Loin de son image de pin-up, Pamela raconte son histoire, celle d’un esprit libre qui rentre à la maison et se redécouvre à chaque tournant. Avec une prose vivante entrecoupée de poèmes, Pamela se confie sur les moments les plus extraordinaires et aussi les plus éprouvants de son incroyable histoire. Pamela Anderson, la naïade de la série TV Alerte à Malibu, était omniprésente dans les années 1990. Originaire de Vancouver, au Canada, Pamela a vécu une enfance difficile, durant laquelle elle a développé son amour profond pour la nature, peuplant son monde des animaux blessés du coin. En surmontant sa timidité naturelle et grâce à une imagination débordante, Pamela s’est finalement propulsée dans une vie de rêve, des plages de Malibu à la scène du Playboy Mansion. Au fur et à mesure que sa célébrité grandissait, elle s’est retrouvée dans les pages des tabloïds, à l’apogée d’une époque où les tactiques des paparazzi s’apparentaient à une véritable traque. « J’ai tendance à voir des diamants dans les morceaux de charbon de l’or dans le nickel. Je suis une alchimiste à attirer ces personnages fantastiques qui me détruisent systématiquement. »
This companion to Qualities of Effective Teachers provides strategies for examining the practice of teaching, helping teachers improve their skills, and establishing an environment that supports good teaching.
The dark moments of rock history fascinate and tantalize like the pathos of Greek tragedy. The bottom sinks lower, the air seems colder, the bad endings--when they are bad--seem beyond bad. The unlucky practitioners of our most thriving form of communal experience seem to hit rock bottom in ways only the most glamorous among us can--publicly. The stories remain obscure, half-seen in the shadowlands. In her familiar style, Pamela Des Barres shines light on the people whose art remains the background music to our popular culture. Des Barres asks, "What comes first, the addiction or the rock and roll?" The first apparent rock-and-roll death occured on Christmas Eve in 1959, when Johnny Ace blew his head off in a game of Russian Roulette between shows. Buddy Holly's four-seater plane crashes. Marvin Gaye's father shoots his son. Kurt Cobain puts a gun to his head. The headlines tell it all: ROCK SINGER FACES MANSLAUGHTER CHARGE, JAMES BROWN ADDICTED TO PCP, BASSIST FOR BAND HOLE FOUND DEAD. The messed-up lives, the burned-out golden boys and girls, the violence, the route toward rock bottom--Des Barres has a line on the souls of the public figures who lived desperate private lives to entertain us all.
Focuses on the struggles of Civil War veteran Thomas L. Wragg, Confederate officer, prisoner of war, and successful doctor. Documents General Joseph E. Johnston's army at Harpers Ferry and the Battle of Bull Run, Wragg's training on the CSS Georgia, his imprisonment, his courtship, and the effects of posttraumatic stress"--Provided by publisher.
Easy-to-use, authoritative, and flexible, the tools in this book and CD-ROM have been developed over the last 15 years and have been field tested in over 500 schools. These tools will empower you to do your evaluations based on current thinking and best practices.
In a study that explodes the assumption that early modern comic culture was created by men for men, Pamela Allen Brown shows that jest books, plays, and ballads represented women as laugh-getters and sought out the laughter of ordinary women. Disputing the claim that non-elite women had little access to popular culture because of their low literacy and social marginality, Brown demonstrates that women often bested all comers in the arenas of jesting, gaining a few heady moments of agency. Juxtaposing the literature of jest against court records, sermons, and conduct books, Brown employs a witty, entertaining style to propose that non-elite women used jests to test the limits of their subjection. She also shows how women's mocking laughter could function as a means of social control in closely watched neighborhoods. While official culture beatified the sheep-like wife and disciplined the scold, jesting culture often applauded the satiric shrew, whether her target was priest, cuckold, or rapist. Brown argues that listening for women's laughter can shed light on both the dramas of the street and those of the stage: plays from The Massacre of the Innocents to The Merry Wives of Windsor to The Woman's Prize taught audiences the importance of gossips' alliances as protection against slanderers, lechers, tyrants, and wife-beaters. Other jests, ballads, jigs, and plays show women reveling in tales of female roguery or scoffing at the perverse patience of Griselda. As Brown points out, some women found Griselda types annoying and even foolish: better be a shrew than a sheep.
In our current era of helicopter parenting and stranger danger, an unaccompanied child wandering through the city might commonly be viewed as a victim of abuse and neglect. However, from the early twentieth century to the present day, countless books and films have portrayed the solitary exploration of urban spaces as a source of empowerment and delight for children. Fantasies of Neglect explains how this trope of the self-sufficient, mobile urban child originated and considers why it persists, even as it goes against the grain of social reality. Drawing from a wide range of films, children’s books, adult novels, and sociological texts, Pamela Robertson Wojcik investigates how cities have simultaneously been demonized as dangerous spaces unfit for children and romanticized as wondrous playgrounds that foster a kid’s independence and imagination. Charting the development of free-range urban child characters from Little Orphan Annie to Harriet the Spy to Hugo Cabret, and from Shirley Temple to the Dead End Kids, she considers the ongoing dialogue between these fictional representations and shifting discourses on the freedom and neglect of children. While tracking the general concerns Americans have expressed regarding the abstract figure of the child, the book also examines the varied attitudes toward specific types of urban children—girls and boys, blacks and whites, rich kids and poor ones, loners and neighborhood gangs. Through this diverse selection of sources, Fantasies of Neglect presents a nuanced chronicle of how notions of American urbanism and American childhood have grown up together.
The work of art's mattering and materialization in a globalized world, with close readings of works by Takahashi Murakami, Andreas Gursky, Thomas Hirschhorn, and others. It may be time to forget the art world—or at least to recognize that a certain historical notion of the art world is in eclipse. Today, the art world spins on its axis so quickly that its maps can no longer be read; its borders blur. In Forgetting the Art World, Pamela Lee connects the current state of this world to globalization and its attendant controversies. Contemporary art has responded to globalization with images of movement and migration, borders and multitudes, but Lee looks beyond iconography to view globalization as a world process. Rather than think about the “global art world” as a socioeconomic phenomenon, or in terms of the imagery it stages and sponsors, Lee considers “the work of art's world” as a medium through which globalization takes place. She argues that the work of art is itself both object and agent of globalization. Lee explores the ways that art actualizes, iterates, or enables the processes of globalization, offering close readings of works by artists who have come to prominence in the last two decades. She examines the “just in time” managerial ethos of Takahashi Murakami; the production of ethereal spaces in Andreas Gursky's images of contemporary markets and manufacture; the logic of immanent cause dramatized in Thomas Hirschhorn's mixed-media displays; and the “pseudo-collectivism” in the contemporary practice of the Atlas Group, the Raqs Media Collective, and others. To speak of “the work of art's world,” Lee says, is to point to both the work of art's mattering and its materialization, to understand the activity performed by the object as utterly continuous with the world it at once inhabits and creates.
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