Immigrant Pastoral examines the growth of new Mexican heritage communities in the Midwest through the physical form of their cities and neighborhoods. The landscapes of these New Communities contrast with nearby small cities that are home to longstanding Mexican-American communities, where different landscapes reveal a history of inequality of opportunity. Together these two landscape types illustrate how inequality can persist or abate through comprehensive descriptions of the three main types of Midwestern Mexican-American landscapes: Established Communities, New Communities, and Mixed Communities. Each is described in spatial and non-spatial terms, with a focus on one example city. Specific directives about design and planning work in each landscape type follow these descriptions, presented in case studies of hypothetical landscape architectural projects. Subsequent chapters discuss less common Midwestern Mexican-American landscape types and their opportunities for design and planning, and implications for other immigrant communities in other places. This story of places shaped by immigrants new and old and the reactions of other residents to their arrival is critical to the future of all cities, towns, and neighborhoods striving to weather the economic transformations and demographic shifts of the twentieth and twenty-first centuries. The challenges facing these cities demand the recognition and appreciation of their multicultural assets, in order to craft a bright and inclusive future.
Immigrant Pastoral examines the growth of new Mexican heritage communities in the Midwest through the physical form of their cities and neighborhoods. The landscapes of these New Communities contrast with nearby small cities that are home to longstanding Mexican-American communities, where different landscapes reveal a history of inequality of opportunity. Together these two landscape types illustrate how inequality can persist or abate through comprehensive descriptions of the three main types of Midwestern Mexican-American landscapes: Established Communities, New Communities, and Mixed Communities. Each is described in spatial and non-spatial terms, with a focus on one example city. Specific directives about design and planning work in each landscape type follow these descriptions, presented in case studies of hypothetical landscape architectural projects. Subsequent chapters discuss less common Midwestern Mexican-American landscape types and their opportunities for design and planning, and implications for other immigrant communities in other places. This story of places shaped by immigrants new and old and the reactions of other residents to their arrival is critical to the future of all cities, towns, and neighborhoods striving to weather the economic transformations and demographic shifts of the twentieth and twenty-first centuries. The challenges facing these cities demand the recognition and appreciation of their multicultural assets, in order to craft a bright and inclusive future.
Weiner highlights the new importance of youth as a social category of identity in the context of the postwar explosion of the mass media and explores the ways in which girls both defined and disrupted this category.
Ethnicity is a highly politicized issue in contemporary China. Twentieth-century nation-building has been intimately involved with classification of ChinaOs fifty-five ethnic minorities and with fostering harmony and unity among nationalities. Officially sanctioned social science classifies the majority group, the so-called Han, at the pinnacle of modernization and civilization and most other groups as Oprimitive.O In post-socialist China, popular conceptions of self, person, and nation intersect with political and scholarly concerns with identity, sometimes contradicting them and sometimes reinforcing them. In Portraits of OPrimitives, O Susan D. Blum explores how Han in the city of Kunming, in southwest China, regard ethnic minorities and, by extension, themselves. She sketches Oportraits, O or cognitive prototypes, of ethnic groups in a variety of contexts, explaining the perceived visibility of each group (which almost never correlates with size of population). Ideas of OHannessO can be understood in part through Han desire to identify unique characteristics in ethnic minorities and also through Han celebration of the differences that distance minorities. The book considers questions of identity, alterity, and self in the context of a complex nation-state, employing methods from linguistic anthropology and psychological anthropology, as well as other forms of cultural analysis. Providing nuanced views of relationships among political, scholarly, and popular models of identity, this book will be an invaluable guide for those working in China studies, anthropology, and ethnic studies.
Classroom Cheats Turn to Computers." "Student Essays on Internet Offer Challenge to Teachers." "Faking the Grade." Headlines such as these have been blaring the alarming news of an epidemic of plagiarism and cheating in American colleges: more than 75 percent of students admit to having cheated; 68 percent admit to cutting and pasting material from the Internet without citation. Professors are reminded almost daily that many of today's college students operate under an entirely new set of assumptions about originality and ethics. Practices that even a decade ago would have been regarded almost universally as academically dishonest are now commonplace. Is this development an indication of dramatic shifts in education and the larger culture? In a book that dismisses hand-wringing in favor of a rich account of how students actually think and act, Susan D. Blum discovers two cultures that exist, often uneasily, side by side in the classroom. Relying extensively on interviews conducted by students with students, My Word! presents the voices of today's young adults as they muse about their daily activities, their challenges, and the meanings of their college lives. Outcomes-based secondary education, the steeply rising cost of college tuition, and an economic climate in which higher education is valued for its effect on future earnings above all else: These factors each have a role to play in explaining why students might pursue good grades by any means necessary. These incentives have arisen in the same era as easily accessible ways to cheat electronically and with almost intolerable pressures that result in many students being diagnosed as clinically depressed during their transition from childhood to adulthood. However, Blum suggests, the real problem of academic dishonesty arises primarily from a lack of communication between two distinct cultures within the university setting. On one hand, professors and administrators regard plagiarism as a serious academic crime, an ethical transgression, even a sin against an ethos of individualism and originality. Students, on the other hand, revel in sharing, in multiplicity, in accomplishment at any cost. Although this book is unlikely to reassure readers who hope that increasing rates of plagiarism can be reversed with strongly worded warnings on the first day of class, My Word! opens a dialogue between professors and their students that may lead to true mutual comprehension and serve as the basis for an alignment between student practices and their professors' expectations.
Winner of the Dance Perspectives Foundation de la Torre Bueno Prize Recent approaches to dance composition, seen in the works of Merce Cunningham and the Judson Church performances of the early 1960s, suggest the possibility for a new theory of choreographic meaning. Borrowing from contemporary semiotics and post-structuralist criticism, Reading Dancing outlines four distinct models for representation in dance which are illustrated, first, through an analysis of the works of contemporary choreographers Deborah Hay, George Balanchine, Martha Graham, and Merce Cunningham, and then through reference to historical examples beginning with court ballets of the Renaissance. The comparison of these four approaches to representation affirms the unparalleled diversity of choreographic methods in American dance, and also suggests a critical perspective from which to reflect on dance making and viewing.
Childhood Deployed examines the reintegration of former child soldiers in Sierra Leone. Based on eighteen months of participant-observer ethnographic fieldwork and ten years of follow-up research, the book argues that there is a fundamental disconnect between the Western idea of the child soldier and the individual lived experiences of the child soldiers of Sierra Leone. Susan Shepler contends that the reintegration of former child soldiers is a political process having to do with changing notions of childhood as one of the central structures of society. For most Westerners the tragedy of the idea of “child soldier” centers around perceptions of lost and violated innocence. In contrast, Shepler finds that for most Sierra Leoneans, the problem is not lost innocence but the horror of being separated from one’s family and the resulting generational break in youth education. Further, Shepler argues that Sierra Leonean former child soldiers find themselves forced to strategically perform (or refuse to perform) as the“child soldier” Western human rights initiatives expect in order to most effectively gain access to the resources available for their social reintegration. The strategies don’t always work—in some cases, Shepler finds, Western human rights initiatives do more harm than good. While this volume focuses on the well-known case of child soldiers in Sierra Leone, it speaks to the larger concerns of childhood studies with a detailed ethnography of people struggling over the situated meaning of the categories of childhood.It offers an example of the cultural politics of childhood in action, in which the very definition of childhood is at stake and an important site of political contestation.
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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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