Since 1997 Representation has been the go-to textbook for students learning the tools to question and critically analyze institutional and media texts and images.

This long-awaited second edition:

• updates and refreshes the approaches to representation, signalling key developments in the field
• addresses the emergence of new technologies, media formats, politics and theories
• includes an entirely new chapter on celebrity culture and reality TV
• offers new exercises, readings, images and examples for a new generation of students

This book once again provides an indispensible resource for students and teachers in cultural and media studies.

Full Contributors:
Richard D. Altick, Arjun Appadurai, Tony Bennett, Carol A. Breckenridge, James Clifford, Philip Dodd, Carol Duncan, David Goodman, Stuart Hall, Robert Hewison, Eric Hobsbawn, Kenneth Hudson, Sharon Macdonald, Colin Mercer, Kevin Robins, Chris Rojek, Robert W. Rydell, Raphael Samuel, Roger Silverstone, Anthony D. Smith, John Urry, Patrick Wright

Universities across the globe are attempting to change assessment practices to address challenges in student engagement and achievement and to respond to a global employability agenda demanding evidence of a broader range of skills and competencies. In the UK this has acquired urgency given the shift of higher education over the last 20 years from the prerogative of an elite minority to mass participation in a highly diversified market system. Integral to this interrogation of objectives for assessment is the identified need to develop and improve academics' assessment practice. Strategies frequently focus on attendance at formal Continuous Professional Development events and/or implementation of institutional blueprints. This book showcases how scholarship as part of academics' practice can be part of an academic toolkit for change that expands awareness and knowledge of the purposes and effects of the pedagogy of assessment. The case studies - ranging from assessment in Massive Open Online Courses (MOOCs), to assessment design for students whose first language is not English, to the effectiveness of peer learning to support academic integrity and programme-level assessment strategies - are framed by an introduction that explores a 'communities of practice' approach to the institution-wide improvement of assessment. It argues - through a case study from The Open University (OU) - that academics' professional expertise is best deepened through participation in authentic activities of teaching and scholarship. The discussion identifies what is involved in such an approach including the role of an enabling principles-based framework, the constraints on implementation, and the implications for leaders of teaching and learning. This book was originally published as a special issue of the Open Learning journal.

In a period of globalisation there has been a startling resurgence of nationalism, regionalism, and other assertions of local identity, reflected in the boom in the heritage industry in all its forms, from education in oral and social history to entertainment and tourism. Representing the Nation gathers key writings from leading thinkers in cultural studies, cultural history, and museum studies to ask what role cultural institutions play in creating and shaping our sense of ourselves as a nation. With an international perspective focusing on the US, France, Australia, the UK and India, the contributors investigate whether cultural artefacts can represent all of us equally, as members of a given nation.
The opening section explores the strategies involved in creating and sustaining a national culture, such as the standardisation of language and the sidelining of regional cultures. In the second section, contributors examine the way the past is preserved, represented and consumed as our 'heritage'. Tracing the growth of 'heritage culture' from the founding of the National Trust in 1895, to the National heritage acts of the 1980's, key figures in the heritage debate ask why it has become important for nations to preserve the past, and in whose name it is preserved and displayed?
The third section looks at the historical development of the public museum, examining the development of conventions of classification and display, and stressing the link between the emergence of museums and the development of the modern nation state. In the final section contributors focus on issues facing museums today; the difficulties they now encounter when facing the competing demands and interests of public funding bodies, tourist, and local or ethnically specific communitities, and argue that museums cannot continue to operate as if they are the repositories of objective and universal knowledge.

Universities across the globe are attempting to change assessment practices to address challenges in student engagement and achievement and to respond to a global employability agenda demanding evidence of a broader range of skills and competencies. In the UK this has acquired urgency given the shift of higher education over the last 20 years from the prerogative of an elite minority to mass participation in a highly diversified market system. Integral to this interrogation of objectives for assessment is the identified need to develop and improve academics' assessment practice. Strategies frequently focus on attendance at formal Continuous Professional Development events and/or implementation of institutional blueprints. This book showcases how scholarship as part of academics' practice can be part of an academic toolkit for change that expands awareness and knowledge of the purposes and effects of the pedagogy of assessment. The case studies - ranging from assessment in Massive Open Online Courses (MOOCs), to assessment design for students whose first language is not English, to the effectiveness of peer learning to support academic integrity and programme-level assessment strategies - are framed by an introduction that explores a 'communities of practice' approach to the institution-wide improvement of assessment. It argues - through a case study from The Open University (OU) - that academics' professional expertise is best deepened through participation in authentic activities of teaching and scholarship. The discussion identifies what is involved in such an approach including the role of an enabling principles-based framework, the constraints on implementation, and the implications for leaders of teaching and learning. This book was originally published as a special issue of the Open Learning journal.

This Microsoft Office 2010 Introductory text, part of the Origins Series, includes features that make learning easy and enjoyable, yet challenging for learners. Students receive a wide range of learning experiences from activities with one or two commands to simulations and case studies that challenge and sharpen learners' problem-solving skills. This is a hardcover text.

Covers all the new features of Microsoft FrontPage 2003 such as "testing" Web designs, side-by-side coding and coding multiple Web browsers, the enhanced layout and graphics tools, and more! Students will learn basic to more advanced skills. A perforated FrontPage 2003 CourseCard back cover provides students a quick reference to FrontPage 2003 skills at their fingertips.

Identity provides an essential resource of key statements drawn from cultural studies, sociology, and psychoanalytic theory, and includes three editorial essays, which place the readings in their theoretical and historical context. Divided into three parts: Language, Ideology and Discourse; Psychoanalysis and Psycho-Social Relations; and Identity, Sociology and History, this book invites readers to compare and contrast cultural studies approaches with psychoanalytic and historical and sociological accounts of identity formation. The Identity Reader will be an essential sourcebook for students of cultural studies, gender studies, social psychology, and sociology. The key statements are from the work of: Louis Althusser, Jessica Benjamin, Emile Benveniste, Homi K Bhabha, Pierre Bourdieu, Judith Butler, Ian Craib, Jacques Dérrida, Norbert Elias, Frantz Fanon, Michel Foucault, Anthony Giddens, Stuart Hall, Pierre Hadot, Melanie Klein, Jacques Lacan, Christopher Lasch, Isabel Menzies, Lyth, T H Marshall, Marcel Mauss, Amèlie Okensberg Rorty, Jacqueline Rose, Nikolas Rose, Michael Rustin, Kaja Silverman, Max Weber, D W Winnicott

"This collection of classic essays in the study of visual culture fills a major gap in this new and expanding intellectual field. Its major strength is its insistence on the importance of three central aspects of the study of visual culture: the sign, the institution and the viewing subject. It will provide readers, teachers and students with an essential text in visual and cultural studies." - Janet Wolff, University of Rochester

In this stimulating collection of essays, John Roberts draws together a wide range of work on some of the most important artists of the post-war period. Written by leading art historians and artist-writers, the essays take a sharply critical look at the construction of modern art history. The artists discussed include Francis Picabia, Robert Smithson, Ad Reinhardt, Andy Warhol, Gerhard Richter, Mary Kelly, Cindy Sherman, Victor Burgin and Laurie Anderson. The extensive influence of post-structuralism on all schools of art history has brought about a widespread derogation of questions around intentionality and social agency. Free-ranging textual interpretation has come to outweigh causal analysis. Art Has No History! reverses this bias. Putting the artist back into art history, the essays reinstate the claims for historical materialism as a theory of the conflictual socialization of individuals. Acknowledging the dissemblances involved in the representations of artistic invention, the book challenges the self-image of traditional art history and the radical New Art History alike. In his introduction, John Roberts gives a fascinating account of the vicissitudes of Marxist writing on art, from Max Raphael and Arnold Hauser to T.J. Clark and Griselda Pollock. Placing the debates on intention and agency in their wider political context, he refers to what he calls "the continuing influence of historical materialism on the best Anglophone art writing today." Art Has No History! is a lively and iconoclastic contribution to that tradition.