Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This book is devoted to the reintroduction of the remarkable approach to sociological inquiry developed by Harvey Sacks. Sacks's original analyses - concerned with the lived detail of action and language-in-interaction, discoverable in members' actual activities - demonstrated a means of doing sociology that had previously seemed impossible. In so doing, Sacks provided for highly technical, detailed, yet stunningly simple solutions to some of the most trenchant troubles for the social sciences relating to language, culture, meaning, knowledge, action, and social organisation. In this original collection, scholars working in a range of different fields, including sociology, human geography, communication and media studies, social psychology, and linguistics, outline the ways in which their work has been inspired, influenced, and shaped by Sacks's approach, as well as how their current research is taking Sacks's legacy forward in new directions. As such, the collection is intended to provide both an introduction to, and critical exploration of, the work of Harvey Sacks and its continued relevance for the analysis of contemporary society.

Grounded in continental philosophy, The Conjectural Body: Gender, Race, and the Philosophy of Music uses feminist, critical race, and postcolonial theories to examine music, race, and gender as discourses that emerge and evolve with one another.. In the first section, author Robin James asks why philosophers commonly use music to explain embodied social identity and inequality. She looks at late twentieth-century postcolonial theory, Rousseau's early musical writings, and Kristeva's reading of Mozart and Schoenberg to develop a theory of the "conjectural body," arguing that this is the notion of embodiment that informs Western conceptions of raced, gendered, and resonating bodies. The second section addresses the ways in which norms about human bodily difference-such as gender and race-continue to ground serious and popular hierarchies well after twentieth and twenty-first century art and philosophy have deconstructed this binary. Reading Adorno's work on popular music through Irigaray's critique of commodification, James establishes and explains the feminization of popular music. She then locates this notion of the feminized popular in Nietzsche, and argues that he critiques Wagner by making an argument for the positive aesthetic (and epistemological) value of feminized popular music, such as Bizet and Italian opera. Following from Nietzsche, she argues that feminists ought and need to take "the popular" seriously, both as a domain of artistic and scholarly inquiry as well as a site of legitimate activism. The book concludes with an analysis of philosophy's continued hostility toward feminism, real-life women, and popular culture. While the study of gender, race, and popular culture has become a fixture in many areas of the academy, philosophy and musicology continue to resist attempts to take these objects as objects of serious academic study.

White Self-Criticality beyond Anti-racism powerfully emphasizes the significance of humility, vulnerability, anxiety, questions of complicity, and how being a "good white" is implicated in racial injustice. This collection sets a new precedent for critical race scholarship and critical whiteness studies to take into consideration what it means specifically to be a white problem rather than simply restrict scholarship to the problem of white privilege and white normative invisibility. Ultimately, the text challenges the contemporary rhetoric of a color-blind or color-evasive world in a discourse that is critically engaging and sophisticated, accessible, and persuasive.

White Self-Criticality beyond Anti-racism powerfully emphasizes the significance of humility, vulnerability, anxiety, questions of complicity, and how being a "good white" is implicated in racial injustice. This collection sets a new precedent for critical race scholarship and critical whiteness studies to take into consideration what it means specifically to be a white problem rather than simply restrict scholarship to the problem of white privilege and white normative invisibility. Ultimately, the text challenges the contemporary rhetoric of a color-blind or color-evasive world in a discourse that is critically engaging and sophisticated, accessible, and persuasive.

This book is devoted to the reintroduction of the remarkable approach to sociological inquiry developed by Harvey Sacks. Sacks's original analyses - concerned with the lived detail of action and language-in-interaction, discoverable in members' actual activities - demonstrated a means of doing sociology that had previously seemed impossible. In so doing, Sacks provided for highly technical, detailed, yet stunningly simple solutions to some of the most trenchant troubles for the social sciences relating to language, culture, meaning, knowledge, action, and social organisation. In this original collection, scholars working in a range of different fields, including sociology, human geography, communication and media studies, social psychology, and linguistics, outline the ways in which their work has been inspired, influenced, and shaped by Sacks's approach, as well as how their current research is taking Sacks's legacy forward in new directions. As such, the collection is intended to provide both an introduction to, and critical exploration of, the work of Harvey Sacks and its continued relevance for the analysis of contemporary society.

Discover the art of finding more through having less: more time, more calm, more energy, more money, more you. Filled with practical tips and ideas, this book will guide you toward a simpler way of life. Learn how to reduce your clutter and your stress levels, find advice on mastering your schedule and making time for what matters, and enrich your everyday by putting quality before quantity. From time to time, we all get lost in the flurry of a busy life, but we can always uncover a path back to our best and happiest selves. All you need is focus, a slower pace and the simple power of "less".

While the earliest character representations in video games were rudimentary in terms of their presentation and performance, the virtual characters that appear in games today can be extremely complex and lifelike. These are characters that have the potential to make a powerful and emotional connection with gamers. As virtual characters become more intricate and varied, there is a growing need to examine the theory and practice of virtual character design. This book seeks to develop a series of critical frameworks to support the analysis and design of virtual characters. Virtual Character Design for Games and Interactive Media covers a breadth of topics to establish a relationship between pertinent artistic and scientific theories and good character design practice. Targeted at students, researchers, and professionals, the book aims to show how both character presentation and character performance can be enhanced through careful consideration of underlying theory. The book begins with a focus on virtual character presentation, underpinned by a discussion of biological, artistic, and sociological principles. Next it looks at the performance of virtual characters, encompassing the psychology of emotion and personality, narrative and game design theories, animation, and acting. The book concludes with a series of applied virtual character design examples. These examples examine the aesthetics of player characters, the design and performance of the wider cast of game characters, and the performance of characters within complex, hyperreal worlds.

While the earliest character representations in video games were rudimentary in terms of their presentation and performance, the virtual characters that appear in games today can be extremely complex and lifelike. These are characters that have the potential to make a powerful and emotional connection with gamers. As virtual characters become more intricate and varied, there is a growing need to examine the theory and practice of virtual character design. This book seeks to develop a series of critical frameworks to support the analysis and design of virtual characters. Virtual Character Design for Games and Interactive Media covers a breadth of topics to establish a relationship between pertinent artistic and scientific theories and good character design practice. Targeted at students, researchers, and professionals, the book aims to show how both character presentation and character performance can be enhanced through careful consideration of underlying theory. The book begins with a focus on virtual character presentation, underpinned by a discussion of biological, artistic, and sociological principles. Next it looks at the performance of virtual characters, encompassing the psychology of emotion and personality, narrative and game design theories, animation, and acting. The book concludes with a series of applied virtual character design examples. These examples examine the aesthetics of player characters, the design and performance of the wider cast of game characters, and the performance of characters within complex, hyperreal worlds.

The Lost Ethnographies reports on the methodological lessons learnt from ethnographic projects that, viewed superficially, failed. Experienced researchers write about projects they planned, and were excited about, which then never began, had to be abandoned, or took such unexpected directions that it became a different piece of work altogether. The topics and settings are varied and disparate, but the lessons learnt have important similarities. This collection focuses on absences; topics and settings that remain under researched; taken for granted aspects of social life that have not been scrutinized, and finally the potential insights that are gained when absences are carefully examined and explored. Readers will learn a great deal about research design, fundraising, writing up, access negotiations, serendipity in the field, and the complex interaction between the body and the brain of the ethnographer and the realities of ethnographic research. Maximising learning from the 'failings' of ourselves and of others is the positive message of the collection. The most poignant chapters are those in which the author 'returns' to reread and reflect on a past project; something that is not done often enough, partly because it can be painful. The accounts of projects which had to be abandoned or radically changed offer hope to researchers facing difficulties in their own investigations. These reflections, on projects that were never even begun, show how to gain fresh energy and social science insight from apparent rejection, and the collection approaches the whole concept of lost ethnography in provocative ways.

Why longevity? For a number of years, the Fondation IPSEN has been devoting considerable effort to the various aspects of ageing, not only to age-related diseases such as Alzheimer's, but also to the Centenarians, the paragon of positive ageing. The logical continuation of this approach is to address the question of longevity in global terms. Behind the extreme values, what span is accessible to all of us and likely to directly concern most of our contemporaries? The individual and col lective increase in the duration of life is one of the most striking phenomena of our time. It could be one of the most significant events in the "bio-social" history of humanity. The increase in life expectancy at old age, which started a few de cades ago only, is going on. The most well-advised observer had not foreseen or even dared hope for this increase which will drastically affect our everyday life, our habits and our behavior. In the fragment of human history we are living in, it is our responsibility to deal with this major transformation for the species. Such a transformation needs an effort from all to adapt to the new conditions. This transformation has to be managed rather than simply experienced, anticip ated rather than followed, in order to avoid any attempt to pervert this major step forward. All that was present during the first symposium of the new series on longevity of the Colloques Medecine et Recherche convened by the Fondation IPSEN."

All you need to know about the theory and practice of teaching primary science. If you are training to be a primary school teacher, a knowledge of the primary science curriculum is not enough, you need to know HOW to teach science in primary schools. This is the essential teaching theory and practice text for primary science. It takes a focused look at the practical aspects of teaching and covers the important skills of classroom management, planning, monitoring and assessment, and relates them specifically to primary science. This new edition now includes a new chapter on creative curriculum approaches.

In The Sonic Episteme Robin James examines how twenty-first-century conceptions of sound as acoustic resonance shape notions of the social world, personhood, and materiality in ways that support white supremacist capitalist patriarchy. Drawing on fields ranging from philosophy and sound studies to black feminist studies and musicology, James shows how what she calls the sonic episteme-a set of sound-based rules that qualitatively structure social practices in much the same way that neoliberalism uses statistics-employs a politics of exception to maintain hegemonic neoliberal and biopolitical projects. Where James sees the normcore averageness of Taylor Swift and Spandau Ballet as contributing to the sonic episteme's marginalization of nonnormative conceptions of gender, race, and personhood, the black feminist political ontologies she identifies in Beyonce's and Rihanna's music challenge such marginalization. In using sound to theorize political ontology, subjectivity, and power, James argues for the further articulation of sonic practices that avoid contributing to the systemic relations of domination that biopolitical neoliberalism creates and polices.

All you need to know about the theory and practice of teaching primary science. If you are training to be a primary school teacher, a knowledge of the primary science curriculum is not enough, you need to know HOW to teach science in primary schools. This is the essential teaching theory and practice text for primary science. It takes a focused look at the practical aspects of teaching and covers the important skills of classroom management, planning, monitoring and assessment, and relates them specifically to primary science. This new edition now includes a new chapter on creative curriculum approaches.

In The Sonic Episteme Robin James examines how twenty-first-century conceptions of sound as acoustic resonance shape notions of the social world, personhood, and materiality in ways that support white supremacist capitalist patriarchy. Drawing on fields ranging from philosophy and sound studies to black feminist studies and musicology, James shows how what she calls the sonic episteme-a set of sound-based rules that qualitatively structure social practices in much the same way that neoliberalism uses statistics-employs a politics of exception to maintain hegemonic neoliberal and biopolitical projects. Where James sees the normcore averageness of Taylor Swift and Spandau Ballet as contributing to the sonic episteme's marginalization of nonnormative conceptions of gender, race, and personhood, the black feminist political ontologies she identifies in Beyonce's and Rihanna's music challenge such marginalization. In using sound to theorize political ontology, subjectivity, and power, James argues for the further articulation of sonic practices that avoid contributing to the systemic relations of domination that biopolitical neoliberalism creates and polices.

In 1989, an Ohio radio station called WOXY launched a sonic disruption to both corporate rock and to its conservative home region, programming an omnivorous range of genres and artists while being staunchly committed to local independent art and media. In the 1990s, as alternative rock went mainstream and radio grew increasingly homogeneous, WOXY gained international renown as one of Rolling Stone's "Last Great Independent Radio" stations. The station projected a philosophy that prioritized such independence-the idea that truly progressive, transgressive, futuristic disruptions of the status quo were possible only when practiced with and for other people. In The Future of Rock and Roll, philosopher Robin James uses WOXY's story to argue against a corporate vision of independence-in which everyone fends for themselves-and in favor of an alternative way of thinking and relating to one another that disrupts norms but is nevertheless supported by communities. Against the standard retelling of the history of "modern rock," James looks to the local scenes that made true independence possible by freeing individual artists from the whims of the boardroom. This philosophy of community-rooted independence offers both a counternarrative to the orthodox history of indie rock and an alternative worldview to that of the current corporate mainstream.

In 1989, an Ohio radio station called WOXY launched a sonic disruption to both corporate rock and to its conservative home region, programming an omnivorous range of genres and artists while being staunchly committed to local independent art and media. In the 1990s, as alternative rock went mainstream and radio grew increasingly homogeneous, WOXY gained international renown as one of Rolling Stone's "Last Great Independent Radio" stations. The station projected a philosophy that prioritized such independence—the idea that truly progressive, transgressive, futuristic disruptions of the status quo were possible only when practiced with and for other people. In The Future of Rock and Roll, philosopher Robin James uses WOXY's story to argue against a corporate vision of independence—in which everyone fends for themselves—and in favor of an alternative way of thinking and relating to one another that disrupts norms but is nevertheless supported by communities. Against the standard retelling of the history of "modern rock," James looks to the local scenes that made true independence possible by freeing individual artists from the whims of the boardroom. This philosophy of community-rooted independence offers both a counternarrative to the orthodox history of indie rock and an alternative worldview to that of the current corporate mainstream.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone