Whitmore and Meyer bring together top literacy scholars from around the world to introduce the concept of manifestations: evidence of meaning making in literacy events, practices, processes, products, and thinking. Manifestation are windows into literacy identities, and serve as affective and sociocultural signifiers of learners' understanding at a point in time and in a specific context. The volume reclaims progressive spaces for understanding reading, writing, drawing, speaking, playing, and other literacies. It grounds manifestations of literacies in the discourse of meaning making and demonstrates how literacy learners and educators are active agents in this complex, social, political, emotional, and multimodal process. Ideal for preservice teachers, graduate students, and researchers in literacy education, this book shifts the conversation away from treating literacies as acquired commodities and illustrates how educators engage with learners to deepen understanding of literacy learners' experiences. Organized by five pillars of literacy-teaching, learning, language, curriculum, and sociocultural contexts-each section covers critical and cutting-edge topics and offers examples, tools, and strategies for research and practical applications in diverse classroom settings. Each chapter includes a range of examples and is followed by a short, complementary reading extension to engage the reader.

Whitmore and Meyer bring together top literacy scholars from around the world to introduce the concept of manifestations: evidence of meaning making in literacy events, practices, processes, products, and thinking. Manifestation are windows into literacy identities, and serve as affective and sociocultural signifiers of learners' understanding at a point in time and in a specific context. The volume reclaims progressive spaces for understanding reading, writing, drawing, speaking, playing, and other literacies. It grounds manifestations of literacies in the discourse of meaning making and demonstrates how literacy learners and educators are active agents in this complex, social, political, emotional, and multimodal process. Ideal for preservice teachers, graduate students, and researchers in literacy education, this book shifts the conversation away from treating literacies as acquired commodities and illustrates how educators engage with learners to deepen understanding of literacy learners' experiences. Organized by five pillars of literacy-teaching, learning, language, curriculum, and sociocultural contexts-each section covers critical and cutting-edge topics and offers examples, tools, and strategies for research and practical applications in diverse classroom settings. Each chapter includes a range of examples and is followed by a short, complementary reading extension to engage the reader.

Reading and Teaching raises questions and provides a context for preservice and practicing teachers to understand and to reflect on the complex issues surrounding the teaching of reading in the schools. It presents real teachers in their classrooms, dialogues about that teaching, and exercises for further clarification. The purpose is to help teachers make informed choices about their teaching of reading. The text considers the different types of decisions teachers might make in the teaching of reading and the knowledge upon which they rely in making those decisions-not simply factual information about using certain materials and methods to teach reading, but also knowledge about the mind, the political climate, the broader social and cultural circumstances of their students and schools and the communities in which they teach. Reading and Teaching is designed to engage teachers in beginning to evolve their own practical theories, to help them explore and perhaps modify some basic beliefs and assumptions, and to become acquainted with other points of view. Readers are encouraged to interact with the text and to develop their own perspective on the teaching of reading. This is the fifth volume in Reflective Teaching and the Social Conditions of Schooling: A Series for Prospective and Practicing Teachers, edited by Daniel P. Liston and Kenneth M. Zeichner. It follows the same format as previous volumes in the series. *Part I includes four real-life cases of teachers' experiences in the classroom: "Teaching Reading Via Direct Systematic Instruction"; "A New Teacher Learns About Teaching Reading and Culture"; "A Teacher-Constructed Whole Language Program"; and "Critical Literacy in an Urban Middle School." Each case is followed by space for readers to write their own reactions and reflections, educators' dialogue about the case, space for readers' reactions to the educators' dialogue, and a summary and additional questions. *Part II presents three public arguments representing different views about the teaching of reading: direct instruction, whole language, and critical literacy. *Part III offers the authors' own interpretations of the issues raised throughout the text and some suggestions for further reflection. A list of resources is provided. This text is pertinent for all prospective and practicing teachers at any stage in their teaching careers. It can be used in any undergraduate or graduate course that addresses the teaching of reading.

Reading and Teaching raises questions and provides a context for preservice and practicing teachers to understand and to reflect on the complex issues surrounding the teaching of reading in the schools. It presents real teachers in their classrooms, dialogues about that teaching, and exercises for further clarification. The purpose is to help teachers make informed choices about their teaching of reading. The text considers the different types of decisions teachers might make in the teaching of reading and the knowledge upon which they rely in making those decisions-not simply factual information about using certain materials and methods to teach reading, but also knowledge about the mind, the political climate, the broader social and cultural circumstances of their students and schools and the communities in which they teach. Reading and Teaching is designed to engage teachers in beginning to evolve their own practical theories, to help them explore and perhaps modify some basic beliefs and assumptions, and to become acquainted with other points of view. Readers are encouraged to interact with the text and to develop their own perspective on the teaching of reading. This is the fifth volume in Reflective Teaching and the Social Conditions of Schooling: A Series for Prospective and Practicing Teachers, edited by Daniel P. Liston and Kenneth M. Zeichner. It follows the same format as previous volumes in the series. *Part I includes four real-life cases of teachers' experiences in the classroom: "Teaching Reading Via Direct Systematic Instruction"; "A New Teacher Learns About Teaching Reading and Culture"; "A Teacher-Constructed Whole Language Program"; and "Critical Literacy in an Urban Middle School." Each case is followed by space for readers to write their own reactions and reflections, educators' dialogue about the case, space for readers' reactions to the educators' dialogue, and a summary and additional questions. *Part II presents three public arguments representing different views about the teaching of reading: direct instruction, whole language, and critical literacy. *Part III offers the authors' own interpretations of the issues raised throughout the text and some suggestions for further reflection. A list of resources is provided. This text is pertinent for all prospective and practicing teachers at any stage in their teaching careers. It can be used in any undergraduate or graduate course that addresses the teaching of reading.

An unprecedented survey of over 250 works over 130 years of queer art history

Art and Queer Culture features work by famous artists such as Andy Warhol and Robert Mapplethorpe alongside that of AIDS activists, lesbian separatists, and pre-Stonewall photographers and scrapbook-keepers who did not regard themselves as artists at all.

In a compact, reader-friendly format, this volume traces a spectacular history of queer life and creativity in the modern age. It traces the rich visual legacy of art's relationship to Queer culture, from the emergence of homosexuality as an identity in the late nineteenth century to the pioneering 'genderqueers' of the early twenty first.

It features admired artists such as Francis Bacon, Catherine Opie, and Felix Gonzalez-Torres, as well as lesser known but important figures including Vaginal Davis, Celeste Dupuy Spencer, and Lola Flash. It also includes two authoritative essays and insightful and revelatory extended captions.

Beautifully illustrated and clearly written, this new edition has been updated to include the art and visual culture that has emerged since the publication of its acclaimed first edition in 2013. A group of new contributors - themselves gay, lesbian, queer and trans - join the primary authors in emphasizing the global sweep of queer contemporary art and the newfound visibility of gender non-conforming artists.

This book analyses royal education in nineteenth-century, constitutional Spain. Its main subjects are Isabel II (1830- 1904), Alfonso XII (1857-1885) and Alfonso XIII (1886-1941) during their time as monarchs-in-waiting. Their upbringing was considered an opportunity to shape the future of Spain, reflected the political struggles that emerged during the construction of a liberal state, and allowed for the modernisation of the monarchy. The education of heirs to the throne was taken seriously by contemporaries and assumed wider political, social and cultural significance. This volume is structured around three powerful groups which showed an active interest, influenced, and significantly shaped royal education: the court, the military, and the public. It throws new light on the position of the Spanish monarchy in the constitutional state, its ability to adapt to social, political, and cultural change, and its varied sources of legitimacy, power, and attraction.

An eye-opening presentation of largely unknown figurative drawings by a renowned pioneer of abstraction Featuring one hundred figurative works on paper by Ellsworth Kelly (1923–2015), this volume shows a new side of an artist best known for abstraction. These informal depictions of friends and expressive self-portraits—all rarely or never previously displayed or published—span the entirety of Kelly’s career, from the mid-1940s to the early 2000s. Throughout his life, Kelly made portraits as a means of keeping his hand adept at drawing, which provided a place to test his ideas, refine his bold use of lines, and interrogate the space between naturalism and abstraction. These works also capture his social milieu, which intersected with other creative circles and the queer community. He painstakingly recorded how his own appearance changed over time, and once described some of these sketches by saying, “I use myself in order to draw.” The accompanying critical essays unpack the ways in which such intimate efforts were fundamental to Kelly’s practice and situate this important aspect of his work within the artist’s wider oeuvre. Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (July 1–October 23, 2023)

Die hiermit emem grosseren Leserkreise ubergebenen Vor trage habe ich in Braunschweig als Teil der daselbst eingerichteten Kurse fur Volksbildung gehalten. Die Zuhorerschaft gehorte den verschiedensten Volks schichten an. Mein Zweck war, ein Ver standnis der chemischen Vorgange in der Natur und im mensch lichen Leben, einschliesslich besonders wichtiger technischer Pro zesse zu vermitteln. Dazu war es notwendig, zuerst die chemische Grundlage zu geben, wobei ich mich auf das unumganglich Notige beschrankt habe. Wichtig schien es mir aber, bei jedem Ver such die Aufmerksamkeit der Zuhorer auf alle sich darbietenden, auch scheinbar nebensachliche Erscheinungen zu lenken und die sich daraus ergebenden Schlusse zu ziehen. Auch gelegentliche kleine Rechnungen dienten, wie ich hoffe, dazu, das Verstandnis der betreffenden Vorgange und ihrer praktischen Anwendungen zu vertiefen. - Schliesslich war es mein Bestreben, bei meinen Zuhorern die uberzeugung zu erwecken, dass die Wissenschaft nicht etwas Fertiges, in sich Abgeschlossenes ist, sondern ein in fortdauernder Entwicklung Begriffenes. Deshalb habe ich mich nicht gescheut, gegebenenfalls auch Dinge zu beruhren, uber die das letzte Wort noch nicht gesprochen ist. Braunschweig, August 19:25. Richard Meyer. In haI t. Seite Das Wesen der Chemie. Chemische Vorgange Was ist Chemie? Ihre Stellung unter den Naturwissenschaften 1. - Chemie und Physik 2. - Chemische Vorgange 2. - Die Chemie eine experimentelle Wissenschaft 4. - Chemische Verbindungs prozesse 5. - Chemische Zersetzungsprozesse 6. - Sauerstoff 7. Wasserstoff 10. - Chemische Vertretungsprozesse 13. - Dichte der Gase 14. Verbrennungsprozesse. Chemische Elemente . . . . . . . . . ."

Andy Warhol's daily practice of photography during the last decade of his life, examined and documented for the first time. "A picture means I know where I was every minute. That's why I take pictures." -Andy Warhol From 1976 until his death in 1987, Andy Warhol was never without his camera. He snapped photos at discos, dinner parties, flea markets, and wrestling matches. Friends, boyfriends, business associates, socialites, celebrities, passers by: all captured Warhol's attention-at least for the moment he looked through the lens. In a way, Warhol's daily photography practice anticipated our current smart phone habits-our need to record our friends, our families, and our food. Warhol printed only about 17 percent of the 130,000 exposures he left on contact sheets. In 2014, Stanford's Cantor Center for the Arts acquired the 3,600 contact sheets from the Warhol Foundation. This book examines and documents for the first time these contact sheets and photographs-Warhol's final body of work Peggy Phelan and Richard Meyer analyze the contact sheets, never before seen, and their importance in Warhol's oeuvre. Accompanying their text and other essays are reproductions of contact sheets, photographs, and other visual material. The contact sheets present Warhol's point of view, unedited; we know where he was every minute because a photograph remembers it. Copublished with the Cantor Arts Center