In this book we considered new territory for educational leadership by looking to music for lessons and inspiration that may inform the next generation of schools leaders. Each chapter focuses on an artist or group whose work serves to refine, extend, and challenge our thinking in regards to educational leadership. You will find a vast array of musical forms of expression analyzed and described by an equally diverse collection of educational leadership scholars and practitioners. There may be some who question the academic appropriateness or relevance of a text such as this one. Our response is that part of our ongoing mission should be to break ourselves out of academic silos and forge meaningful connections between seemingly disparate disciplines. Furthermore, educational leadership stands to gain more by drawing from the arts and specifically musical influences. Finally, music is an obvious part of most of our lives; why not explore the ways in which it impacts us on an academic level and not just a personal level? In sum, we ask that as you read the chapters of this book, you reflect on your own musical tastes and favorite artists.

In 1882, Kano opened his Kodokan dojo in Tokyo, where he taught jujutsu to his first class of nine students. His choice of the name 'Kodokan' symbolizes precocity in one so young and is highly significant, for it means 'the institute where one is guided along the road to follow in life', that is to say, a road that one travels as a means of self-cultivation, which Kano regarded as the optimum way to live one's life. This cultivation, however, can only be attained following long years of training made with vigorous exertion in an effort to reach the ultimate goal: self-perfection.

At the age of twenty-four, Kano abruptly gave up the teaching of this ancient and altogether brutal activity and never taught jujutsu again. In his attempt to create for the modern age a non-violent, spiritually inspiring antagonistic art, he carried out research on several styles of jujutsu. Primarily in the interests of both safety and practicality, he altered and added his own devices to the techniques that he was later to incorporate into his newly conceived system of skills, which he named 'Kodokan judo'. In lectures, Kano often stated the following: 'The ultimate object of studying judo is to train and cultivate body and mind through practice in attack and defense, and by thus mastering the essentials of the art, to attain perfection of oneself and bring benefits to the world.' He had sought to create in judo, therefore, something positive out of something largely negative.

This book offers both an introduction to the vibrant field of literary tourism studies and a selection of cutting-edge cross-disciplinary research. Indispensable for students and scholars of nineteenth-century literature and culture, it provides fascinating insights into the reception of, among others, Shakespeare, Dickens, Byron and Wordsworth.

There has been a notable upsurge of interest in the body in empirical and theoretical study and debate. Contributions to this book move these debates forward by considering a range of bodies as active in their own construction in social and economic processes. The authors consider the body as a site of agency, resistance, and compromise and reflect upon the reluctance of sociology to engage with the body and notions of embodiment.

This original, witty, illustrated study offers the first analytical history of the rise and development of literary tourism in nineteenth-century Britain, associated with authors from Shakespeare, Gray, Keats, Burns and Scott, the Bronte sisters, and Thomas Hardy. Invaluable for the student of travel and literature of the nineteenth century.

This book's primary focus is on racially and ethnically diverse women in educational leadership. Each chapter is written from a unique conceptual or empirical lens as shared by international female leaders. Of particular interest to readers is the ingenious pairing of contributors for optimum scholarship, whereby the majority of chapters are co-authored by at least one male in a leadership role who shares in the crusade for social, cultural, political, and economic gender and racial equality for effective leadership that works. The general content is framed by but not limited to theoretical frameworks such as Black / Feminist Thought, Critical Race Theory, and Leadership for Social Justice. The chapters range from a critical examination of global society and cross-cultural collaboration, to the intersection of race, law, and power. Each chapter illuminates the lives and experiences of racially and ethnically diverse women in leadership positions in a diverse range of educational settings and contexts.

Throne of Blood (1957), Akira Kurosawa's reworking of Macbeth, is widely considered the greatest film adaptation of Shakespeare ever made. In a detailed account of the film, Robert N. Watson explores how Kurosawa draws key philosophical and psychological arguments from Shakespeare, translates them into striking visual metaphors, and inflects them through the history of post-World War II Japan. Watson places particular emphasis on the contexts that underlie the film's central tension between individual aspiration and the stability of broader social and ecological collectives - and therefore between free will and determinism. In his foreword to this new edition, Robert Watson considers the central characters' Washizu and his wife Asaji's blunder in viewing life as a ruthless competition in which only the most brutal can thrive in the context of an era of neoliberal economics, resurgent 'strongman' political leaders, and myopic views of the environmenal crisis, with nothing valued that cannot be monetized.

The sharpest, funniest comedy about money and morals in the 17th century is still the sharpest and funniest about those things in the 21st. The full play text is accompanied by incisive commentary notes which communicate the devastating comic energy of Volpone's satire. The introduction provides a firm grounding in the play's social and literary contexts, demonstrates how careful close-reading can expand your enjoyment of the comedy, shows the relevance of Jonson's critique to our modern economic systems, and provides a clear picture of how the main relationships in the play function on the page and stage. Supplemented by a plot summary and annotated bibliography, it is ideal for students of Jonson, city comedy and early modern drama.

This original, witty, illustrated study offers the first analytical history of the rise and development of literary tourism in nineteenth-century Britain, associated with authors from Shakespeare, Gray, Keats, Burns and Scott, the Bronte sisters, and Thomas Hardy. Invaluable for the student of travel and literature of the nineteenth century.

Often described as one of Shakespeare's 'problem plays', Measure for Measure explores issues of mercy and justice in corrupt Vienna. The Duke makes his strict moralistic deputy, Angelo, temporary leader of Vienna, while he disguises himself as a friar to witness all that ensues. In the comprehensive introduction to this new, fully-illustrated Arden edition, with commentary and notes from A. R. Braunmuller, Robert N. Watson explores the recent increased attention to the play and the shifting judgements of key characters such as the Duke and Isabella. He analyses the social foundations of these changes, their validity as readings of the text, and their manifestations in performance. It also explores the play's implications on topics including love, marriage, sexuality, consent, mortality, religion, statecraft, moderation, and theatre itself.

In this book we considered new territory for educational leadership by looking to music for lessons and inspiration that may inform the next generation of schools leaders. Each chapter focuses on an artist or group whose work serves to refine, extend, and challenge our thinking in regards to educational leadership. You will find a vast array of musical forms of expression analyzed and described by an equally diverse collection of educational leadership scholars and practitioners. There may be some who question the academic appropriateness or relevance of a text such as this one. Our response is that part of our ongoing mission should be to break ourselves out of academic silos and forge meaningful connections between seemingly disparate disciplines. Furthermore, educational leadership stands to gain more by drawing from the arts and specifically musical influences. Finally, music is an obvious part of most of our lives; why not explore the ways in which it impacts us on an academic level and not just a personal level? In sum, we ask that as you read the chapters of this book, you reflect on your own musical tastes and favorite artists.

Everyone thinks a life on a cruise ship is the life to live. I can tell you at first living on the QUEEN VICTORIA was amazing, but after a while it turns from all that to complete boredom.

In 1882, Kano opened his Kodokan dojo in Tokyo, where he taught jujutsu to his first class of nine students. His choice of the name 'Kodokan' symbolizes precocity in one so young and is highly significant, for it means 'the institute where one is guided along the road to follow in life', that is to say, a road that one travels as a means of self-cultivation, which Kano regarded as the optimum way to live one's life. This cultivation, however, can only be attained following long years of training made with vigorous exertion in an effort to reach the ultimate goal: self-perfection.

At the age of twenty-four, Kano abruptly gave up the teaching of this ancient and altogether brutal activity and never taught jujutsu again. In his attempt to create for the modern age a non-violent, spiritually inspiring antagonistic art, he carried out research on several styles of jujutsu. Primarily in the interests of both safety and practicality, he altered and added his own devices to the techniques that he was later to incorporate into his newly conceived system of skills, which he named 'Kodokan judo'. In lectures, Kano often stated the following: 'The ultimate object of studying judo is to train and cultivate body and mind through practice in attack and defense, and by thus mastering the essentials of the art, to attain perfection of oneself and bring benefits to the world.' He had sought to create in judo, therefore, something positive out of something largely negative.

Volphone's reverential prayer to his heaps of gold launches the sharpest, funniest play about money and morals in the 17th century - a play still wickedly relevant on the same topics four centuries later. Ben Jonson's comedy depicts selfishness thinly veiled by sanctimonious speeches, lust and possessiveness poorly disguised as love and marriage, and cynical legalism passing itself off as pure justice, alongside snobbery, class warfare and greed. The wily protagonists keep a dozen conventional plots spinning in the minds of their dupes, and when their amazing juggling act finally unravels, there are yet more twists - and an even deeper cynicisim - to the story. The play is partly a beast-fable: the wily fox, Volpone, plays dead to lure flesh-eating birds that he can then consume. But the beasts are the human race, and polite society the biggest, greediest scam of them all.

This student edition contains a lengthy Introduction with background on the author, date and sources, critical interpretation and stage history.

Robert N. Watson is Distinguished Professor of English at UCLA. His publications include "Critical Essays on Ben Jonson "(as editor) and Ben Jonson's "Parodic Strategy." He also edited the New Mermaids edition of "Every Man in His Humour."

Like all of Jonson's city comedies, this play - here given in the 1616 Folio version, in which Jonson rewrote and set it in England, not Italy - is a kind of dramatised Do-It-Yourself kit on how to bluff one's way in Elizabethan London. Although Roman New Comedy, in which a crafty slave helps a wild youngster to marry the girl of his choice against his father's wishes, supplies Jonson with his basic plot, the world that he presents here is thoroughly contemporary and mundane. The characters' 'humours' - their driving obsessions - may vary, but all of them strive to represent something greater, nobler, cleverer than their real selves. The joke of the play, this editor suggests, is 'finally on all of us who unconsciously equate the universe with a story in which we play the hero'.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1994.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1994.