Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

A Sinner was a 33 year old ordinary English working class man, content and happy with his family life. One day he curiously attends a Christian Fellowship in a local community centre. After many visits and much thought he eventually accepts Christ as his personal saviour. Two years later he finds he is given a preaching commitment. Here is his 'lay' preachers notes of some 20 years, biblical expositions with historical and contemporary commentaries. It is a warts and all record, not only of serous scriptural sermons but also on church and personal life experiences some humorous some tragic. He is critical of much of 'established religion' and the fact he reluctantly uses a pen name tells of his fears of the changing face of his country and shows his belief that much of its freedoms for Christians and free speech in general has been and is being lost. He holds no theological exams or college training and does not qualify for what he describes as the 'hindrance' of a dog collar, but believes in Gods Holy Spirit that has and does convict man if mans heart is willing to be open to Him. So are any or any part of these words Gods word? That's for you with the Holy Spirit to decide.

In A Sinner's second book he again states he has to keep to his pen name and again changes all names of churches, friends and family because of, as he puts it, " historical freedoms long ago fought and died for in my country, but now lost to dangerous forces, that are not only unchallenged but appeased and encouraged." He gives a chapter on his own English roots and background where he says his Saviour showed him the first signs of sin of which he needed to take to His cross. He mentions first hand experience of Jesuit and Christian Brother school teachers, who not surprisingly, he is no fan of. Yet his criticisms again are not left to Roman Catholicism alone. As in his first book, often humorous, often tragic words, but now not just in sermon notes but observations, experiences, speaking notes, modern parables, one or two poems and also in his own mostly pen and ink illustrations. He gives a little more detail than in his first book of his working for his Saviour in missionary organisations such as Prison Fellowship, SASRA and local church work. Through it all, he leaves the same message for all: look to the Bible for inspiration but especially to unbelievers for salvation only in the Bible's Author, The Holy Spirit and the Word of God Jesus Christ John Then they asked Him, "What must we do to do the works God requires?" Jesus answered "The work of God is this: to believe in the one He has sent John 6;28&29.

Bringing together Carl Leggo's most significant contributions over the past 30 years, this book celebrates his work in curriculum studies, English language arts, literacy and life writing, poetry, and arts education. Organized around three thematic sections-Loving Language, Narrating Ruminations, and Storying the World-the volume highlights his efforts across interrelated fields of inquiry, including narrative and poetic inquiry, contemplative inquiry, and social fiction. The text extends the discussion and conversation of curriculum studies and is greatly enhanced with a selection of original poetry by this incomparable poet, scholar, and teacher. Carl Leggo is renowned not only for his ground-breaking work at the University of British Colombia, but also for his tremendous influence on graduate education across the English-speaking world. This volume honours that immense contribution in today's time of academic change and development.

This anthology explores life writing as a mode of educational inquiry, one where students and teachers may get a "heart of wisdom" as they struggle with the tensions and complexities of learning and teaching in challenging contemporary circumstances. Contributors write first-person creative non-fiction in a variety of life-writing genres, such as memoir, poetry, personal essay, and various blended genres. Four sections entitled Memory Work, Place Work, Curriculum Work, and Social Work explore the struggles and joys of pedagogy where relationships are at the heart of teaching and learning. The essays address questions such as: What critical moments in learning and teaching change lives? What stories need to be told? What questions ache to be asked?

This open access book presents a qualitative longitudinal panel-study on child and adolescent socialisation in socially disadvantaged families. The study traces how children and their parents make sense of media within the context of their everyday life over twelve years (from 2005 to 2017) and provides a unique perspective on the role of different socialisation contexts, drawing on rich data from a broad range of qualitative methods. Using a theoretical framework and methodological approach that can be applied transnationally, it sheds light on the complex interplay of factors which shape children's socialisation and media usage in multiple ways.

Provoking the Field invites debate on, and provides an essential resource for, transnational arts-based scholars engaged in critical analyses of international visual arts education and its enquiry in doctoral research. Divided into three parts - doctoral processes, doctoral practices and doctoral programmes - the volume interrogates education in both formal and informal learning environments, ranging from schools to post-secondary institutions to community and adult education. This book brings together a global range of authors to examine visual arts PhDs using diverse theoretical perspectives; innovative arts and hybrid methodologies; institutional relationships and scholarly practices; and voices from the field in the form of site-specific cases. A compendium of leading voices in arts education, Provoking the Field provides a diverse range of perspectives on arts enquiry, and a comprehensive study of the state of visual arts PhDs in education.

Ma is a curriculum. The Japanese concept of ma refers to the interval between two markers. Ma is somatically constructed by a deliberate, attentive consciousness to what simultaneously is expressed, repressed, or suppressed between two structures. In a dialectic exploration, the spaces between-private/public, teacher/student, old/new, self/other, among others-are probed in ways that contribute to the significant research in teaching and learning that has been undertaken in the last few decades. Material culture is the study of belief systems, behaviours, and perceptions through artefacts and physical objects and is central to the socialization of human beings into culture. The analysis of cultural materials offers sites for concretizing the self and the self in context. New materiality challenges assumptions and cliches and allows for possibilities not yet imagined, perhaps even inconceivable possibilities. New materiality approaches accept that matter itself has agency. As such, this book investigates the intersections at the core of ma, engagements wherein the investigations create something new, in order to demonstrate the layers of the teaching and learning self. Interpretations of the concept of ma articulate new definitions to improve the conditions, practices, products, and pedagogies of being a teacher/learner in the twenty-first century. Ma is a site for epistemological understandings, threshold learnings, and self and curriculum becomings.

Ma is a curriculum. The Japanese concept of ma refers to the interval between two markers. Ma is somatically constructed by a deliberate, attentive consciousness to what simultaneously is expressed, repressed, or suppressed between two structures. In a dialectic exploration, the spaces between-private/public, teacher/student, old/new, self/other, among others-are probed in ways that contribute to the significant research in teaching and learning that has been undertaken in the last few decades. Material culture is the study of belief systems, behaviours, and perceptions through artefacts and physical objects and is central to the socialization of human beings into culture. The analysis of cultural materials offers sites for concretizing the self and the self in context. New materiality challenges assumptions and cliches and allows for possibilities not yet imagined, perhaps even inconceivable possibilities. New materiality approaches accept that matter itself has agency. As such, this book investigates the intersections at the core of ma, engagements wherein the investigations create something new, in order to demonstrate the layers of the teaching and learning self. Interpretations of the concept of ma articulate new definitions to improve the conditions, practices, products, and pedagogies of being a teacher/learner in the twenty-first century. Ma is a site for epistemological understandings, threshold learnings, and self and curriculum becomings.

Living Histories is a collection of new scholarship that explores histories of art education through a series of international contexts. The first truly international text highlighting histories of art education, with contributions from over 30 scholars based in 18 countries. Art education holds an important role in promoting historical awareness of the multiple relations that connect pedagogic inquiry with culture, heritage, place and identity, locally and globally. To keep pace with the movements of art and society, Garnet and Sinner consider that art education requires more inclusive and holistic versions of history from transnational perspectives that break down barriers and cross borders in the pursuit of more informed and diverse understandings of the field. The broad focus of this edited collection is to provide both new perspectives of art education from around the world, and to introduce transnationalism into the field as a way to conceptualize the entanglements of historical research in our globalized age. Transnational histories of art education focus on the linkages and flows that shift focus away from the nation-state to other transnational actors such as individuals, communities, institutions and/or organizations. Contributions from scholars and educators based and working in Australia, Austria, Brazil, Canada, Colombia, Croatia, Czech Republic, Finland, India, Iran, Japan, Malta, South Africa, Spain, Trinidad and Tobago, UK, USA and Zimbabwe. Includes chapters that adapt an approach of 'artwork histories' to explore the legacies of art education as an anticipatory mode of historical thinking and practice across the visual arts and sites of art education. The book offers an opportunity for authentic engagement and intellectual risk, which includes the rejection of 'correct' interpretations of historical problems. As active agents, art education historians are not passive collectors of the past, but engaged in new ways of doing history predicated on cultivating stories that move beyond representation to attend to aesthetic dimensions that bridge historiography, material culture, oral history, art history and teacher education. Living Histories provides an interpretation of historical thinking and consciousness through the interrelations of time and space to provoke critical and creative practices in education. This is the latest book in the Artwork Scholarship series, which aims to invite debate on, and provide an essential resource for transnational scholars engaged in, creative research involving visual, literary and performative arts. With contributors from 18 countries, this book will have a substantial international readership among art educators and those interested in the history of art education, primarily in universities and colleges. It will also be particularly useful for graduate students. It will also appeal to scholars in arts education more broadly - music education, dance education, theatre education scholars, cultural and art historians, art theorists, international educators, and curators.

This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education. Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels. Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations. Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.

In this book input-output analysis is applied to the regional economy of The Netherlands. The re ults are based on a publication of The Netherlands Central Bureau of Statistics: Regional Accounts 1960, The Hague, Staatsuitgeverij, 1968. Dr. Schilderinck and Mr. Sinner call special attention to the structure which are concealed in the cumulated primary costs of the final demand categories. Part I of the book deals particularly with a survey of this feature of input-output analysis. Part II starts with comparing the production structure of each industry in the eleven provinces of The Netherlands by means of semi-regional tables. Next, authors analyse the structure of the induced income resulting from a surplus or deficit of each industry on current final transactions per province. Thanks to its methodical elaboration the book is a valuable guide to those confronted with the problems of regional economic analysis. J. J. J. Dalmulder Contents FOREWORD IX LIST OF TABLES XI PART ONE: THE INPUT-OUTPUT TABLE AS AN INSTRUMENT OF ANALYSIS 1 List of symbols 3 1. Introduction 5 2. The input-output table 9 3. Coefficients of the input-output table 11 3. 1 Technical coefficients 11 3. 2 Interdependence coefficients and cumulated production coef- cients 12 3. 3 Input coefficients of cumulated production 15 3. 4 Input coefficients of final demand 17 4. The example of a simple economic system 20 4. 1 The input-output table and the technical coefficients 20 4.

This empirical study investigates the existence of a hypothetical regional standard for Spanish in Catalonia based on a corpus made up of transcripts of some 70 hours of recorded interview material. The determining factors in the development of linguistic norms are analyzed in terms of the frequency of usage and the formal and informal acceptability of some 80 linguistic phenomena. The qualitative and quantitative analyses are supplemented by a study of the metalinguistic information and the linguistic attitudes identifiable in the interviews.

Zunächst gehen die Autoren dieses Crossmedia Publishing Buchs auf die zunehmende Bedeutung von Redaktionssystemen – speziell Content Management Systeme (kurz: CMS) – und deren Vorteile für den Publikationsprozess ein. Im weiteren Verlauf dieses Werks stehen folgende Aspekte im Fokus: XML: Grundlagen und DateibearbeitungWeb-to-Print-AnwendungenWichtige DruckdatenRich-Media-InhalteKonvertierung von PDF in HTML5 So vermittelt Ihnen das Buch „Crossmedia Publishing“ nicht nur theoretische Grundlagen, sondern stellt gleichzeitig Praxisbezüge her. Verständliche Anleitungen inklusive Screenshots unterstützen Sie bei der Arbeit mit verschiedenen Tools.

Im einführenden Kapitel dieses Datenmanagementbuchs geht es zunächst um die Frage, wie im Zuge der Digitalisierung die Umwandlung von analogen Daten in binäre Zahlen abläuft und welche Auswirkungen dies auf die computergesteuerte Verarbeitung von Texten, Bildern, Farben sowie Musik hat. Des Weiteren betrachten die Verfasser folgende Gesichtspunkte: Grundlagen von Datenbanken Datenbankentwürfe Malware Mögliche Datenschutzmaßnahmen

Die Entwicklung digitaler Moeglichkeiten fuhrt zu neuen Translationsformen. Sie verlangt eine UEberprufung von Ansatzen und Theorien und schafft neue Moeglichkeiten fur (sprachvergleichende) theoretische und korpusbasierte Studien. Die Beitrage dieses Bandes gehen den Auswirkungen der technischen Veranderungen auf die Translation selbst sowie auf die sich stetig verandernden bzw. erweiternden Moeglichkeiten der Translationsforschung im digitalen Zeitalter auf den Grund. Dabei decken sie Themenbereiche wie UEbersetzung und Dolmetschen, Untertitelung und Synchronisierung sowie Ausbildung mit neuen Lehrwerken und Tools ab. Der Band geht auf den 10. Internationalen Kongress zu Grundfragen der Translatologie (LICTRA X) zum Thema Translation 4.0 - Translation im digitalen Zeitalter zuruck.

The focus of this edited book is to evoke and provoke conceptual conversations between early a/r/tographic publications and the contemporary scholarship of a/r/tographers publishing and producing today. Working around four pervasive themes found in a/r/tographic literature, this volume addresses relationality and renderings, ethics and embodiment, movement and materiality, and propositions and potentials. In doing so, it advances concepts that have permeated a/r/tographic literature to date. More specifically, the volume simultaneously offers a site where key historical works can easily be found and at the same time, offer new scholarship that is in conversation with these historical ideas as they are discussed, expanded and changed within contemporary contexts. The organizing themes offer conceptual pivots for thinking through how a/r/tography was first conceptualized and how it has evolved and how it might further evolve. Thus, this edited book affords an opportunity for all those working in and through a/r/tography to offer refined, revised, revisited or new conceptual understandings for contemporary scholarship and practice. Part of the Artwork Scholarship: International Perspectives in Education series.

In addition to Phoenician, Greek, and Latin, at least four writing systems were used between the fifth century BCE and the first century CE to write the indigenous languages of the Iberian peninsula (the so-called Palaeohispanic languages): Tartessian, Iberian, Celtiberian, and Lusitanian. In total over three thousand inscriptions are preserved in what is certainly the largest corpus of epigraphic expression in the western Mediterranean world, with the exception of the Italian peninsula. The aim of this volume is to present the most recent cutting-edge scholarship on these epigraphies and on the languages that they transmit. Utilizing a multidisciplinary approach which draws on the expertise of leading specialists in the field, it brings together a broad range of perspectives on the linguistic, philological, epigraphic, numismatic, historical, and archaeological aspects of the surviving inscriptions, and provides invaluable new insights into the social, economic, and cultural history of Hispania and the ancient western Mediterranean. The study of these languages is essential to our understanding of colonial Phoenician and Greek literacy, which lies at the root of their growth, as well as of the diffusion of Roman literacy, which played an important role in the final expansion of the so called Palaeohispanic languages.