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Minggu, 16 November 2014

~ Free PDF Interpreting National History: Race, Identity, and Pedagogy in Classrooms and Communities (Teaching/Learning Social Justice), by Terrie Ep

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How do students’ racial identities work with and against teachers’ pedagogies to shape their understandings of history and contemporary society? Based on a long-term ethnographic study, Interpreting National History examines the startling differences in black and white students' interpretations of U.S. history in classroom and community settings. Interviews with children and teens compare and contrast the historical interpretations students bring with them to the classroom with those they leave with after a year of teacher's instruction. Firmly grounded in history and social studies education theory and practice, this powerful book:

Illuminates how textbooks, pedagogies, and contemporary learning standards are often disconnected from students’ cultural identities

Explores how students and parents interpret history and society in home and community settings

Successfully analyzes examples of the challenges and possibilities facing teachers of history and social studies

Provides alternative approaches for those who want to examine their own views toward teaching national history and aspire to engage in more culturally responsive pedagogy.

Sales Rank: #1342957 in Books
Published on: 2008-09-21
Released on: 2008-11-15
Original language: English
Number of items: 1
Dimensions: 9.00" h x .44" w x 6.00" l, .60 pounds
Binding: Paperback
192 pages

Review

"Her [Epstein] book should appeal to several audiences. First, particularly for students of educational research, her analysis of how and why children and adolescents arrive at school with substantially different preconceived narratives about American history--and complete entire history courses with those dichotomous narratives substantially intact--makes a fascinating and instructive research case study (Yin, 2009) on the effects of pedagogy and curriculum materials on learning....Second, particularly for teachers of history, social studies, and race and ethnicity, her book provides several empirically-tested suggestions for how best to teach about and discuss issues of race, both to ethnically homogenous and multi-ethnic classes. Moreover, she provides numerous resources for curriculum and supplemental materials and activities that could well enrich both in-class and out-of-class learning about race in U.S. history." -- Teachers College Record, Date Published: January 22, 2009

"Overall, this text serves as a great tool for those who wish to see the interplay between culturally responsive, culturally relevant, and social justice education. Epstein masterfully makes a case for the presence of these elements in the teaching of national history in order to enact altering learning experiences for all students, regardless of race." -- Alexandra Cuenca, Education Review, Date Published: April 23, 2009

"Epstein’s work provides an in-depth and rich set of data and findings that would be suitable for a range of classes, from pre-service programs through doctoral-level classes. The writing is accessible and engaging, and at 146 pages, compact and approachable."―Jeremy Stoddard, Theory & Research in Social Education (Winter 2009): 140-143

About the Author

Terrie Epstein is Associate Professor in the Department of Curriculum and Teaching, Hunter College and an affiliated faculty member of the Ph. D. Program in Urban Education at the CUNY Graduate Center.

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> PDF Ebook Focus: Music, Nationalism, and the Making of the New Europe (Focus on World Music Series), by Philip V. Bohlman

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Two decades after the fall of communism in Eastern Europe and one decade into the twenty-first century, European music remains one of the most powerful forces for shaping nationalism. Using intensive fieldwork throughout Europe -- from participation in alpine foot pilgrimages to studies of the grandest music spectacle anywhere in the world, the Eurovision Song Contest -- Philip V. Bohlman reveals the ways in which music and nationalism intersect in the shaping of the New Europe.

Focus: Music, Nationalism, and the Making of the New Europe begins with the emergence of the European nation-state in the Middle Ages and extends across long periods during which Europe’s nations used music to compete for land and language, and to expand the colonial reach of Europe to the entire world. Bohlman contrasts the "national" and the "nationalist" in music, examining the ways in which their impact on society can be positive and negative -- beneficial for European cultural policy and dangerous in times when many European borders are more fragile than ever. The New Europe of the twenty-first century is more varied, more complex, and more politically volatile than ever, and its music resonates fully with these transformations.

Sales Rank: #2029196 in Books
Published on: 2010-09-05
Original language: English
Number of items: 1
Dimensions: 9.36" h x .67" w x 7.32" l, 1.26 pounds
Binding: Paperback
352 pages

Review
"There is much here for students of history and political science and still more for music undergraduates. Bohlman's bridging of history and ethnography provides a model that we can only hope to see emulated." - Brian C. Thompson, Fontes artis musicae

About the Author

Philip V. Bohlman is the Mary Werkman Distinguished Service Professor of the Humanities and of Music, and Honorarprofessor at the Hochschule für Musik und Theater Hannover, Germany. Among the awards for his wide-ranging publications are the Edward Dent Medal of the Royal Music Association, the Berlin Prize of the American Academy in Berlin, the Donald Tovey Memorial Prize of Oxford University, and the Derek Allen Prize for Musicology (for the first edition of Focus: Music, Nationalism, and the Making of the New Europe) from the British Academy, to which he was elected as a Corresponding Fellow in 2007.

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Minggu, 09 November 2014

@ Get Free Ebook Governing Women: Women's Political Effectiveness in Contexts of Democratization and Governance Reform (Routledge/UNRISD Research in Gender

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Though the proportion of women in national assemblies still barely scrapes 16% on average, the striking outliers – Rwanda with 49% of its assembly female, Argentina with 35%, Liberia and Chile with new women presidents this year – have raised expectations that there is an upward trend in women’s representation from which we may expect big changes in the quality of governance. But getting women into public office is just the first step in the challenge of creating governance and accountability systems that respond to women’s needs and protect their rights.

Using case studies from around the world, the essays in this volume consider the conditions for effective connections between women in civil society and women in politics, for the evolution of political party platforms responsive to women’s interests, for local government arrangements that enable women to engage effectively, and for accountability mechanisms that answer to women. The book’s argument is that good governance from a gender perspective requires more than more women in politics. It requires fundamental incentive changes to orient public action and policy to support gender equality.

Sales Rank: #12798599 in Books
Published on: 2008-12-12
Original language: English
Number of items: 1
Dimensions: 9.00" h x 6.00" w x .75" l, 1.20 pounds
Binding: Hardcover
307 pages

Review
"Nuclear Disaster at Fukushima Daiichi is one of the first and most comprehensive social scientific analyses of the natural and human-made disaster that is Fukushima Daiichi. It brings together some of world's leading thinkers on science, technology and society, risk analysis, energy policy as well as indigenous Japanese scholars offering an internal critical account of the reasons, actors, dynamics and implications of this disaster. This is a major scholarly contribution to an extremely pressing and urgent issue and Hindmarsh is to be congratulated in bringing together such an impressive array of scholarship in such a short space of time." -John Barry, Queens University, Belfast "Richard Hindmarsh has added a new dimension to the global policy debate over the safety of nuclear energy. The twelve chapters in the book provide rich sources of information and conceptual agendas. The book will become a `must' for those who want to partake in this ongoing discussion." -Akira Nakamura, Meiji University Not enough has been written about this multifaceted calamity, part of the greater 11 March incident called 3.11 in Japan. Richard Hindmarsh and his colleagues should be commended for taking on the difficult social and political aspects of the Fukushima disaster within Japan, and for shining an objective spotlight on the various official failings that magnified the crisis. It ought to be read by anyone concerned about the current state of the nuclear industry, the politics of disaster management and the nature of science and public opinion. -Joel Campbell, Troy University, Global Campus, Japan-Korea

About the Author

Anne Marie Goetz is a Professor of Political Science at the Institute of Development Studies, University of Sussex, currently on leave and working as an advisor on governance, peace and security to the UN Development Fund for Women. She is the author of five books on the subjects of gender and politics in developing countries, and on accountability reforms.

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Kamis, 06 November 2014

> Download Live: Art and PerformanceFrom Routledge

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First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

Sales Rank: #2207806 in Books
Published on: 2004-11-10
Original language: English
Number of items: 1
Dimensions: .94" h x 8.70" w x 10.18" l, 2.59 pounds
Binding: Paperback
240 pages

Review
...an excellent illustration of performance art's ability to engage its audience directly, to inspire the audience to search its own thoughts and feelings, and, in so doing, to complete the work that the artist began.
–Library Journal

Live presents a thought-tweaking array of work by a variety of artists. Every page raises questions on the direction of art, ethical use of children, animals, and wet ware (dolls made of living organisms) as performance props. Abuse of the human body, genitals as art materials and manifesting a cornucopia of unusual sexual behavior are the tools and production practices employed to shock and enthrall audiences.
Live is laudatory book that dotes on the freakishness of performance and neglects to discuss critically the inherent problems associated with categorizing it as art rather than theater. Nevertheless, in the sea of literature vying for position in emerging art histories this book floats to the surface.
.
–NoHo->LA

[An] extremely useful, well-edited and readable book ... The essays in Live are excellent, both varied and well-informed.
–Performance Research, February 2005

About the Author
Adrian Heathfield writes on and curates performance. He is a Principal Research Fellow in Performance, at the School of Art and Design, The Nottingham Trent University.

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3 of 3 people found the following review helpful.
Live: Art and Performance, a review
By Andrea Juillerat
Art and Performance: LIVE
a book review

Andrea Juillerat

This highly engaging book edited by Adrian Heathfield is a collection of essays by various writers and artists on the topic of current and recent practices in the field of performance art. The book was first published in 2004 by Routeledge, an offspring of the Taylor Francis Group. It is filled with excellent color photographs depicting many of the works described. The photography is mostly credited to Hugo Glendinning, with just a few of the images used by permission from museums or other gallery sources. Some of the chapters take the form of a traditional informative essay, while others are written in non-tradition or experimental manners; in some cases it's unclear whether the writing is at all separate from the performance act being described, or merely an additional stage of the life of the work itself. The book is timely in its content, brushing up against some of the most compelling and controversial technology emerging in the twenty first century. Most articles are heavily laden with art theory discourse and reference, a juicy read for any philosopher of art, or art theory student. As much as the book reaches for the pinnacle of the newest new, it also hearkens back to touch its roots in Futurism, conceptual art of the late 60s, Fluxus, feminist art, video art, and most importantly drawing historical reference from the 1970s, a time when the term "performance art" was first coined. It is clear that today's performers are well aware of their forefathers and the precedents that have been set in earlier times.
No book on performance art could be complete without a mention of Marina Abramovic, often called the "grandmother" of performance art. Peggy Phelan's essay on Abramovic, actually a series of personal letters written to the artist but perhaps never sent, gives the reader tremendous insight into how the works of an artist can have a profound effect on an audience member. We are permitted an intimate view into the heart and mind of Ms. Phelan, who offers us an equally compelling perspective on the life works of the artist herself. "On Seeing the Invisible: Marina Abramovic's The House with the Ocean View" is one of the best pieces in the book and in fact lingered in my thoughts for many days following. The photo of Abramovic, suffering at the hands of the public in her famous piece Rhythm O, is an image that will forever be burned upon my retinal memory and one which continues to haunt me on an almost daily basis.
The importance of Abramovic's work is certainly not to be underestimated by the editor who also includes his own private an interview with her. "Marina Abramovic: Elevating the Public, in conversation with Adrian Heathfield" is a recent discussion with the famous artist that starts by exploring her 2002 work in New York, The House with an Ocean View. It is a revealing and personal interview which allows the reader to hear about her work first hand and understand better how she uses emotional honesty and vulnerability to transform the audience, the space she is in, and ultimately the lives of a great many people. There is no doubt that she will forever remain a remarkable figure in the history of performance art.
The essay which surprised me most by presenting a form of art I had never before encountered was Oron Catts piece, "The Art of the Semi-Living" in which he discusses the use of live human tissue cultures to create semi-living sculptures that must be kept in highly specialized laboratory settings for the duration of the art show. Exhibiting this kind of work presents a challenge to gallery spaces, in that it may well be the first time that fully equipped labs have been brought to and erected inside of galleries and museums. Even more shocking is that the show ends by removing the sculptures from the safety of their incubators and allowing them to be touched, and therefore killed, by the audience. On some occasions the group has presented shows in which the semi-living sculptures are consumed by audience. The writer is also a founding member of The Tissue Culture & Art Project, a group of scientists/artists exploring issues about society's "hyposcrisy" towards living systems, and especially "semi-living" systems as they like to call their tissue cultures. They address ethical questions and concerns as well as the assumptions underlying the definition of life. It is the challenge to those assumptions within their work that cause some people a great deal of discomfort. Admittedly, the photographs of their semi-living sculptures gave me a chill and stomach twist that I had not expected from a book on art. The group also built three laboratory installations for another project Disembodied Cuisine & Art(tificial) Womb which took place as part of L'art Biotech, an exhibition in Nantes, France.
Another performance artist who appears in more than one essay of the book is Guillermo Gomez Pena and his collaborators, La Pocha Nostra. Their performance Ex-Centris is given a several page photo spread alongside a concise explanation by Pena himself about the nature of their performance art. According to Pena, much of what they do is exploration of "Other-as-Freak" by using their own bodies, costumes, make-up and prosthetic props. He states that the "ambiguity and contradiction opened up by performance art becomes ideal for this kind of anthro-poetical inquiry." Certainly his long career engaging with such topics is a testament to the success of the medium for this purpose. He speaks frankly and intelligently about the persistence of performance art right up into the present day in his own essay called "In Defence of Performance Art." He conjectures that the seeming endless fascination for watching live performance acts of art is linked to shamanism and magic. More than any other essay in the book he grapples with the challenges of continual cooptation by mainstream media and how the relentless absorption of thrill and shock into everyday life affects performance artists, who have traditionally been on the cutting edge of shock tactics and extreme radicalism.
Roselee Goldberg write an essay, "One Hundred Years" looking at the history and development of performance art. She traces its beginnings to F.T. Marinetti's Furturist Manifesto launched onto the scene in Parisian press 1909. From the Futurists to the Constructivists, Dada, Hugo Ball and John Cage, the leaping fire of that first spark has fed the movements right up until now where the practice of performance art is as robust as ever. Her main concern is how to preserve the fragility of time-based art, the transience of those moments that etched some sacred transmission of meaning on the world. Her essay comes full circle at the end connecting the energy and urgency of artists at the beginning of the twenty-first century with that of the Futurists 100 years ago.
Some of the most provocative images in the book come from the performances of Romeo Castellucci and Societas Raffaello Sanzio. Their latest project is called Tragedia Endogonidia. The photos are accompanied by an essay from Joe Kelleher, "The Suffering of Images." Each image carries immense impact, some of them include a child incorporated into a set and setting the can only elicit uncomfortable imaginings. How does the child come to be there? Who allows their child to take part in such visually unusual performative acts? While none of the photos depict anything close to abuse or sexual inappropriateness, there is still a feeling of unease when viewing them. A man with long white hair in a red cape with a red top hat pours a bowl of red paint over a small girl in her underwear. Later, the same man all in white lays the child down on an operating table in a white room. All the images presented in this section are contained in that most compelling category of aesthetics, the beautiful-horror, the disturbing-compelling, the paradox of unanswered questions and lingering innuendos. One cannot help but gaze at them time and time again while conjecture stirs the mind.
No book on performance art would be complete without some attention to the wild and stunning assaults on flesh that many performance artists have made and continue to make. The body has often been a site for performance acts, and by hosting the acts of the artist, it is frequently mutilated or injured in the process of the work. It's not hard to remember Chris Burden's Shoot, and the image his arm bleeding from the freshly created bullet hole, or Orlan's ever-changing features and the images from her well-documented cosmetic surgeries. Amelia Jones writes an interesting piece on just this topic in "Working the Flesh: A Meditation in Nine Movements," where she delves deeply into the use of flesh in art from nine different perspectives: flesh as fetish, as being, as writing on the parchment of the skin, flesh as an organic substance, flesh as wired to globalism and forced labor, flesh when wounded, flesh when flayed, flesh as hymen and breaking open, and flesh as the materiality of this world. Each segment explores artists who have visited sensations and acts, sometimes of incredible brutality upon their flesh or the flesh of others in the name of art. One thing is sure, no matter how many times blood is drawn in the name of art, it never gets old. Artists are continually exploring way of using flesh to express what cannot be expressed by any other medium in quite the same way.
Amelia's piece is not the only one to address this area of performance art, there are also the photographs of Franko B.'s performance, I Miss You! where he is painted white and bleeding from both arms while walking slowing up and down a long cat-walk stage covered in white cloth. He states that his work "focuses on the visceral, where the body is a site for the representation of the sacred...." Despite what critics may say he affirms that his work is about beauty, but "a beauty that is not detached from life."
Ron Athey also discusses his work in "Reading Sister Aimee" which begins with a question. Can his work change the public's view of self-destructive behavior, or "is it just a tiny little Fake Death, full of kinky edge play, back up by an Overly Didactic Message?" Surely there are people in the world who would challenge his contention that what he does is art; but it's not such a vast leap to see that ritual is an art form, and that self-destructive behavior, especially when dedicated and meticulously planned, is a ritual.
Of all the essays the book has to offer I most enjoyed reading "Exhausting Dance: Themes for a Politics of Movement" by Andre Lepecki. He speaks of the recent shift in European dance explorations that seem to many traditional dancers to be a kind of "betrayal." The reasons for this are complex but he explains them very well. The feeling of betrayal comes from an ontological assumption that up until now, dance has meant movement. Lepecki states that this seemingly common sense idea is actually a fairly recent development, closely tied to North American modernism. He traces the idea back to a speech given by John Martin in the 1930s in New York where he says, "only with modern dance has dance finally found the possibility of its true beginning...the beginning was the discovery of the actual substance of the dance, which it found to be movement." Working from this assumption the contemporary projects coming from Europe seem like a betrayal since they emphasize a "deflation of movement", question who or what holds the body's property, and also who or what sustains movement. These newest forms have been widely misunderstood and mislabeled, often being called conceptual or minimal. The question of what dance is remains open and Lepecki does not try to answer it completely but he does offer some interesting ideas about what it has seemed to be.
I am fascinated by his characterization of dance as a "plaint" a mourning of the passing of time, a sadness that is deeply associated with modernism. Traditional dance as we know it aims to stop the passage of time, or control it. The work of the dancer is to reach for immortality, to stop the inescapable movement of metered time. Time becomes fetishized as a "lost object" something we don't perceive directly, except in the effect it has upon our bodies, the aging, the loss of movement, the decline of agility, the promise of death. Here Lepecki draws upon both Freud and Walter Benjamin in an attempt to explain what we have always wanted from dance, which was to know how to "be in time." How to live with the passage and movement of time? The answer which dance has historically given has been to "be on time," and that is what most choreography has focused on, meter and timing - and that in turn is why the experiments of today's European dance artists seem in many ways to be a betrayal. They have left behind the ontological assumptions of dance being movement, and being `on time,' they have broken this melody that we were so used to experiencing, this plaint of modern dance, this melancholic reiteration of the loss of time.
This review lacks the space and scope to delve into each and every offering inside the book, however, I hope that the highlights presented here will compel anyone interested in the topic to seek out and read this remarkable text.

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First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

Sales Rank: #2531824 in Books
Brand: Wyatt, Thomas
Published on: 2003-03-28
Released on: 1899-12-31
Original language: English
Number of items: 1
Dimensions: 11.69" h x .22" w x 8.26" l, .35 pounds
Binding: Paperback
96 pages

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Science and Empire in the Atlantic World is the first book in the growing field of Atlantic Studies to examine the production of scientific knowledge in the Atlantic world from a comparative and international perspective. Rather than focusing on a specific scientific field or single national context, this collection captures the multiplicity of practices, people, languages, and agendas that characterized the traffic in knowledge around the Atlantic world, linking this knowledge to the social processes fundamental to colonialism, such as travel, trade, ethnography, and slavery.

Sales Rank: #418775 in Books
Published on: 2007-10-28
Original language: English
Number of items: 1
Dimensions: 8.90" h x .80" w x 5.90" l, .0 pounds
Binding: Paperback
384 pages

Review

"It is a pleasure to welcome this collection of new essays on the changing role of science in the Atlantic World....The editors have sought to recover stories of navigation, conquest, and settlement that earlier historians have sought to simplify; and in this, they have admirably succeeded....This book will be a useful addition to the libraries of all who study science and empire." Roy McLeod, Isis, the Journal of the History of Science Society

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About the Author

James Delbourgo is Assistant Professor of History and Chair of History and Philosophy of Science at McGill University. He is the author of A Most Amazing Scene of Wonders: Electricity and Enlightenment in Early America.

Nicholas Dew is Assistant Professor of History at McGill University, where he teaches early modern European history and history of science. He is the author of Orientalism in Louis XIV’s France.

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Elusive Justice addresses how educators think about and act upon, differences in schools - be they based on race, gender, class, or disability - and how discourse and practice about such differences are intimately bound up with educational justice. Rather than skip over contentious or uncomfortable dialogues about difference, Thea Abu El-Haj tackles them head on. Through rich and detailed ethnographic portraits of two schools with a commitment to social justice, she analyzes the ways discourses about difference provide a key site for both producing and resisting inequalities, and examines the dilemmas that emerge from either focusing on or ignoring them. In interrogating fundamental assumptions about difference and equity, Abu El-Haj deftly blends critique with a search for hope and possibility, to ultimately argue for ways educators might translate ideals about justice into effective practice.

Sales Rank: #1269121 in Books
Published on: 2006-09-23
Released on: 2006-11-09
Original language: English
Number of items: 1
Dimensions: 9.02" h x .58" w x 5.98" l, .90 pounds
Binding: Paperback
254 pages

About the Author
Thea Abu El-Haj is Assistant Professor in the Graduate School of Education at Rutgers University.

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4 of 5 people found the following review helpful.
I am again quoting something from this book for a ...
By Celia J. Oyler
I am again quoting something from this book for a talk I'm giving, and entered the Amazon cite to make sure my citation was correct, saw it only had one star -- How can that be? The book is superb for explaining so much aobut how our society shapes teachers' and students' identies and thinking and how we can learn our way out of our prejudices -- coming to terms with how our cultures have shaped us and begin to build a new way of relating outside the tired boxes of center and margins.

1 of 9 people found the following review helpful.
Waste of time!
By Kim M. Hillier
This is a load of liberal B.S! When will the academic establishment wake up and stop making excuses for people. A little bit of self-discipline goes a long way.

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