Every Natural Fact: Five Seasons of Open-Air Parenting is a narrative of mother-and-son nature outings across the state of Wisconsin. In a style that blends the voices of Janisse Ray and Annie Dillard, a mother and son explore parallels in the world of people and nature. The interconnected chapters stand on their own and build upon each other. These explorations of natural history, flora and fauna, and parenting themes demonstrate that the mythic thread that winds through everything can still be found, even in a world of wounds. Amy Lou Jenkins' award-winning writing is rich in sensory immediacy, characterization, natural history, and humor.
Every Natural Fact: Five Seasons of Open-Air Parenting is a narrative of mother-and-son nature outings across the state of Wisconsin. In a style that blends the voices of Janisse Ray and Annie Dillard, a mother and son explore parallels in the world of people and nature. The interconnected chapters stand on their own and build upon each other. These explorations of natural history, flora and fauna, and parenting themes demonstrate that the mythic thread that winds through everything can still be found, even in a world of wounds. Amy Lou Jenkins' award-winning writing is rich in sensory immediacy, characterization, natural history, and humor.
A research-based foundational overview of contemporary adult education Foundations of Adult and Continuing Education distills decades of scholarship in the field to provide students and practitioners with an up-to-date practical resource. Grounded in research and focused on the unique needs of adult learners, this book provides a foundational overview of adult education, and an introduction to the organizations and practices developed to support adult learning in a variety of contexts. The discussion also includes select understandings of international adult education, policy, and methods alongside theoretical frameworks, contemporary and historical contexts, and the guiding principles of adult education today. Coverage of emerging issues includes the aging society, social justice, and more, with expert insight from leading authorities in the field. Many adult educators begin practice through the context of their own experiences in the field. This book provides the broader research, theory, and practice needed for a deeper understanding of adult education and its place in society. Learn the key philosophical and theoretical frameworks of adult education Survey the landscape of the field through contemporary and historical foundations Examine key guiding understandings and practices targeted to adult learners Delve into newer concerns including technology, globalization, and more Foundations of Adult and Continuing Education provides an expertly-led overview of the field, and an essential introduction to real-world practice.
From her childhood in Detroit to her professional career in New York City, American composer Lucia Dlugoszewski (1925–2000) lived a life of relentless creativity as a poet and writer, composer for dance, theater, and film, and, eventually, choreographer. Forging her own path after briefly studying with John Cage and Edgard Varèse, Dlugoszewski tackled the musical issues of her time. She expanded sonic resources, invented instruments, brought new focus to timbre and texture, collaborated with artists across disciplines, and incorporated spiritual, psychological, and philosophical influences into her work. Remembered today almost solely as the musical director for the Erick Hawkins Dance Company, Dlugoszewski's compositional output, writings on aesthetics, creative relationships, and graphic poetry deserve careful examination on their own terms within the history of American experimental music.
Calling attention to the unseen mediation and re-mediation of life narratives in online and physical spaces, this ground-breaking exploration uncovers the ever-changing strategies that authors, artists, publishers, curators, archivists and social media corporations adopt to shape, control or resist the auto/biographical in these texts. Concentrating on contemporary life texts found in the material book, museums, on social media and archives that present perceptions of individuality and autonomy, Reading Mediated Life Narratives exposes the traces of personal, cultural, technological, and political mediation that must be considered when developing reading strategies for such life narratives. Amy Carlson asks such questions as what agents act upon these narratives; what do the text, the creator, and the audience gain, and what do they lose; how do constantly evolving technologies shape or stymie the auto/biographical I; and finally, how do the mediations affect larger issues of social and collective memory? An examination of the range of sites at which vulnerability and intervention can occur, Carlson does not condemn but stages an intercession, showing us how it is increasingly necessary to register mediated agents and processes modifying the witnessing or recuperation of original texts that could condition our reception. With careful thought on how we remember, how we create and control our pictures, voices, words, and records, Reading Mediated Life Narratives reveals how we construct and negotiate our social identities and memories, but also what systems control us.
In the "twinkling of an eye" Jesus secretly returns to earth and gathers to him all believers. As they are taken to heaven, the world they leave behind is plunged into chaos. Cars and airplanes crash and people search in vain for loved ones. Plagues, famine, and suffering follow. The antichrist emerges to rule the world and to destroy those who oppose him. Finally, Christ comes again in glory, defeats the antichrist and reigns over the earth. This apocalyptic scenario is anticipated by millions of Americans. These millions have made the Left Behind series--novels that depict the rapture and apocalypse--perennial bestsellers, with over 40 million copies now in print. In Rapture Culture, Amy Johnson Frykholm explores this remarkable phenomenon, seeking to understand why American evangelicals find the idea of the rapture so compelling. What is the secret behind the remarkable popularity of the apocalyptic genre? One answer, she argues, is that the books provide a sense of identification and communal belonging that counters the "social atomization" that characterizes modern life. This also helps explain why they appeal to female readers, despite the deeply patriarchal worldview they promote. Tracing the evolution of the genre of rapture fiction, Frykholm notes that at one time such narratives expressed a sense of alienation from modern life and protest against the loss of tradition and the marginalization of conservative religious views. Now, however, evangelicalism's renewed popular appeal has rendered such themes obsolete. Left Behind evinces a new embrace of technology and consumer goods as tools for God's work, while retaining a protest against modernity's transformation of traditional family life. Drawing on extensive interviews with readers of the novels, Rapture Culture sheds light on a mindset that is little understood and far more common than many of us suppose.
A dynamic resurgence in sewing and knitting is under way, with many people enjoying making and mending their own garments at home. However, stories abound of homemade clothes languishing at the back of the wardrobe. Amy Twigger Holroyd draws on ideas of fashion, culture and craft to explore makers' lived experiences of creating and wearing homemade clothes in a society dominated by shop-bought garments. Using the innovative metaphor of fashion as common land, Folk Fashion investigates the complex relationship between making, well-being and sustainability. Twigger Holroyd combines her own experience as a designer and knitter with first-hand accounts from folk fashion makers to explore this fascinating, yet under-examined, area of contemporary fashion culture.Looking to the future, she also considers how sewers and knitters might maximise the radical potential of their activities.
From the founders of #Kinderchat, this book provides a comprehensive, friendly guide to teaching in the early childhood classroom. Organized around the same core topics as #Kinderchat, conversational yet authoritative chapters cover everything a novice teacher needs to know, from setting up your classroom to establishing routines and engaging with parents. Learn how to effectively incorporate play, meet the needs of diverse learners, and cover curriculum like a pro. With helpful tips for working with a range of program structures, this is a must-have read for anyone new to the kindergarten or pre-K classroom.
Young learners are full of questions and wonderings, so much so that sometimes they need a guide for their curiosity. Author Amy Stewart brings her manageable approach to close reading in Little Readers, Big Thinkers: Teaching Close Reading in the Primary Grades. With Stewart guiding, you'll be able to harness the big thinking we know is inside their inquisitive minds. She showcases ways that close reading can teach even the youngest students new ways to enjoy texts, think about them critically, and share that thinking with peers and adults. With its description of the pillars of close reading, multiple lesson sequences for grades K-2, and real-life classroom scenarios, Little Readers, Big Thinkers offers a trove of insights: What close reading is (and is not) How to encourage students to read like detectives Ways to weave close reading practices into your lessons How to cultivate real reading, organic thinking, and deep conversation Which books invite amazing learning and thinking experiences. By giving young minds a great foundation, close reading will become a stepping stone to a lifelong love of reading.
This is the first comprehensive treatment of the remarkable music and influence of Carla Bley, a highly innovative American jazz composer, pianist, organist, band leader, and activist. With fastidious attention to Bley's diverse compositions over the last fifty years spanning critical moments in jazz and experimental music history, Amy C. Beal tenders a long-overdue representation of a major figure in American music. Best known for her jazz opera "Escalator over the Hill," her role in the Free Jazz movement of the 1960s, and her collaborations with artists such as Jack Bruce, Don Cherry, Robert Wyatt, and Pink Floyd drummer Nick Mason, Bley has successfully maneuvered the field of jazz from highly accessible, tradition-based contexts to commercially unviable, avant-garde works. Beal details the staggering variety in Bley's work as well as her use of parody, quotations, and contradictions, examining the vocabulary Bley has developed throughout her career and highlighting the compositional and cultural significance of her experimentalism. Beal also points to Bley's professional and managerial work as a pioneer in the development of artist-owned record labels, the cofounder and manager of WATT Records, and the cofounder of New Music Distribution Service. Showing her to be not just an artist but an activist who has maintained musical independence and professional control amid the profit-driven, corporation-dominated world of commercial jazz, Beal's straightforward discussion of Bley's life and career will stimulate deeper examinations of her work.
Many books have been written about the press and terrorism - particularly since September 11th - but this is the first press-focused exploration of their relationship. Drawing upon the history of terrorism, mass communication research, media theory, and journalism practice, this book examines how the press reports terrorism, and how that reporting varies depending on the medium and location. Examining the differences in reporting - globally and historically within different media and government systems - Terrorism and the Press provides insights for how, in the future, we can better navigate the relationship between the press, government, and audience when terrorists attack.
How women coped with both formal barriers and informal opposition to their entry into the traditionally masculine field of engineering in American higher education. Engineering education in the United States was long regarded as masculine territory. For decades, women who studied or worked in engineering were popularly perceived as oddities, outcasts, unfeminine (or inappropriately feminine in a male world). In Girls Coming to Tech!, Amy Bix tells the story of how women gained entrance to the traditionally male field of engineering in American higher education. As Bix explains, a few women breached the gender-reinforced boundaries of engineering education before World War II. During World War II, government, employers, and colleges actively recruited women to train as engineering aides, channeling them directly into defense work. These wartime training programs set the stage for more engineering schools to open their doors to women. Bix offers three detailed case studies of postwar engineering coeducation. Georgia Tech admitted women in 1952 to avoid a court case, over objections by traditionalists. In 1968, Caltech male students argued that nerds needed a civilizing female presence. At MIT, which had admitted women since the 1870s but treated them as a minor afterthought, feminist-era activists pushed the school to welcome more women and take their talent seriously. In the 1950s, women made up less than one percent of students in American engineering programs; in 2010 and 2011, women earned 18.4% of bachelor's degrees, 22.6% of master's degrees, and 21.8% of doctorates in engineering. Bix's account shows why these gains were hard won.
In the nineteenth century, long before film and television brought us explosions, car chases, and narrow escapes, it was America's theaters that thrilled audiences, with “sensation scenes” of speeding trains, burning buildings, and endangered bodies, often in melodramas extolling the virtues of temperance, abolition, and women's suffrage. Amy E. Hughes scrutinizes these peculiar intersections of spectacle and reform, revealing the crucial role that spectacle has played in American activism and how it has remained central to the dramaturgy of reform. Hughes traces the cultural history of three famous sensation scenes—the drunkard with the delirium tremens, the fugitive slave escaping over a river, and the victim tied to the railroad tracks—assessing how these scenes conveyed, allayed, and denied concerns about the rights and responsibilities of citizenship. These images also appeared in printed propaganda, suggesting that the coup de théâtre was an essential part of American reform culture. Additionally, Hughes argues that today’s producers and advertisers continue to exploit the affective dynamism of spectacle, reaching an even broader audience through film, television, and the Internet. To be attuned to the dynamics of spectacle, Hughes argues, is to understand how we see. Her book will interest not only theater historians, but also scholars and students of political, literary, and visual culture who are curious about how U.S. citizens saw themselves and their world during a pivotal period in American history.
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