Based in the riches of Christian worship and tradition, this brief, eloquently written introduction to Christian thinking and worldview helps readers put back together again faith and reason, truth and beauty, and the fragmented academic disciplines. By reclaiming the classic liberal arts and viewing disciplines such as science and mathematics through a poetic lens, the author explains that unity is present within diversity. Now repackaged with a new foreword by Ken Myers, this book will continue to benefit parents, homeschoolers, lifelong learners, Christian students, and readers interested in the history of ideas.

Although technology education is in desperate need of reform, the new refuses to be born. Despite the introduction of technological literacy, the evolving merger with science, mathematics and engineering (STEM), and even a proposed merger between STEM and the arts (STEAM), nothing has changed. The subject continues to be a craft-based, vocationally orientated subject. Human beings have always had a relationship with technology, but never before has the progression of technological development had such an impact on the environment, one which has led to the birth of the Anthropocene. This poses the greatest existential threat ever known to the future of human existence. Those in power continue to turn a blind eye to this threat. Moreover, technology education today does not reflect issues relating to our technologically textured lifeworld. Given that it is the young who will inherit this potentially dystopic future, they must be given a voice, one in which they can reimagine their futures in a sustainable way. This book explores the development of ethnotechnological literacy, as delivered by a radical new nomadic pedagogy inspired by the philosophy of Deleuze and Guattari; one that can enable these voices to be expressed and more importantly, to be heard.

Although technology education is in desperate need of reform, the new refuses to be born. Despite the introduction of technological literacy, the evolving merger with science, mathematics and engineering (STEM), and even a proposed merger between STEM and the arts (STEAM), nothing has changed. The subject continues to be a craft-based, vocationally orientated subject. Human beings have always had a relationship with technology, but never before has the progression of technological development had such an impact on the environment, one which has led to the birth of the Anthropocene. This poses the greatest existential threat ever known to the future of human existence. Those in power continue to turn a blind eye to this threat. Moreover, technology education today does not reflect issues relating to our technologically textured lifeworld. Given that it is the young who will inherit this potentially dystopic future, they must be given a voice, one in which they can reimagine their futures in a sustainable way. This book explores the development of ethnotechnological literacy, as delivered by a radical new nomadic pedagogy inspired by the philosophy of Deleuze and Guattari; one that can enable these voices to be expressed and more importantly, to be heard.

Scholarship on artistic output during second wave feminism (SWF) primarily reflects art-genres such as visual art, performance art, literature, and poetry. In The Women's Music Movement: Music as Feminist Praxis, 1973-1980, Paul Ambrose Shaw III contends the women's music movement (WMM) was a vibrant locus of feminist activity during SWF but received comparatively less scholarly attention. Specifically, Shaw conducts a content analysis of five songs recorded between 1973 and 1980. As such, he draws on musical elements and structures, poetic and lyrical devices, personal insights from the artists, and feminist theory to explore the following important questions: What can we learn about second wave feminist movement through the lens of the women's music movement? Was the women's music movement, as some scholars and activists assert, simply a cultural and lifestyle movement, or an impactful locus of feminist praxis? Through a detailed analysis of five songs recorded by stalwarts of WMM-Meg Christian, Cris Williamson, Ferron, Holly Near, and Linda Tillery-Shaw argues for the importance of WMM as a vibrant center of struggle, growth, and creativity that serves as a model for modern social movement cultural activity.

The Ancient Schools of Gloucester traces the history of education in the City of Gloucester from its origins in the cloister school of St Peter's Abbey about a thousand years ago. Starting in the early Middle Ages, the rivalries between the two Gloucester grammar schools maintained by St Oswald's and Llanthony priories are described. The contributions of the Benedictines, Augustinian canons and founders of the medieval chantries are assessed. The creation of new grammar schools in the reign of Henry VIII at the Crypt and King's is fully documented along with the development of these schools through the pivotal years of the Civil War and into the 18th century. There is a special focus on the career of Maurice Wheeler, Gloucester's most distinguished schoolmaster. As the country began to move towards mass education during the 18th century, the role of other initiatives, such as private schools for girls, Sunday Schools and Sir Thomas Rich's Bluecoat school for apprentice boys, is also covered. Whilst several histories have been published in the past of individual schools, this chronological and fully illustrated study is the first time an author has brought together the early histories of the ancient schools of the City into a single volume, which sets the Gloucester experience in its national context.

Scholarship on artistic output during second wave feminism (SWF) primarily reflects art-genres such as visual art, performance art, literature, and poetry. In The Women's Music Movement: Music as Feminist Praxis, 1973-1980, Paul Ambrose Shaw III contends the women's music movement (WMM) was a vibrant locus of feminist activity during SWF but received comparatively less scholarly attention. Specifically, Shaw conducts a content analysis of five songs recorded between 1973 and 1980. As such, he draws on musical elements and structures, poetic and lyrical devices, personal insights from the artists, and feminist theory to explore the following important questions: What can we learn about second wave feminist movement through the lens of the women's music movement? Was the women's music movement, as some scholars and activists assert, simply a cultural and lifestyle movement, or an impactful locus of feminist praxis? Through a detailed analysis of five songs recorded by stalwarts of WMM-Meg Christian, Cris Williamson, Ferron, Holly Near, and Linda Tillery-Shaw argues for the importance of WMM as a vibrant center of struggle, growth, and creativity that serves as a model for modern social movement cultural activity.