Two people participating in the same events, yet on opposite sides, give an engrossing view of a struggle which engulfed a large community in northern Westchester County in New York State. It became the longest teachers strike in New York State's history. Even though they are personal memoirs, both authors try to give as full a picture of the personalities, institutions, and issues driving the struggle as each experienced it. The narrative is in two parts, side by side, and event by event. Both are impressionistic accounts that do not claim to be objective. Dr. Leon Bock's account is the viewpoint of a leader of a major institution, the Lakeland School District. In representing the district he had the heavy responsibility to merge the interests of students and parents, faculty, the taxpaying community, and the Board of Education. Mr. Thomas Kavunedus, a faculty member, served as a negotiator for the Lakeland Federation of Teachers. He saw his responsibilities as extending to the promotion of learning and teaching environment which would foster excellence. The contract with the school district, which Mr. Kavunedus had participated in promulgating years earlier, was a major step in raising teachers out of the dark ages of coffee in the boiler room, and hopefully greater professionalism. Both authors disagree with one another on many of the issues. Most of these issues bedevil our schools today. Yet, there is enough civility to recognize that partisanship need not be so all engulfing that it demonizes the other side and its objectives. No narrative of such a complex event can be totally accurate and objective. The authors try to focus on the interpersonal relationships, rather than serve as a textbook history of this series of complex events. There is no intention to discredit, or malign any of the personalities in the narrative; rather they are presented as the writers experienced them under conditions of stress.
Even in the decades before Mark Twain enthralled the world with his evocative representations of the Mississippi, the river played an essential role in American culture and consciousness. Throughout the antebellum era, the Mississippi acted as a powerful symbol of America's conception of itself -- and the world's conception of America. As Twain understood, "The Mississippi is well worth reading about." Thomas Ruys Smith's River of Dreams is an examination of the Mississippi's role in the antebellum imagination, exploring its cultural position in literature, art, thought, and national life. Presidents, politicians, authors, poets, painters, and international celebrities of every variety experienced the Mississippi in its Golden Age. They left an extraordinary collection of representations of the river in their wake, images that evolved as America itself changed. From Thomas Jefferson's vision for the Mississippi to Andrew Jackson and the rowdy river culture of the early nineteenth century, Smith charts the Mississippi's shifting importance in the making of the nation. He examines the accounts of European travelers, including Frances Trollope, Charles Dickens, and William Makepeace Thackeray, whose views of the river were heavily influenced by the world of the steamboat and plantation slavery. Smith discusses the growing importance of visual representations of the Mississippi as the antebellum period progressed, exploring the ways in which views of the river, particularly giant moving panoramas that toured the world, echoed notions of manifest destiny and the westward movement. He evokes the river in the late antebellum years as a place of crime and mystery, especially in popular writing, and most notably in Herman Melville's The Confidence-Man. An epilogue discusses the Mississippi during the Civil War, when possession of the river became vital, symbolically as well as militarily. The epilogue also provides an introduction to Mark Twain, a product of the antebellum river world who was to resurrect its imaginative potential for a post-war nation and produce an iconic Mississippi that still flows through a wide and fertile floodplain in American literature. From empire building in the Louisiana Purchase to the trauma of the Civil War, the Mississippi's dominant symbolic meanings tracked the essential forces operating within the nation. As Smith shows in this groundbreaking work, the story of the imagined Mississippi River is the story of antebellum America itself.
This volume goes beyond presently available phenomenological analyses based on the structures and constitution of the lifeworld. It shows how the science of history is the mediator between the human and the natural sciences. It demonstrates that the distinction between interpretation and explanation does not imply a strict separation of the natural and the human sciences. Finally, it shows that the natural sciences and technology are inseparable, but that technology is one-sidedly founded in pre-scientific encounters with reality in the lifeworld. In positivism the natural sciences are sciences because they offer causal explanations testable in experiments and the humanities are human sciences only if they use methods of the natural sciences. For epistemologists following Dilthey, the human sciences presuppose interpretation and the human and natural sciences must be separated. There is phenomenology interested in psychology and the social sciences that distinguish the natural and the human sciences, but little can be found about the historical human sciences. This volume fills the gap by presenting analyses of the material foundations of the "understanding" of expressions of other persons, and of primordial recollections and expectations founding explicit expectations and predictions in the lifeworld. Next, it shows, on the basis of history as applying philological methods in interpretations of sources, the role of a universal spatio-temporal framework for reconstructions and causal explanations of "what has really happened".
There is properly no history, only biography," Emerson remarked, and in this ingenious book Thomas McGraw unfolds the history of four powerful men: Charles Francis Adams, Louis D. Brandeis, James M. Landis, and Alfred E. Kahn. The absorbing stories he tells make this a book that will appeal across a wide spectrum of academic disciplines and to all readers interested in history, biography, and Americana.
An introduction to literary theory unlike any other, Ten Lessons in Theory engages its readers with three fundamental premises. The first premise is that a genuinely productive understanding of theory depends upon a considerably more sustained encounter with the foundational writings of Hegel, Marx, Nietzsche, and Freud than any reader is likely to get from the introductions to theory that are currently available. The second premise involves what Fredric Jameson describes as "the conviction that of all the writing called theoretical, Lacan's is the richest." Entertaining this conviction, the book pays more (and more careful) attention to the richness of Lacan's writing than does any other introduction to literary theory. The third and most distinctive premise of the book is that literary theory isn't simply theory "about" literature, but that theory fundamentally is literature, after all. Ten Lessons in Theory argues, and even demonstrates, that "theoretical writing" is nothing if not a specific genre of "creative writing," a particular way of engaging in the art of the sentence, the art of making sentences that make trouble-sentences that make, or desire to make, radical changes in the very fabric of social reality. As its title indicates, the book proceeds in the form of ten "lessons," each based on an axiomatic sentence selected from the canon of theoretical writing. Each lesson works by creatively unpacking its featured sentence and exploring the sentence's conditions of possibility and most radical implications. In the course of exploring the conditions and consequences of these troubling sentences, the ten lessons work and play together to articulate the most basic assumptions and motivations supporting theoretical writing, from its earliest stirrings to its most current turbulences. Provided in each lesson is a working glossary: specific critical keywords are boldfaced on their first appearance and defined either in the text or in a footnote. But while each lesson constitutes a precise explication of the working terms and core tenets of theoretical writing, each also attempts to exemplify theory as a "practice of creativity" (Foucault) in itself.
Play and the Artist’s Creative Process explores a continuity between childhood play and adult creativity. The volume examines how an understanding of play can shed new light on processes that recur in the work of Philip Guston and Eduardo Paolozzi. Both artists’ distinctive engagement with popular culture is seen as connected to the play materials available in the landscapes of their individual childhoods. Animating or toying with material to produce the unforeseen outcome is explored as the central force at work in the artists’ processes. By engaging with a range of play theories, the book shows how the artists’ studio methods can be understood in terms of game strategies.
Many people write about the ghetto. Piri Thomas lived there. In this book, the author of Down These Mean Streets tells what he found when he returned from a seven year prison term. Friends dying on heroin, or getting rich selling it. Jobs he couldn’t get, not because he lacked training or ability, but because the union was open only to whites. And an indomitable aunt who brought him into her church, where he met the woman who became his wife, and where he began to take an interest in helping others. Eventually he got a job working with street children—helping them find highs other than drugs, trying to cool rivalries fueled by frustration, persuading gang leaders to surrender weapons originally intended for bloody street battles. But even with success came bitter disappointments. Pervasive discrimination forced Thomas and his family to give up a suburban home. And an appalling hypocritical and selfish boss forced him out of his job—and almost back into prison. Piri Thomas writes of these experiences with unselfish candor and compassion. He pictures the poverty and squalor as well as the spirit and vitality of the ghetto in a dramatic story that is blunt, painful, absorbing and profoundly moving.
This book presents a carefully constructed framework for teaching and learning informed by philosophical and empirical foundations of phenomenology. Based on an extensive, multi-dimensional case study focused around the ‘lived experience’ of college-level teaching preparation, classroom interaction, and students’ reflections, this book presents evidence for the claim that the worldviews of both teachers and learners affect the way that they present and receive knowledge. By taking a unique phenomenological approach to pedagogical issues in higher education, this volume demonstrates that a truly transformative learning process relies on an engagement between consciousness and the world it ‘intends’.
This book examines Alaska's character and the forces shaping it. Underlying their descriptions are the themes of independence, dependence, and the search for sustainable economic development.
Thomas White spins a beguiling yarn with tales that reach from the misty hollows of the Alleghenies to the lost islands of Pittsburgh. Oppaymolleah's Curse. General Braddock's buried gold. The original man of steel, Joe Magarac. Such legends have found a home among the rich folklore of Western Pennsylvania. White invites readers to learn the truth behind the urban legend of the Green Man, speculate on the conspiracy surrounding the lost B-25 bomber of Monongahela and shiver over the ghostly lore of Western Pennsylvania.
Corporate governance for public companies in the United States today is a fragile balance between shareholders, board members, and CEOs. Shareholders, who are focused on profits, put pressure on boards, who are accountable for operations and profitability. Boards, in turn, pressure CEOs, who must answer to the board while building their own larger vision and strategy for the future of the company. In order for this structure to be successful in the long term, it is imperative that boards and CEOs come to understand each other’s roles and how best to work together. Drawing on four decades of experience advising boards and CEOs on how to do just that, Thomas A. Cole offers in CEO Leadership a straightforward and accessible guide to navigating corporate governance today. He explores the recurring question of whose benefit a corporation should be governed for, along with related matters of corporate social responsibility, and he explains the role of laws, market forces, and politics and their influence on the governance of public companies. For corporate directors, he provides a comprehensive examination of the roles, responsibilities, and accountability the role entails, while also offering guidance on how to be as effective as possible in addressing both routine corporate matters and special situations such as mergers and acquisitions, succession, and corporate crises. In addition, he offers practical suggestions for CEOs on leadership and their interactions with boards and shareholders. Cole also mounts a compelling case that a corporate culture that celebrates diversity and inclusion and has zero tolerance for sexual misconduct is critical to long-term business success. Filled with vignettes from Cole’s many years of experience in the board room and C-suite, CEO Leadership is an invaluable resource for current and prospective directors, CEOs, and other senior officers of public companies as well as the next generation of corporate leaders and their business and financial advisors.
The humor of the Old South -- tales, almanac entries, turf reports, historical sketches, gentlemen's essays on outdoor sports, profiles of local characters -- flourished between 1830 and 1860. The genre's popularity and influence can be traced in the works of major southern writers such as William Faulkner, Erskine Caldwell, Eudora Welty, Flannery O'Connor, and Harry Crews, as well as in contemporary popular culture focusing on the rural South. This collection of essays includes some of the past twenty five years' best writing on the subject, as well as ten new works bringing fresh insights and original approaches to the subject. A number of the essays focus on well known humorists such as Augustus Baldwin Longstreet, Johnson Jones Hooper, William Tappan Thompson, and George Washington Harris, all of whom have long been recognized as key figures in Southwestern humor. Other chapters examine the origins of this early humor, in particular selected poems of William Henry Timrod and Washington Irving's "The Legend of Sleepy Hollow," which anticipate the subject matter, character types, structural elements, and motifs that would become part of the Southwestern tradition. Renditions of "Sleepy Hollow" were later echoed in sketches by William Tappan Thompson, Joseph Beckman Cobb, Orlando Benedict Mayer, Francis James Robinson, and William Gilmore Simms. Several essays also explore antebellum southern humor in the context of race and gender. This literary legacy left an indelible mark on the works of later writers such as Mark Twain and William Faulkner, whose works in a comic vein reflect affinities and connections to the rich lode of materials initially popularized by the Southwestern humorists.
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