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Numerous successful reprints of contemporary works on rigging and
seamanship indicate the breadth of interest in the lost art of
handling square-rigged ships. Modelmakers, marine painters and
enthusiasts need to know not only how the ships were rigged but how
much sail was set in each condition of wind and sea, how the
various manoeuvres were carried out, and the intricacies of
operations like reefing sails or 'catting' an anchor. Contemporary
treatises such as Brady's Kedge Anchor in the USA or Darcy Lever's
Sheet Anchor in Britain tell only half the story, for they were
training manuals intended to be used at sea in conjunction with
practical experiences and often only cover officially-condoned
practices. This book, on the other hand, is a modern, objective
appraisal of the evidence, concerned with the actualities as much
as the theory. The author has studied virtually every manual
published about seamanship over a period of nearly four centuries.
This gives the book a completely international balance and allows
him to describe for the first time the proper historical
development of seamanship among the major navies of the world.
The Human Scale Schools project, which ran for three years, set out
'to build a solid core of human scale schools that can stand up as
effective examples of human scale principles in practice'. Launched
in 2006 by the Calouste Gulbenkian Foundation in partnership with
the educational charity Human Scale Education, the project
encouraged secondary schools to develop their own schemes for
creating a more human scale ethos. These included the setting up of
small-scale learning communities, cross disciplinary curriculum
projects, more holistic pastoral structures and greater student
participation in learning. Grants were offered to 39 schools across
the country to enable them to design and implement these
innovations. LC Research Associates was commissioned to evaluate
the changes and effects of the developments supported by the Human
Scale Schools project in six schools from February 2007 to December
2009. This report presents that analysis.
Research shows that young people's attendance at places such as
theatres, concert halls, galleries and museums declines as they
progress through their teens. They may, indeed, experience only a
fleeting acquaintance with cultural venues of this kind and then
cease to visit them altogether - not necessarily because of a
dislike of particular art forms but because these cultural venues
and what they have to offer do not appear to be relevant to them.
As a result of such assumptions and subsequent lack of involvement,
young people may be denied the possibility of informed choice. How
can venues, schools and others help young people to consider a
wider spectrum of cultural experiences? 'Crossing the Line' has
been commissioned by the Gulbenkian Foundation and Arts Council
England to consider this problem. It reviews the evidence and
includes important new research which asks young people what they
think; looks at different types of initiatives concerned with this
issue and highlights the questions that the various sectors may
wish to ask themselves - for example, how cultural venues can make
themselves more accessible to teenagers and the possibility of some
young people serving as 'cultural mentors' to their peers.
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