this book is to explore the meaning of the opaque Tantric forms, and with this, the text aims to introduce visual language to discourse. Language of Images is the result of a long and sustained engagement with Tantric practitioners and philosophical and exegetical texts. Due to its synthetic approach of utilizing multiple ways to read cultural artifacts, this work stands alone in its attempt to unravel the esoteric domains of Tantric practice by means of addressing the culture of visualization.Trade Review«It is refreshing to see a study that takes seriously visual images and visualization as primary pieces of evidence in seeking to understand the meaning and purpose of Tantra and South Asian religious traditions generally.… The overwhelming majority of people experience the meaning of their religious traditions through seeing images and hearing recitations. Sthaneshwar Timalsina’s work on the visual image as itself a kind of ‘language’ is a welcome addition to research on Tantra.» (Gerald James Larson, Research Professor, University of California, Irvine; Tagore Professor Emeritus, Indiana University, Bloomington; and Professor Emeritus, Religious Studies, University of California, Santa Barbara) «… Hindu and Buddhist Tantras have attracted the attention not only of Sanskritists but of scholars of cultural anthropology, religious studies, and, of late even of some Jungian psychologists. But rigorous Western philosophers have kept a safe and often suspicious distance from such ‘oriental mysticisms.’ …In this book, for the first time, Sthaneshwar Timalsina builds bridges between twenty-first-century psychology, phenomenology, semiotics, and philosophy of mind on the one hand and the wide and complex use of visual and proprioceptive images in altering bodily and mental states through contemplative practice. Written with uncompromising clarity and robust common sense, this ‘prasanna-padā’(gracefully phrased) exposition of the meaning and use of images in Tantric transformative spiritual practices is sure to transform the field of comparative philosophy of mind and of phenomenology of imagination. We have been waiting for an accessible yet textually meticulous introduction to the – ancient but alive – theory and practice of re-imagining the felt body that would attract a broadly philosophical readership the world over. With Timalsina’s book, the wait has ended…» (Arindam Chakrabarti, Professor of Philosophy and Director of the EPOCH Eastern Philosophy of Consciousness)Table of ContentsContent: Image, Imagination, and Meaning – Image and Visualization in Classical Hinduism – Better than Real: Imagining the Body in Tantric Rituals – Materializing Space and Time in Tantric Images – Transformative Role of Imagination in Visualizing the Image of Bhairava – Surplus of Imagination: Images with Multiple Arms.

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Book SynopsisModern German Plays: An Advanced German Textbook utilizes some of the most famous modern plays written in German as vehicles to teach German language, literature, and culture. The featured works are The Three-Penny Opera, The Devil's General, Caucasian Chalk Circle, The Chinese Wall, Visit, A Sports Play, and Innocence. The authors of these masterpieces include not only world-renowned dramatists such as Brecht, Zuckmayer, Frisch, and Dürrenmatt but also such celebrated contemporary female playwrights such as Nobel-laureate Jelinek and Loher. Designed to meet the instructional needs of advanced German courses, this volume combines a number of pedagogically proven foreign language teaching and learning strategies, primarily the communicative approach and the three-stage reading strategy. The organization of the featured plays by chapter provides the instructor with not only a welcome teaching and learning resource but also a convenient and flexible course managemTable of ContentsContents: Die Dreigroschenoper – Der kaukasische Kreidekreis – Des Teufels General – Die Chinesische Mauer – Der Besuch der alten Dame – Ein Sportstück – Unschuld.

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Book SynopsisA familiar, beloved, and yet misunderstood character in the Japanese folktale tradition is the animal-woman, an earthly animal that assumes the form of a female human. In order to articulate the characteristics that make Japanese Animal-Wife tales unique, this trailblazing book Japanese Animal-Wife Tales: Narrating Gender Reality in Japanese Folktale Tradition challenges long-held characterizations of them in folklore scholarship. By re-examining the gender-specific behaviors of both the animal-woman and her human spouse, the book recovers the sociocultural and historical contexts that underlay their behaviors to demonstrate the actual gender characteristics that shaped the original Japanese Animal-Wife tales, highlighting the assertive, rather than naïve, personality of women in early Japanese folktale tradition. This new approach to the study of Japanese folktales and culture will interest researchers and students in a variety of fields, including Japanese studies, comparativeTrade Review"Japanese Animal-Wife Tales is an instructive book particularly for cross-cultural analysis of the themes of animal-wife tales in Japan, Scotland, and Korea. It is recommended to anyone who is interested in animal-wife folktales and folktales in general." (Noriko T. Reider, Western Folklore 75.2)Table of ContentsContents: Demystifying Misconstrued Genders in Japanese Animal-Wife Tales – The Theoretical Characteristics of Japanese Animal-Wife Tales – The Search for the Main Theme of Japanese Animal-Wife Tales – Conclusion: Narrating Gender Reality behind Japanese Folktale Tradition.

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Book SynopsisThis unique work of scholarship explores contemporary issues of male spectatorship and the importance of biography for art criticism in the work of Tracy Chevalier, Eunice Lipton, Anna Banti, Kate Braverman, and Susan Vreeland. Drawing upon feminist concepts on the male and female gaze, Dr. Cortney Cronberg Barko perceptively examines how these authors challenge androcentric models of reading by demonstrating women's powers as readers and writers. This intriguing study reveals that authors working within the genre of fictionalized biographies of women painters reconstruct art history to create a new canon for women artists and invent a rhetoric about art that empowers women. This book is ideal for art history courses and a wide range of literature courses, including fiction, literary theory, literary criticism, feminist literary theory, and women''s literature.Table of ContentsContents: Tracy Chevalier and Eunice Lipton's Female Gaze: New Narratives about Women Painters – Tracy Chevalier's Girl with a Pearl Earring –Eunice Lipton's Alias Olympia: A Woman's Search for Manet's Notorious Model and Her Own Desire – Interpreting the Paintings of Artemisia Gentileschi: Biography as Feminist Art Criticism – The Inseparability of Frida Kahlo's Life and Art: The Importance of Biography for Feminist Art Criticism – Susan Vreeland's Emily Carr: Inventing a New Rhetoric About Art for Women.

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Book SynopsisThis collection of essays on popular culture and politics in the Americas presents the study of ethnographic and historical data from different countries: Canada, United States, Mexico, Brazil, Paraguay and Argentina. Each chapter brings to light a distinct focus on the way in which popular cultural practices evolve in the context of contemporary globalization. Accordingly, this book aims to improve our understanding of the way in which subordinate groups participate in the process of state building and in the reproduction (or rejection) of the major macroeconomic and cultural processes shaping contemporary societies.Table of ContentsContents: Mariá Ana Portal: Prologue – Eduardo González Castillo/Jorge Pantaleón/Nuria Carton de Grammont: The Popular Revisited through a Polyphonic Overview – Pablo Alabarces: Post-popular Cultures in Post-populist Times: The Return of Pop Culture in Latin American Social Sciences – Eduardo González Castillo: The Popular in Parenthesis: State Interpellation and Popular Culture - A Case Study of Immigrant Youth in Montreal – Julieta Infantino: Disputes over Senses of the Popular in the Circus Arts in the City of Buenos Aires, Argentina – Laura Navallo: Making the State: Forming and Educating the Public, Presenting and Circulating Contemporary Dance in Brazil – Nuria Carton de Grammont: The Aesthetics of Informality, Self-Management, Popular Culture, and Urban Imaginaries in Mexico City – Ricardo Macip: Pankration: The Spectacle of Masculinity in Mexican Political Culture – Elizabeth Fast: Popular Culture and Urban Indigenous Youth – Leah S. Stauber: Concientización, Praxis and the Radical Habitus: Youth and the Re/Formation of Popular Contestations on the U.S. - Mexico Border – Brígida Renoldi: Agency and State in the Triple Frontier – Jorge Pantaleón: Between Savings and Celebratory Expenses: Popular Economy among Mexican Seasonal Farm Workers in Canada.

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Book SynopsisThe second edition of Vygotsky and Creativity: A Cultural-historical Approach to Play, Meaning Making, and the Arts presents an enriched Vygotskian perspective on children's and adults' symbolic engagement with imagination, artistic expression, and multi-modal forms of expression. Artists, psychologists, and educators present their research and practice in different learning environments and analyze their findings with a reliance on cultural historical activity theory. The connections between creative expression, learning, teaching, and development are situated in a theoretical framework that emphasizes the social origins of individual development and the arts. The authors share a view of learning as an imaginative process rooted in our common need to communicate and transform individual experience through the cultural lifelines of the arts. Vygotsky and Creativity, Second Edition includes the additional work of internationally known Vygotskian scholars whose contrTable of ContentsList of Figures and Table – Acknowledgments – Vera John-Steiner/M. Cathrene Connery/Ana Marjanovic-Shane: Dancing with the Muses: A Cultural-Historical Approach to Play, Meaning Making, and Creativity – M. Cathrene Connery: The Historical Significance of Vygotsky’s Psychology of Art – Lois Holzman: Without Creating ZPDs There Is No Creativity – Anna Stetsenko: Agentive Creativity in All of Us: An Egalitarian Perspective from a Transformative Activist Stance – Biljana C. Fredriksen: Where Is the Body?: Understanding Children’s First Signs and Representations from Their Point of View – Patricia St. John: Crossing Scripts and Swapping Riffs: Preschoolers Make Musical Meaning – Artin Göncü: Constructing the Ensemble: Negotiating Life with(in) Play – M. Cathrene Connery: The Social Construction of a Visual Language: On Becoming a Painter – Barry Oreck/Jessica Nicoll: Dance Dialogues: Creating and Teaching in the Zone of Proximal Development – Peter Smagorinsky: The Inscription of Self in Graphic Texts in School – Seana Moran: Commitment and Creativity: Transforming Experience into Art – Beth Ferholt: A Synthetic-Analytic Method for the Study of Perezhivanie: Vygotsky’s Literary Analysis Applied to Playworlds – Michelle Zoss: Keeping Ideas and Language in Play: Teaching Drawing, Writing, and Aesthetics in a Secondary Literacy Class – Ana Marjanovic-Shane: From Yes and No to Me and You: A Playful Change in Relationships and Meanings – Larry Smolucha/Francine Smolucha: New Frontiers for Vygotsky’s Theory of Creativity: Neuropsychological Systems of Cultural Creativity – Carrie Lobman: Creating Developmental Moments: Teaching and Learning as Creative Activities – Ana Marjanovic-Shane/M. Cathrene Connery/Vera John-Steiner: A Cultural-Historical Approach to Creative Education – Contributors – Index.

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Book SynopsisCharles Dickens, celebrated novelist and journalist, believed that his greatest ability as a writer was to make people laugh. Yet, to date, humor has been strangely marginalized in journalism, communication and media studies. This innovative book draws together the work of seventeen writers to show that, starting in the 1640s during the English Civil War, and continuing through to the present time, humor has indeed been an important ingredient of journalism. Countries studied include Australia, Britain, Canada, Chile and the United States. The Funniest Pages is divided into four sections: Seriously Funny, From Past to Present, Unsolemn Columnists, This Sporting Life and a final section, Have Mouse, Will Laugh, which looks at humor in online journalism. Chapters examine Joseph Addison, Richard Steele and the birth of social and political satire; Allen Ginsberg, Mad magazine, and the culture wars of the 1950s; John Clarke and the power of satire in journalism, and more.Trade Review«Although at times one yearns for a few more jokes to leaven the analysis, this is serious and useful survey of the uses of humour in journalism.» (James Hollings, Pacific Journalism Review 24/2 2018)Table of ContentsContents: David Swick/Richard Lance Keeble: Journalism - So Often Funnier than Fiction – Nicholas Brownlees: News Mockery in the English Civil War and Interregnum Press – Dean Jobb: «Written with Powers Truly Comick»: Joseph Addison, Richard Steele and the Birth of Social and Political Satire – Ben Stubbs: Travel Writing and Humor: From Dickens and Twain to the Present Day – Mary M. Cronin: Sifting Comic Wheat from Western Chaff: Alex E. Sweet, John Armoy Knox, and the Humor of the American West – Mark J. Noonan: Howling Mad: Mad Magazine, Allen Ginsberg, and the Culture Wars of the 1950s – David Swick: Comedy in Tragedy: Humor in the Literary Journalism of James Cameron – Hendrik Michael: Words! Wisdom! Gibberish!: Verbal Irony in Fear and Loathing: On the Campaign Trail ’72 – Antonio Castillo: The Clinic: Satirizing and Interrogating Power in post-Pinochet Chile – Carolyn Rickett: Deadly Funny: How John Diamond Used Humor to Tackle the Taboo Subjects of Cancer and Dying – James Waller-Davies: «Common sense dancing»: Clive James’s Invention of the Television Column as a Comic Genre – Matthew Ricketson: John Clarke and the Power of Satire in Journalism – Rob Steen: A Sporting Chance: Fun and Failure - Both On and Off the Field – Dermot Heaney: Bowling Them Over and Over with Wit: Forms and Functions of Humor in Live Text Cricket Coverage – Sue Joseph: Harmer, Humor and The Hoopla: In the Vanguard of Australian Female Comedy – Asif Hameed: Speaking Truth to Power in 140 Characters or Less: Political Satire, Civic Engagement and Journalism – Blake Lambert: Twitter and the Revitalization of Black Humor in Journalism – Kevin M. Lerner: How Spy, the Iconic Satirical Magazine of the 1980s, Invented Contemporary Snark, and How Internet Journalism Has Misappropriated It – Richard Lance Keeble and David Swick: Putting Fun into the Curriculum.

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Book SynopsisThis selection of Ibrahim Mālik’s short stories and poetry brings together an illustrative compendium of his works, which propose a genuine portrait of the numerous predicaments, concerns, apprehensions, and coercions from which the Arab community inside Israel suffers.Trade Review«Jamal Assadi in his subtle reading and translation of Ibrahim Mālik’s works (short stories and poetry) demonstrates a fine literary sensibility and an acute appreciation of the craft of fiction and poetry. This is undoubtedly a significant contribution to the scholarship of Ibrahim Mālik fiction and poetry in particular and Palestinian literature in general.» (Foad Azzam, The Department of Arabic, Sakhnin College)Table of ContentsContents: Short Fiction – Poetry.

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