Conventional histories of late antique Christianity tell the story of a public institution - the Christian church. In this book, Kim Bowes relates another history, that of the Christian private. Using textual and archaeological evidence, she examines the Christian rituals of home and rural estate, which took place outside the supervision of bishops and their agents. These domestic rituals and the spaces in which they were performed were rooted in age-old religious habits. They formed a major, heretofore unrecognized force in late ancient Christian practice. The religion of home and family, however, was not easily reconciled with that of the bishop's church. Domestic Christian practices presented challenges to episcopal authority and posed thorny questions about the relationship between individuals and the Christian collective. As Bowes suggests, the story of private Christianity reveals a watershed in changing conceptions of "public" and "private," one whose repercussions echo through contemporary political and religious debate.
Conventional histories of late antique Christianity tell the story of a public institution - the Christian church. In this book, Kim Bowes relates another history, that of the Christian private. Using textual and archaeological evidence, she examines the Christian rituals of home and rural estate, which took place outside the supervision of bishops and their agents. These domestic rituals and the spaces in which they were performed were rooted in age-old religious habits. They formed a major, heretofore unrecognized force in late ancient Christian practice. The religion of home and family, however, was not easily reconciled with that of the bishop's church. Domestic Christian practices presented challenges to episcopal authority and posed thorny questions about the relationship between individuals and the Christian collective. As Bowes suggests, the story of private Christianity reveals a watershed in changing conceptions of "public" and "private," one whose repercussions echo through contemporary political and religious debate.
Food blogs are everywhere today but for generations, information and opinions about food were found in the food sections of newspapers in communities large and small. Until the early 1970s, these sections were housed in the women’s pages of newspapers—where women could hold an authoritative voice. The food editors—often a mix of trained journalist and home economist—reported on everything from nutrition news to features on the new chef in town. They wrote recipes and solicited ideas from readers. The sections reflected the trends of the time and the cooks of the community. The editors were local celebrities, judging cooking contests and getting calls at home about how to prepare a Thanksgiving turkey. They were consumer advocates and reporters for food safety and nutrition. They helped make James Beard and Julia Child household names as the editors wrote about their television appearances and reviewed their cookbooks. These food editors laid the foundation for the food community that Nora Ephron described in her classic 1968 essay, “The Food Establishment,” and eventually led to the food communities of today. Included in the chapters are profiles of such food editors as Jane Nickerson, Jeanne Voltz, and Ruth Ellen Church, who were unheralded pioneers in the field, as well as Cecily Brownstone, Poppy Cannon, and Clementine Paddleford, who are well known today; an analysis of their work demonstrates changes in the country’s culinary history. The book concludes with a look at how the women’s pages folded at the same time that home economics saw its field transformed and with thoughts about the foundation that these women laid for the food journalism of today.
In this powerfully argued and progressive study, Kimberly Oliver and David Kirk call for a radical reconstruction of the teaching of physical education for girls. Despite forty years of theorization and practical intervention, girls are still disengaging from physical education, dropping out of physical activity, and suffering negative consequences in terms of their health and well-being as a result. This book challenges the conventional narrative that girls are somehow to blame for this disengagement, and instead identifies important new ways of working with girls, developing a new pedagogical model for ‘girl-friendly’ physical education. The book locates our understanding of the experiences of girls in physical education in the broader context of young people’s multifaceted engagements with popular physical culture. Adopting an activist perspective, it outlines a programme of action informed by principled pragmatism and based on four critical elements: student-centred pedagogy; critical study of embodiment; inquiry-based physical education centred-in-action, and listening and responding to girls over time. It explores the implications of this new thinking for teaching, research, PETE and policy, and outlines a future agenda for work in this area. Offering a profound theoretical critique of contemporary research and practice, as well as a new programme of action, Girls, Gender and Physical Education is essential reading for all researchers, advanced students and practitioners with an interest in the issues of gender, equity and inclusion in physical education.
Ideal for primary care practitioners who face the challenge of diagnosing their patients on the basis of undifferentiated and sometimes confusing presenting complaints, Taylor’s Differential Diagnosis Manual, Third Edition is a must-have for the busy practitioner. This handy guide fits inside a lab coat pocket and can be easily referenced within the time constraints of a brief office visit. Organized around common presenting symptoms, signs, laboratory, and imaging findings, this proven quick reference offers evidence-based guidelines on key questions to ask and what data to obtain to provide sound diagnoses of common problems. Fully updated with the latest clinical evidence and advances in clinical practice, this Third Edition includes more than 140 chapters packed with concise, easy-to read information on specific complaints in the areas of mental health; nervous system; vision; ear, nose, and throat; cardiovascular; respiratory; renal and urologic; female reproductive; musculoskeletal; dermatologic; and endocrine and metabolic problems. New chapters on abnormal mammogram, anticoagulation, bipolar disorder, corneal abrasion, dyspareunia, and loss of vision include the latest evidence-based diagnostic information.
From their opening in 1740 through the 1955 closing, Belair Stud Farm became known as one of the most important stables in American racing. Although the high-profile murder of the farms final owner, Billy Woodward, eventually forced the farm to close, it did produce an extraordinary number of winning horses throughout its expansive history. The farm claims three Kentucky Derbies, three Preakness Stakes, and six Belmont Stakes, winning titles in several prestigious English races. It remains one of two stables to have produced more than one Triple Crown winner, and it is also the only stable to have produced father-son Triple Crown winners. Its list of legendary thoroughbreds includes Gallant Fox, Omaha, Johnstown, Granville, and Nashua. However in addition to the history of champion thoroughbreds, there is a second history devoted to the many interesting people whose own stories are part of the Belair Stud farm, including Samuel and Benjamin Ogle, "Sunny" Jim Fitzsimmons, former slave Andrew Jackson, and even George Washington.
The first comprehensive treatment in seventy years of the American Art-Union’s remarkable rise and fall For over a decade, the New York–based American Art-Union shaped art creation, display, and patronage nationwide. Boasting as many as 19,000 members from almost every state, its meteoric rise and its sudden and spectacular collapse still raise a crucial question: Why did such a successful and influential institution fail? The American Art-Union reveals a sprawling and fascinating account of the country’s first nationwide artistic phenomenon, creating a shared experience of visual culture, art news and criticism, and a direct experience with original works. For an annual fee of five dollars, members of the American Art-Union received an engraving after a painting by a notable US artist and the annual publication Transactions (1839–49) and later the monthly Bulletin (1848–53). Most importantly, members’ names were entered in a drawing for hundreds of original paintings and sculptures by most of the era’s best-known artists. Those artworks were displayed in its immensely popular Free Gallery. Unfortunately, the experiment was short-lived. Opposition grew, and a cascade of events led to an 1852 court case that proved to be the Art-Union’s downfall. Illuminating the workings of the American art market, this study fills a gaping lacuna in the history of nineteenth-century US art. Kimberly A. Orcutt draws from the American Art-Union’s records as well as in-depth contextual research to track the organization’s decisive impact that set the direction of the country’s paintings, sculpture, and engravings for well over a decade. Forged in cultural crosscurrents of utopianism and skepticism, the American Art-Union’s demise can be traced to its nature as an attempt to create and control the complex system that the early nineteenth-century art world represented. This study breaks the organization’s activities into their major components to offer a structural rather than chronological narrative that follows mounting tensions to their inevitable end. The institution was undone not by dramatic outward events or the character of its leadership but by the character of its utopianist plan.
This volume bridges the divide between film and media studies scholarship by exploring audience expectations of film and TV genre in the age of digital streaming, using qualitative thematic and quantitative data-driven analyses. Through four ground-breaking surveys of audience members and content creators, the authors have empirically determined what audiences expect of various genres, the extent to which these definitions match those of scholars and critics, and the overall variation and complexity of audience expectations in the age of media abundance. They also examine audience habits and preferences, drawing from both theory and original empirical analyses, with a view toward the implications for the moving image in a rapidly changing media environment. The book draws from the data to develop a number of new concepts, including genre repertoire, genre hybridity, audience interest maximization, and variety seeking, and a new stage of genre development, genre bending. It is an ideal resource for students and scholars interested in the symbiotic relationship between audiences and the moving image products they consume, as well as the way the current digital media environment has impacted our understanding of film and TV genres.
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