Going Public responds to the urgent need to expand current thinking on what it means to co-create and to actively involve the public in research activities. Drawing on conversations with over thirty practitioners across multiple cultures and disciplines, this book examines the ways in which oral historians, media producers, and theatre artists use art, stories, and participatory practices to engage creatively with their publics. It offers insights into concerns related to voice, appropriation, privilege, and the ethics of participation, and it reveals that the shift towards participatory research and creative practices requires a commitment to asking tough questions about oneself and the ways that people’s stories are used.

Remembering Mass Violence breaks new ground in oral history, new media, and performance studies by exploring what is at stake when we attempt to represent war, genocide, and other violations of human rights in a variety of creative works. A model of community-university collaboration, it includes contributions from scholars in a wide range of disciplines, survivors of mass violence, and performers and artists who have created works based on these events. This anthology is global in focus, with essays on Africa, Asia, Europe, Latin America, and North America. At its core is a productive tension between public and private memory, a dialogue between autobiography and biography, and between individual experience and societal transformation. Remembering Mass Violence will appeal to oral historians, digital practitioners and performance-based artists around the world, as well researchers and activists involved in human rights research, migration studies, and genocide studies.

Jim Thurmond is an unlikely hero. He's an embittered Viet Nam vet with Post Traumatic Stress Disorder and a drinking problem the size of Texas. When Jim suffers a full-blown breakdown, he emerges with the realization that America's political, financial and legal systems have become hopelessly corrupt. Jim hasn't worn his country's uniform for decades but, like all vets, he never renounced his oath to support and defend the Constitution against all enemies, foreign and domestic. Jim and a small group of fellow veterans of the super-secret Army Security Agency decide to take matters into their own hands. Like our Founding Fathers, they form a Committee of Safety, vigilantes dedicated to making sure that America's domestic enemies pay the ultimate price. Branded domestic terrorists, they rush to complete their mission before the full might of the FBI can stop them. Jim's mission to restore America's values forces him to confront his own demons. He'll either save America and himself in the process, or die trying.

This is a reproduction of a book published before 1923. This book may have occasional imperfectionssuch as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed worksworldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Boston Melodeon: A Collection Of Secular Melodies, Consisting Of Songs, Glees, Rounds, Catches, &c., Including Many Of The Most Popular Pieces Of The Day, Volume 3; The Boston Melodeon: A Collection Of Secular Melodies, Consisting Of Songs, Glees, Rounds, Catches, &c., Including Many Of The Most Popular Pieces Of The Day; Edward Little White Edward Little White, Benjamin Franklin Baker, Lucien H. Southard O. Ditson & Co., 1850 Music; Genres & Styles; Folk & Traditional; Glees, catches, rounds, etc; Music / Genres & Styles / Folk & Traditional; Music / Musical Instruments / General; Music / Songbooks

A man's character is revealed by his actions. Author Michael Little suffered a near-fatal brain hemorrhage, which left him unable to speak intelligibly, crippled, blind, and senseless. Michael refused to be defined by his injury, choosing instead to let his struggle and recovery speak for him. Stranger in the Mirror is the story of one man's journey through his dark night of soul to enlightenment. Michael shows us that our lives are full of choices and our limitations are often self-imposed. Facing tragedy with humor, grit and grace, Michael found redemption. In writing this remarkable book, he shows the way for all of us, to reassess and redirect our lives in a more positive meaningful direction. Stranger in the Mirror is a highly literate book that may send some readers scrambling for their dictionary. The author isn't showing off, but he is careful to use the words he means, and mean what he writes. This joyous book is a dazzling tour de force, filled with humor and wisdom. It is sure to inspire courage and bring hope to stroke and brain injured survivors and their families. Michael shows all of us we, too, can have the happy ending we deserve. This powerful book will lift you to new heights where the air is thinner. This is the owner's manual stroke and brain injury survivors need. Brain injury needn't be the end. It can be a beginning. More than half this wonderful book is of a medical nature; what families and survivors should know to help them move forward. The balance focuses on the author's struggles, his blunders, and his insights into a brain damaged world. "The author should be immensely proud. This book is good medicine. You'll laugh out loud " said author Mark Twain.

Going Public responds to the urgent need to expand current thinking on what it means to co-create and to actively involve the public in research activities. Drawing on conversations with over thirty practitioners across multiple cultures and disciplines, this book examines the ways in which oral historians, media producers, and theatre artists use art, stories, and participatory practices to engage creatively with their publics. It offers insights into concerns related to voice, appropriation, privilege, and the ethics of participation, and it reveals that the shift towards participatory research and creative practices requires a commitment to asking tough questions about oneself and the ways that people's stories are used.