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In the last forty years philosophy of education has become
established as a distinct area of philosophical study concerned
within educational thought and practice. Twentieth century analytic
philosophy prompted the emergence of a philosophy of education as a
separate subject. The work collected here represents the major
ideas and arguments which have come to characterise philosophy of
education. This comprehensive set includes work from the
perspectives of Marxism, phenomenology, feminist theory, critical
theory and others. The individual volumes cover: * philosophy and
education * education and human being * society and education *
problems of educational content and practice. The featured articles
map the most important writings within the analytic and
intersecting traditions, and the set presents an influential and
essential body of work for researchers in the philosophy of
education, the field of educational studies and
educationally-oriented policy studies.
The milestone 100th issue of Camera Obscura recognizes the work and
legacy of Belgian filmmaker Chantal Akerman (1950–2015). Arguably
the most important figure in feminist film culture, Akerman is
central to Camera Obscura's own legacy, and her film Jeanne
Dielman, 23 quai du Commerce, 1080 Bruxelles was covered in one of
the first issues of the journal. The contributors to this special
issue return to Akerman's work, illuminating her films, writings,
and installations through new criticism and discussion. The issue
includes a rich collection of newly published photographs,
scholarly essays by leading Akerman scholars, a filmography and
installation list, and rare interviews with Akerman's close
collaborators. Contributors. Claire Atherton, Janet Bergstrom,
Kelley Conway, Sandy Flitterman-Lewis, Ute Holl, Heike Klippel, Eva
Kuhn, Matias Lavin, Alisa Lebow, Brenda Longfellow, Babette
Mangolte, Ivone Margulies, Michael Mazière, Eva Meyer, Sandra
Percival, Jane Stein, Cécile Tourneur, Maureen Turim, Sonia
Wieder-Atherton, Patricia White
This volume introduces a new conception of political education and
new roles for headteachers and parents in the creation of a more
democratic educational system. The book proposes curbing the power
of teachers, including headteachers, stripping parents of their
rights, and making political education the keystone of education.
It considers what kind of educational strategies would be
appropriate to help move a society like our own towards greater
democracy, in the light of a co-ordinated set of proposals about
the democratic organization of political decision-making, and the
development of democratic attitudes, notably fraternity. All this
is underpinned by a radical analysis of basic democratic principles
and assumptions, and a fundamental critique of the power-sharing
machinery of such contemporary democratic societies as the UK and
USA.
This volume introduces a new conception of political education
and new roles for headteachers and parents in the creation of a
more democratic educational system. The book proposes curbing the
power of teachers, including headteachers, stripping parents of
their rights, and making political education the keystone of
education. It considers what kind of educational strategies would
be appropriate to help move a society like our own towards greater
democracy, in the light of a co-ordinated set of proposals about
the democratic organization of political decision-making, and the
development of democratic attitudes, notably fraternity. All this
is underpinned by a radical analysis of basic democratic principles
and assumptions, and a fundamental critique of the power-sharing
machinery of such contemporary democratic societies as the UK and
USA.
Contents: Introduction 1.Good Teaching 2.Truth and Liberal Education Liberal Education and Vocational Preparation 3.Paul Hirst's Structure, or The Uses and Abuses of an Overworked Concept The Curriculum: The Timeless and the Timebound Curriculum and the Mirror of Knowledge 4.Moral and Religious Education: Hirst's Perception of Their Scope and Relationship 5.Wittgenstein's Speculative Aesthetics in its Ethical Context The Arts, Well-being and Education 6.Education, Knowledge and Practices
The Film Experience offers a comprehensive introduction to the art,
language, industry, culture, and experience of the movies -with new
digital tools to bring that experience to life and help students
master course material. The text highlights how formal elements
like cinematography, editing, and sound can be analyzed and
interpreted within the context of a film as a whole. With superior
tools for reading and writing about film, as well as unparalleled
coverage of diversity, inclusion, and non-mainstream filmmaking
traditions. The most robust introduction to film on the market, the
Sixth Edition emphasizes film technology through expanded coverage
of animation and a new Technology in Action feature, which puts the
evolving technology of film in historical context. The Film
Experience is also now available with LaunchPad, Macmillan's
customizable online course space, which includes the full e-book,
LearningCurve adaptive quizzing, a rich array of video activities
aligned with the text, and more.
The 1940 film adaptation of Daphne du Maurier's gothic romance
Rebecca begins by echoing the novel's famous opening line, 'Last
night I dreamt I went to Manderley again.' Patricia White takes the
theme of return as her starting point for an exploration of the
film's enduring power. Drawing on archival research, she shows how
the production and reception history of Rebecca, the first fruit of
the collaboration between Hollywood movie producer David O.
Selznick and British director Alfred Hitchcock, is marked by the
traces of women's contributions. White provides a rich analysis of
the film, addressing the gap between perception and reality that is
constantly in play in the gothic romance, and highlighting the
queer erotics circulating around 'I' (the heroine), Mrs Danvers,
and the dead but ever-present Rebecca. Her discussion of the film's
afterlives emphasizes the lasting aesthetic impact of this dark
masterpiece of memory and desire, while her attention to its
remakes and sequels speaks to the ongoing relevance of its vision
of gender and power.
In Women's Cinema, World Cinema, Patricia White explores the
dynamic intersection of feminism and film in the twenty-first
century by highlighting the work of a new generation of women
directors from around the world: Samira and Hana Makhmalbaf, Nadine
Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others.
The emergence of a globalized network of film festivals has enabled
these young directors to make and circulate films that are changing
the aesthetics and politics of art house cinema and challenging
feminist genealogies. Extending formal analysis to the production
and reception contexts of a variety of feature films, White
explores how women filmmakers are both implicated in and critique
gendered concepts of authorship, taste, genre, national identity,
and human rights. Women's Cinema, World Cinema revitalizes feminist
film studies as it argues for an alternative vision of global media
culture.
"White writes with considerable flair, and her arguments are
alwaysinteresting..." -- Choice
"Uncovering a massive trove of what shecalls 'lesbian
representability' -- images of lesbian desire, love and life --
inmainstream movies, White provides an insightful look at classic
American films....her myriad examples and finely wrought arguments
prove both convincing andengaging." -- Publishers Weekly
"Conspiratorial and witty, Uninvited is a mischievous invitation
to dissect classical cinema by someone whowields the razor with
glee." -- OUT Magazine
Lesbian characters, stories, and images were barred from
onscreen depiction in Hollywood films from the1930s to the 1960s,
together with all forms of "sex perversion." Looking at the lureof
some of the great female stars and at the visual coding of
supporting actresses, the book identifies lesbian spectatorial
strategies.
Kathleen and James join Mommy for a fun shopping jaunt to the toy
store. When Mommy explains that it's time to go home, these two
children refuse to follow her instruction. What the children don't
know is that Oogie Boogie, a kind furry creature, lives in the toy
store. Each night, he emerges from a closet in the back of the toy
store. He plays with the toys and enjoys many adventures, but Oogie
returns to the closet before sunrise. When Oogie learns that
Kathleen and James disobey Mommy, he sets out to teach them a
lesson about obedience and respect that they shall not soon forget.
BAND-AIDS FOR PEACE has something for everyone's pain. It is not
all sad or all bad. It tells about realistic events from the cradle
to the grave. There are events that will make you laugh, such as
the sassy old lady in "Don't Mock Me Because I Am Old" and some
that will make you cry, such as understanding the reasons in the
"Nightmare of Birth Defects Through the Eyes of a Baby." No one
ever thinks of how the baby must feel who is born with birth
defects. Every passage will leave you with a lasting impression.
Some of the events are true stories of events witnessed by this
author that left an impression of how one man can be inhuman to
another. BAND-AIDS FOR PEACE has something for everyone's pain.
Many of the events have a poetic swing to them, but every event
tells a story. I attempted to give a message with each selection.
The selections are in no chronological order. Yet, they span
decades in a life of both joy and turmoil. You will find teens who
see their parents as old and out of date, babies in pain crying for
answers, and even men in prison who seek relief from the guilt they
carry inside. You will see the struggle with answers when a loved
one passes on and the joy of a couple in love. You will see images
captured during Hurricanes Katrina and Rita that devastated the
Gulf Coast region and left people homeless and crying for answers.
Then you will look into several religious selections for persons
involved in the church. BAND-AIDS FOR PEACE attempts to both
enlighten the reader and help to stimulate the mind in a search for
more answers about oneself.
BAND-AIDS FOR PEACE has something for everyone's pain. It is not
all sad or all bad. It tells about realistic events from the cradle
to the grave. There are events that will make you laugh, such as
the sassy old lady in "Don't Mock Me Because I Am Old" and some
that will make you cry, such as understanding the reasons in the
"Nightmare of Birth Defects Through the Eyes of a Baby." No one
ever thinks of how the baby must feel who is born with birth
defects. Every passage will leave you with a lasting impression.
Some of the events are true stories of events witnessed by this
author that left an impression of how one man can be inhuman to
another. BAND-AIDS FOR PEACE has something for everyone's pain.
Many of the events have a poetic swing to them, but every event
tells a story. I attempted to give a message with each selection.
The selections are in no chronological order. Yet, they span
decades in a life of both joy and turmoil. You will find teens who
see their parents as old and out of date, babies in pain crying for
answers, and even men in prison who seek relief from the guilt they
carry inside. You will see the struggle with answers when a loved
one passes on and the joy of a couple in love. You will see images
captured during Hurricanes Katrina and Rita that devastated the
Gulf Coast region and left people homeless and crying for answers.
Then you will look into several religious selections for persons
involved in the church. BAND-AIDS FOR PEACE attempts to both
enlighten the reader and help to stimulate the mind in a search for
more answers about oneself.
The new edition of this popular textbook offers a fresh approach to
the study of film, combining print and digital media to enhance the
learning experience. The Film Experience enables students to link
their personal experiences of watching movies to a greater overall
understanding of the medium's full scope, covering everything from
editing to cinematography to narrative genres. The Film Experience
can also be purchased with the breakthrough online resource,
LaunchPad, which offers innovative media content, curated and
organised for easy assignability. LaunchPad's intuitive interface
presents quizzing, flashcards, animations and much more to make
learning actively engaging.
In Women's Cinema, World Cinema, Patricia White explores the
dynamic intersection of feminism and film in the twenty-first
century by highlighting the work of a new generation of women
directors from around the world: Samira and Hana Makhmalbaf, Nadine
Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others.
The emergence of a globalized network of film festivals has enabled
these young directors to make and circulate films that are changing
the aesthetics and politics of art house cinema and challenging
feminist genealogies. Extending formal analysis to the production
and reception contexts of a variety of feature films, White
explores how women filmmakers are both implicated in and critique
gendered concepts of authorship, taste, genre, national identity,
and human rights. Women's Cinema, World Cinema revitalizes feminist
film studies as it argues for an alternative vision of global media
culture.
This volume explores some of the global challenges and possible
solutions for transcultural health and social care, and includes a
selection of papers that were presented at the 2nd European
Transcultural Nursing Association International Conference, in June
2011. This collection explores some of the challenges and possible
solutions from the perspectives of various countries regarding
promoting transcultural health and social care, including Ireland,
Turkey, Strasbourg, the Philippines, the Netherlands, Sweden and
Australia. As outlined in the papers included, the provision of
transculturally competent care is challenging and requires
knowledgeable, skilled and culturally sensitive health and social
care professionals. The delivery of culturally competent care
requires a commitment from health and social care services,
professionals working within these services, and institutes of
education responsible for educating healthcare professionals to
understand and be responsive to the needs of culturally diverse
patients. Learned behaviour and deeply rooted values must be
challenged to address unwitting prejudices and stereotyping.
Attention should focus on creating an environment of trust where
critical reflection occurs, blame is avoided, risk managed and new
ideas developed, tested and evaluated.
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