"Raising the Dead" is a groundbreaking, interdisciplinary exploration of death's relation to subjectivity in twentieth-century American literature and culture. Sharon Patricia Holland contends that black subjectivity in particular is connected intimately to death. For Holland, travelling through "the space of death" gives us, as cultural readers, a nuanced and appropriate metaphor for understanding what is at stake when bodies, discourses, and communities collide.
Holland argues that the presence of blacks, Native Americans, women, queers, and other "minorities" in society is, like death, "almost unspeakable." She gives voice to--or raises--the dead through her examination of works such as the movie "Menace II Society, " Toni Morrison's novel "Beloved, " Leslie Marmon Silko's "Almanac of the Dead, " Randall Kenan's "A Visitation of Spirits, " and the work of the all-white, male, feminist hip-hop band Consolidated. In challenging established methods of literary investigation by putting often-disparate voices in dialogue with each other, Holland forges connections among African-American literature and culture, queer and feminist theory.
"Raising the Dead" will be of interest to students and scholars of American culture, African-American literature, literary theory, gender studies, queer theory, and cultural studies.

The very idea of 'public service' came under fierce attack in the Thatcherite 1980s. This book takes the two key services, broadcasting and the NHS, and traces the heated debates and political pressures which radically transformed them both. It points to the parallels between them, and describes issues of health, sickness and the provision of medical care as they were reflected in the radio and television output. Across a wide range of programming, from popular drama to investigative journalism, the book captures the mood of the decade as it traces the politics of the NHS, from the Winter of Discontent to the Aids crisis; and the politics of broadcasting, from the coming of Channel Four to the increasing government attacks on the BBC. Concluding in 1990 with two pivotal Acts of Parliament, "Broadcasting and the NHS in the Thatcherite 1980s" traces the roots of the present crisis in the public services.

This book shows that the current focus on high stakes tests has narrowed the definition of a successful school. It demonstrates that, in addition to focusing on standardized measures, educators also need to look at other matters, such as
- what actually goes on in their classrooms
- teachers professional development
- parental involvement
- school climate These chapters were written by school leaders who are champions of accountability but who also ask us to take a look at the bigger picture.

A welter of new laws, newly applied laws, and judicial decisions has altered the character of educational instruction and administration; in many respects, the nature of the faculty member's and administrator's legal responsibility has undergone a drastic change. At a time when grave risks exist in the failure to follow legally defined procedures,

This book shows that the current focus on high stakes tests has narrowed the definition of a successful school. It demonstrates that, in addition to focusing on standardized measures, educators also need to look at other matters, such as - what actually goes on in their classrooms- teachers' professional development- parental involvement- school climate These chapters were written by school leaders who are champions of accountability but who also ask us to take a look at the bigger picture.

The New Television Handbook provides an exploration of the theory and practice of television at a time when the medium is undergoing radical changes. The book looks at television from the perspective of someone new to the industry, and explores the place of the medium within a constantly changing digital landscape. This title discusses key skills involved in television production, including: producing, production management, directing, camera, sound, editing and visual effects. Each of these activities is placed within a wider context as it traces the production process from commissioning to post-production. The book outlines the broad political and economic context of the television industry. It gives an account of television genres, in particular narrative, factual programmes and news, and it considers the academic discipline of media studies and the ways in which theorists have analysed and tried to understand the medium. It points to the interplay of theory and practice as it draws on the history of the medium and observes the ways in which the past continues to influence and invigorate the present. The New Television Handbook includes: contributions from practitioners ranging from established producers to new entrants; a comprehensive list of key texts and television programmes; a revised glossary of specialist terms; a section on training and ways of getting into the industry. By combining theory, real-world advice and a detailed overview of the industry and its history, The New Television Handbook is an ideal guide for students of media and television studies and young professionals entering the television industry.

In an other, Sharon Patricia Holland offers a new theorization of the human animal/divide by shifting focus from distinction toward relation in ways that acknowledge that humans are also animals. Holland centers ethical commitments over ontological concerns to spotlight those moments when Black people ethically relate with animals. Drawing on writers and thinkers ranging from Hortense Spillers, Sara Ahmed, Toni Morrison, and C. E. Morgan to Jane Bennett, Jacques Derrida, and Donna Haraway, Holland decenters the human in Black feminist thought to interrogate blackness, insurgence, flesh, and femaleness. She examines MOVE’s incarnation as an animal liberation group; uses sovereignty in Morrison’s A Mercy to understand blackness, indigeneity, and the animal; analyzes Charles Burnett’s films as commentaries on the place of animals in Black life; and shows how equestrian novels address Black and animal life in ways that rehearse the practices of the slavocracy. By focusing on doing rather than being, Holland demonstrates that Black life is not solely likened to animal life; it is relational and world-forming with animal lives.

In an other, Sharon Patricia Holland offers a new theorization of the human animal/divide by shifting focus from distinction toward relation in ways that acknowledge that humans are also animals. Holland centers ethical commitments over ontological concerns to spotlight those moments when Black people ethically relate with animals. Drawing on writers and thinkers ranging from Hortense Spillers, Sara Ahmed, Toni Morrison, and C. E. Morgan to Jane Bennett, Jacques Derrida, and Donna Haraway, Holland decenters the human in Black feminist thought to interrogate blackness, insurgence, flesh, and femaleness. She examines MOVE’s incarnation as an animal liberation group; uses sovereignty in Morrison’s A Mercy to understand blackness, indigeneity, and the animal; analyzes Charles Burnett’s films as commentaries on the place of animals in Black life; and shows how equestrian novels address Black and animal life in ways that rehearse the practices of the slavocracy. By focusing on doing rather than being, Holland demonstrates that Black life is not solely likened to animal life; it is relational and world-forming with animal lives.

Patricia Holland offers a fascinating study of the ways in which changes to public services, and shifts in the concept of 'the public' under Margaret Thatcher's three Conservative governments, were mediated by radio and television in the 1980s.

The New Television Handbook provides an exploration of the theory and practice of television at a time when the medium is undergoing radical changes. The book looks at television from the perspective of someone new to the industry, and explores the place of the medium within a constantly changing digital landscape. This title discusses key skills involved in television production, including: producing, production management, directing, camera, sound, editing and visual effects. Each of these activities is placed within a wider context as it traces the production process from commissioning to post-production. The book outlines the broad political and economic context of the television industry. It gives an account of television genres, in particular narrative, factual programmes and news, and it considers the academic discipline of media studies and the ways in which theorists have analysed and tried to understand the medium. It points to the interplay of theory and practice as it draws on the history of the medium and observes the ways in which the past continues to influence and invigorate the present. The New Television Handbook includes: contributions from practitioners ranging from established producers to new entrants; a comprehensive list of key texts and television programmes; a revised glossary of specialist terms; a section on training and ways of getting into the industry. By combining theory, real-world advice and a detailed overview of the industry and its history, The New Television Handbook is an ideal guide for students of media and television studies and young professionals entering the television industry.

Ideal for both students and practitioners, this convenient and portable guide offers valuable information on how to effectively perform seated massage for both relaxation and therapeutic purposes. Providing comprehensive coverage of the technique, this practical resource explains the positional causes of dysfunction to maximize the benefit to the client. Discussions of the essential concepts of chair massage include selecting an appropriate chair, chair adjustments, body mechanics, applying pressure, skill building, intake forms, and hygiene. Content on business helps therapists improve their profits by covering topics like defining the target market, marketing for the table business, and contracts. Plus, specific routines for shoulders, neck/head, arm/hand, and low back regions are provided, along with full-color photographs to clearly demonstrate each technique. Full-color photographs and drawings clearly depict each technique. An Essentials of Practice chapter helps you translate your knowledge into revenue by addressing crucial topics such as determining target markets, job-related conditions, marketing methods, introductory letters, setting fees, drawing up contracts, and getting paid, and includes practical advice from practitioners who offer chair massage. Unique! Coverage of low back techniques includes specific techniques for treating low back pain, its causes, when to perform massage, and when it is contraindicated. Unique! A chapter on additional techniques and adaptations covers body regions such as the iliotibial band, gastrocnemius, pectorals, anterior neck muscles, and serratus anterior, plus situations such as clients in wheelchairs. Unique! A segment on closing the session describes positive ways to finalize a chair massage session, including use of percussion as a finishing technique, closing stretches, a post-treatment discussion, and helping the client off the chair. A Communications and Ethics chapter addresses important topics such as the ethical presentation of self, boundaries, communicating with clients about feedback, pre- and post-treatment interviews, and intake forms. A review of anatomy and kinesiology covers the specific information that you need to know in order make treatment decisions and perform routines. Coverage of traditional Chinese medicine points and channels gives you more techniques to use during chair massage practice. Sample dialogues provide examples of effective communication with clients during their sessions.

A major intervention in the fields of critical race theory, black feminism, and queer theory, "The Erotic Life of Racism" contends that theoretical and political analyses of race have largely failed to understand and describe the profound ordinariness of racism and the ways that it operates as a quotidian practice. If racism has an everyday life, how does it remain so powerful and yet mask its very presence? To answer this question, Sharon Patricia Holland moves into the territory of the erotic, understanding racism's practice as constitutive to the practice of racial being and erotic choice.

Reemphasizing the black/white binary, Holland reinvigorates critical engagement with race and racism. She argues that only by bringing critical race theory, queer theory, and black feminist thought into conversation with each other can we fully envision the relationship between racism and the personal and political dimensions of our desire. "The Erotic Life of Racism" provocatively redirects our attention to a desire no longer independent of racism but rather embedded within it.

Crossing Waters, Crossing Worlds explores the critically neglected intersection of Native and African American cultures. This interdisciplinary collection combines historical studies of the complex relations between blacks and Indians in Native communities with considerations and examples of various forms of cultural expression that have emerged from their intertwined histories. The contributors include scholars of African American and Native American studies, English, history, anthropology, law, and performance studies, as well as fiction writers, poets, and a visual artist. Essays range from a close reading of the 1838 memoirs of a black and Native freewoman to an analysis of how Afro-Native intermarriage has impacted the identities and federal government classifications of certain New England Indian tribes. One contributor explores the aftermath of black slavery in the Choctaw and Chickasaw nations, highlighting issues of culture and citizenship. Another scrutinizes the controversy that followed the 1998 selection of a Miss Navajo Nation who had an African American father. A historian examines the status of Afro-Indians in colonial Mexico, and an ethnographer reflects on oral histories gathered from Afro-Choctaws. Crossing Waters, Crossing Worlds includes evocative readings of several of Toni Morrison's novels, interpretations of plays by African American and First Nations playwrights, an original short story by Roberta J. Hill, and an interview with the Creek poet and musician Joy Harjo. The Native American scholar Robert Warrior develops a theoretical model for comparative work through an analysis of black and Native intellectual production. In his afterword, he reflects on the importance of the critical project advanced by this volume. Contributors. Jennifer D. Brody, Tamara Buffalo, David A. Y. O. Chang, Robert Keith Collins, Roberta J. Hill, Sharon P. Holland, ku'ualoha ho'omnawanui, Deborah E. Kanter, Virginia Kennedy, Barbara Krauthamer, Tiffany M. McKinney, Melinda Micco, Tiya Miles, Celia E. Naylor, Eugene B. Redmond, Wendy S. Walters, Robert Warrior

Current affairs television in the UK, in more than half a century of programmes, has set out to tell us something we didn't know, treating its audience as citizens with the right to demand that 'something must be done'. Over their 36 year history, the current affairs series "This Week" and its replacement "TVEye", helped to mark out that democratic project. This is the story of "This Week", one of the few giants of the genre, set within the wider pattern of 'the angry buzz' of inquiry and dissent that is current affairs television. This is a particularly timely tale, now that many fear that current affairs may be an endangered species. Patricia Holland follows "This Week" from its beginnings in the 1950s as a light magazine programme with some serious moments, through the challenging programmes of the 1970s - which brought home the reality of poverty at home, famine in Africa and accusations of torture in Northern Ireland. The story continues right up to its demise in 1992, often blamed on its controversial programme "Death on the Rock" on the shooting of IRA terrorists in Gibraltar. She shows how "This Week" covered the spectrum of public affairs and social issues in an uncompromising way, which regularly brought it into conflict with the authorities. She also brings to life people with a real sense of purpose and commitment and the realities of digging behind the headlines against a highly charged international political backdrop. "The Angry Buzz" also explores the development of current affairs journalism. It looks at the scope of the current affairs agenda; the practice of responsible journalism, while producing attractive programmes; regulation and public service television; 'tabloidisation' and dumbing down; and issues for women working within a genre largely dominated by men. This history of "This Week" and current affairs journalism is a live history, which does not remain in the past, but has a real purchase on the present - and the future.

Whether controversial or taken for granted, pictures of children are everywhere - in magazines, newspapers and advertisements, on greetings cards and the Internet. "Picturing Childhood" demonstrates how these familiar images reveal a view of childhood which is constantly changing. With debates over children's rights in the 1970s, child sexual abuse in the 1980s, violent children in the 1990s and precocity and consumerism in the 2000s, the traditional image of childhood innocence survives only as a form of kitsch. Using images from a wide variety of sources, this text considers the popular imagery in relation to news, education, welfare, charity and consumerism and asks what implications does all this have for the ways in which children themselves are treated?