Reimagining Rural: Urbanormative Portrayals of Rural Life examines the ways in which rural people and places are being portrayed by popular television, reality television, film, literature, and news media in the United States. It is also an examination of the social processes that reinforce urbanormative standards that normalize urban life and render rural life as something unusual, exotic, or deviant. This includes exploring the role of the media as agenda setting agent, informing people what and how to think about rural life. Further it includes scrutinizing the institution of formal education that promotes a homogenous urban-oriented curriculum, while in the process, marginalizing the unique characteristics of local rural communities. These contributions are some of the only studies of their kind, investigating popular cultural representations of rural life, while providing powerful evidence and unique challenges for an urban society to rethink and reimagine rural life, while confronting the many stereotypes and myths that exist.
Cognitive impairment following a stroke, known as vascular dementia (VaD), is a common outcome often overlooked in lieu of the motor and verbal impairments. Nonetheless, the executive and memory deficits in VaD can be drastically impairing. A successful treatment or intervention could improve the quality of life for millions of patients. Two aims were pursued in service of this goal. The first aim was to compare the gene expression profiles of frontal cortex tissue from diagnosed cases of VaD, intermediate Alzheimer's disease (AD), and no cognitive impairment. Gene expression products that were differentially expressed in VaD cases versus AD and controls were to be investigated for biological significance and therapeutic potential. Further validation studies were also used to identify targets worth pursuing further. The oxytocin receptor (OXTR) was identified as differentially upregulated in the frontal cortex in cases of VaD, and localization to astrocytes surrounding areas of infarction was noted. The second aim was designed to test the therapeutic potential of the OXTR in an animal model of VaD. Administration of the potent vasoconstrictor endothelin-1 (ET-1) into the prefrontal cortex of spontaneous hypertensive stroke prone rats (SHRSP) was used to create a model of focal stroke with a pre-morbidity leading to cognitive deficits without obstructing motor deficits. A pre-injury intervention of an adeno-associated virus expressing either the OXTR or green fluorescent protein (GFP) linked with the astrocytic promoter glial fibrillary acidic protein (GFAP) was applied. The animals were then subjected to a battery of cognitive tests to confirm deficits induced by the ischemic lesion and assess potential rescue by the pre-upregulation of the OXTR in astrocytes. OXTR upregulation improved performance in the novel object task compared to control, suggesting a rescue of working memory function that is mediated by the prefrontal cortex. Tissue processing assessed infarct size, white matter density, and viral expression, which showed no difference in white matter density but a reduction in the size of the infarct by the pre-upregulation of the receptor in the perimeter of the targeted prefrontal cortex site. An additional sub-aim of aim two was devised to compare the effects on known molecular participants in the pathway of ischemic injury within animals expressing ectopic OXTR or GFP in separate hemispheres to ET-1 or saline treated animals. At the 24 hour time point chosen, no difference was observed in either reactive oxygen species generation or the profiles of cytokines implicated in the course of ischemic injury. The results from the human tissue studies in aim one suggest that a specific peri-infarct specific upregulation of the OXTR on astrocytes is a hallmark of ischemic VaD. Rescue studies in a rat model in aim two suggest that this upregulation may be a compensatory response acting to salvage penumbra tissue and reduce the ensuing behavioral deficits. However, the specific mechanism remains undefined at this time. Further preclinical mechanistic studies are needed, particularly at different time points, to more rigorously evaluate the relative efficacy of targeting the OXTR as an intervention for VaD.
A coming-of-age YA graphic novel with a spooky twist, from the New York Times bestselling Faith Erin Hicks! Maggie McKay hardly knows what to do with herself. After an idyllic childhood of homeschooling with her mother and rough-housing with her older brothers, it's time for Maggie to face the outside world, all on her own. But that means facing high school first. And it also means solving the mystery of the melancholy ghost who has silently followed Maggie throughout her entire life. Maybe it even means making a new friend — one who isn't one of her brothers . . . Funny, surprising, and tender, Friends with Boys by Faith Erin Hicks is a pitch perfect YA graphic novel full of spooky supernatural fun, with black and white illustrations. Don't miss Faith's other YA graphic novels: Hockey Girl Loves Drama Boy, One Year at Ellsmere, Nothing Can Possibly Go Wrong (with Prudence Shen) and Pumpkinheads (with Rainbow Rowell).
Als Vivienne Jones von Rhys Penhallow verlassen wird, tut sie, was jede junge Hexe an ihrer Stelle getan hätte: Sie lässt sich ein Bad ein, mixt sich einen ordentlichen Drink und verflucht den Mistkerl, der ihr das Herz gebrochen hat. Neun Jahre später ist Vivi immer noch nicht über Rhys hinweg, und als dieser zum jährlichen Herbstfest nach Graves Glen zurückkehrt, beschließt sie, ihn zu ignorieren. Leichter gesagt als getan, denn Vivis alter Fluch entfaltet mit Rhys Besuch erst seine volle Wirkung, und plötzlich ist das ganze Städtchen in Gefahr. Um den Fluch zu brechen, müssen Rhys und Vivi – zunächst äußerst widerwillig – zusammenarbeiten. Doch schon bald merken die beiden, dass die Funken nicht mehr nur in den Leylinien unter der Stadt sprühen ...
At a moment when the discipline of Canadian art history seems to be in flux and the study of Canadian visual culture is gaining traction outside of art history departments, the authors of Negotiations in a Vacant Lot were asked: is "Canada" - or any other nation - still relevant as a category of inquiry? Is our country simply one of many "vacant lots" where class, gender, race, ethnicity, and sexual orientation interact? What happens to the project of Canadian visual history if we imagine that Canada, as essence, place, nation, or ideal, does not exist? The argument that culture is increasingly used as an economic and socio-political resource resonates strongly with the popular strategies of "urban gurus" such as Richard Florida, and increasingly with government policy. Such strategies both contrast with, but also speak to traditions of Canadian state support for culture that have shaped the national(ist) discipline of Canadian art history. The authors of this collection stand at the multiple points where national culture and globalization collide, however, suggesting that academic investigation of the visual in Canada is contested in ways that cannot be contained by arbitrary borders. Bringing together the work of scholars from diverse backgrounds and illustrated with dozens of works of Canadian art, Negotiations in a Vacant Lot unsettles the way we have used "nation" to examine art and culture and looks ahead to a global future. Contributors include Susan Cahill (Nipissing University), Mark A. Cheetham (University of Toronto), Peter Conlin (Academia Sinica, Taipei), Annie Gérin (Université du Québec à Montréal), Richard William Hill (York University), Kristy A. Holmes (Lakehead University), Heather Igloliorte (Concordia University), Barbara Jenkins (Wilfrid Laurier University), Alice Ming Wai Jim (Concordia University), Lynda Jessup (Queen’s University), Erin Morton (University of New Brunswick), Kirsty Robertson (Western University), Rob Shields (University of Alberta), Sarah E.K. Smith (Queen’s University), Imre Szeman (University of Alberta), and Jennifer VanderBurgh (Saint Mary’s University).
Reproductive choices are at once the most private and intimate decisions we make in our lives and undeniably also among the most public. Reproductive decision making takes place in a web of overlapping concerns - political and ideological, socio-economic, health and health care - all of which engage the public and involve strongly held opinions and attitudes about appropriate conduct on the part of individuals and the state. Law, Policy and Reproductive Autonomy examines the idea of reproductive autonomy, noting that in attempting to look closely at the contours of the concept, we begin to see some uncertainty about its meaning and legal implications - about how to understand reproductive autonomy and how to value it. Both mainstream and feminist literature about autonomy contribute valuable insights into the meaning and implications of reproductive autonomy. The developing feminist literature on relational autonomy provides a useful starting point for a contextualised conception of reproductive autonomy that creates the opportunity for meaningful exercise of reproductive choice. With a contextualised approach to reproductive autonomy as a backdrop, the book traces aspects of the regulation of reproduction in Canadian, English, US and Australian law and policy, arguing that not all reproductive decisions necessarily demand the same level of deference in law and policy, and making recommendations for reform.
In the wake of the Great Migration of thousands of African Americans from the scattered hamlets and farms of the rural South to the nation's burgeoning cities, a New Negro ethos of modernist cultural expression and potent self-determination arose to challenge white supremacy and create opportunities for racial advancement. In Prove It On Me, Erin D. Chapman explores the gender and sexual politics of this modern racial ethos and reveals the constraining and exploitative underside of the New Negro era's vaunted liberation and opportunities. Chapman's cultural history documents the effects on black women of the intersection of primitivism, New Negro patriarchal aspirations, and the early twentieth-century consumer culture. As U.S. society invested in the New Negroes, turning their expressions and race politics into entertaining commodities in a sexualized, primitivist popular culture, the New Negroes invested in the idea of black womanhood as a pillar of stability against the unsettling forces of myriad social and racial transformations. And both groups used black women's bodies and identities to "prove" their own modern notions and new identities. Chapman's analysis brings together advertisements selling the blueswoman to black and white consumers in a "sex-race marketplace," the didactic preachments of New Negro reformers advocating a conservative gender politics of "race motherhood," and the words of the New Negro women authors and migrants who boldly or implicitly challenged these dehumanizing discourses. Prove It On Me investigates the uses made of black women's bodies in 1920s popular culture and racial politics and black women's opportunities to assert their own modern, racial identities.
Taking the concept of beauty seriously, this encyclopedia examines how humanity has sought and continues to seek what is "beautiful" in a variety of cultural contexts, giving readers an understanding of how to look at beauty both intellectually and critically. Is beauty ever more than "skin deep"? Arguably yes, considering that the concept of beauty—and the pursuit of it—has shaped cultures worldwide, across every time period, and has even served to change the course of history. Studying beauty practices yields insight into social status, wealth, political ideology, religious doctrine, and gender expectations, including gender nonconformity. A truly interdisciplinary text, Beauty around the World: A Cultural Encyclopedia presents an insightful perspective on beauty that draws from philosophy, literature, sociology, anthropology, psychology, and feminist studies, giving readers a unique view of world beauty practices. This volume offers information about beauty practices from the past to the present in alphabetical entries that address terms and topics such as "beards," "dreadlocks," "Geisha," "moko tattoos," and "progressive muscularity." Readers will better comprehend how beauty shapes many social interactions in profound ways worldwide, and that the unspoken social agreements that shape ideals of attractiveness and desirability within any given culture can matter very much. The encyclopedia's entries challenge readers to consider the questions "What is beauty?" and "Why does it matter?" A comprehensive bibliography is a valuable resource for further research.
Folk art emerged in twentieth-century Nova Scotia not as an accident of history, but in tandem with cultural policy developments that shaped art institutions across the province between 1967 and 1997. For Folk’s Sake charts how woodcarvings and paintings by well-known and obscure self-taught makers - and their connection to handwork, local history, and place - fed the public’s nostalgia for a simpler past. The folk artists examined here range from the well-known self-taught painter Maud Lewis to the relatively anonymous woodcarvers Charles Atkinson, Ralph Boutilier, Collins Eisenhauer, and Clarence Mooers. These artists are connected by the ways in which their work fascinated those active in the contemporary Canadian art world at a time when modernism – and the art market that once sustained it – had reached a crisis. As folk art entered the public collection of the Art Gallery of Nova Scotia and the private collections of professors at the Nova Scotia College of Art and Design, it evolved under the direction of collectors and curators who sought it out according to a particular modernist aesthetic language. Morton engages national and transnational developments that helped to shape ideas about folk art to show how a conceptual category took material form. Generously illustrated, For Folk’s Sake interrogates the emotive pull of folk art and reconstructs the relationships that emerged between relatively impoverished self-taught artists, a new brand of middle-class collector, and academically trained professors and curators in Nova Scotia’s most important art institutions.
The definitive guide to starting and running a freelance editing business. You’ve been thinking about shifting into the world of freelance editing, but you don’t know where to start. In a time when editors are seeking greater flexibility in their work arrangements and schedules, freelancing is an increasingly common career option. But deciding to go it alone means balancing the risks with the rewards. From the publisher of The Chicago Manual of Style comes The Chicago Guide for Freelance Editors, the definitive guide to running your business and finding greater control and freedom in your work life. In this book, Erin Brenner—an industry leader and expert on the business of editorial freelancing—gathers everything you need to know into a single resource. Brenner has run her own successful editing business for over two decades and has helped hundreds of editors launch or improve their businesses through her teaching, blog writing, and coaching. The Chicago Guide for Freelance Editors will walk you through the entire process of conceiving, launching, and working in a freelance editing business, from deciding on services and rates to choosing the best business structure to thinking through branding and marketing strategies and beyond. This book is ideal for beginning freelancers looking to get set up and land their first clients, but it’s equally valuable to those who have already been freelancing, with detailed coverage of such issues as handling difficult clients and continuing professional development. You’ll find a collection of advice from other successful freelance editors in this guide, as well as an extensive list of resources and tools. In the final and perhaps most important chapter, Brenner teaches you how to care for the key component of the business: yourself.
The signing of the Paris Peace Accords in 1973 signified the end of the Vietnam War. American personnel returned home and the 591 American prisoners held captive in North Vietnam were released. Still, 2,646 individuals did not come home. Thirty-seven of those missing in action were from Wisconsin. Their names appear on the largest object--a motorcycle (now part of the Vietnam Veterans Memorial Collection)--ever left at the Vietnam Veterans Memorial. Using the recollections of the soldiers' families, friends and fellow servicemen, the author tells the story of each man's life.
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