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This volume comprises refereed papers and abstracts of the 10th
International Conference on the Evolution of Language (EVOLANGX),
held in Vienna on 14-17th April 2014. As the leading international
conference in the field, the biennial EVOLANG meeting is
characterised by an invigorating, multidisciplinary approach to the
origins and evolution of human language, and brings together
researchers from many subject areas, including anthropology,
archaeology, biology, cognitive science, computer science,
genetics, linguistics, neuroscience, palaeontology, primatology and
psychology.For this 10th conference, the proceedings will include a
special perspectives section featuring prominent researchers
reflecting on the history of the conference and its impact on the
field of language evolution since the inaugural EVOLANG conference
in 1996.
The Ideology of Competition in School Music explores competition as
a structuring force in school music and provides critiques of that
system from multiple philosophical and theoretical perspectives.
Competition is seen by many music teachers, students, and
supporters as natural and inevitable—a taken-for-granted aspect
of music education or an irresistible force, rather than a choice.
This book uncovers this ideological nature of competition and
examines its effect on student learning, teacher agency, and equity
within music education. It considers ways in which music educators
might reconsider the role of competition in their teaching practice
and offers alternative frameworks for organizing school music. In
this book, author Sean Robert Powell views competition as a
microcosm of the wider neoliberal capitalist society, in which
subjects are interpolated in an antagonistic competitive field as
market logic dictates a system of accountability, reduction, and
audit culture. Music teachers, students, and education
administrators, consciously and unconsciously, reinforce,
replicate, and sustain the competitive structure, even if they do
so while expressing a cynical disavowal. Powell considers
competition broadly, including, for example: formal competitions
between schools in which ensembles are given numerical scores and
ranked; "festivals" in which groups are given ratings based on
pre-given criteria; state, regional, and national honor ensembles;
hierarchical arrangements within school music programs; or simply
the pursuit of social prestige, reputation, and ever-higher
performance standards. Although the book provides examples from the
competitive landscape of school music in the United States (and,
especially, Texas, considered a "hyper" example of competitive
culture), Powell's analyses and discussions are relevant to readers
in any context around the world. Although the degree to which
competitive achievement as an explicitly-stated aim of instruction
varies from program to program and location to location, the
"realism" of neoliberal capitalism—and its effect on all aspects
of education—is a global phenomenon.
Tracing the currents of change that unite the visual and material
culture of the Islamic world across space and time The seas have
long served as both connective tissue for and barriers between
intellectual, social, and artistic traditions. Nowhere is this dual
role more evident than within the visual and material cultures of
the Islamic world. This remarkable new book brings together an
international group of scholars and curators whose contributions
address seafaring mobility's profound effect on Islamic art. Their
case studies range across the globe and span a period from Islam's
1st century to today. Contributors examine the roles of importation
and migration, travel, diplomacy, and gift giving in driving
artistic innovation and changing the social, political, and
religious institutions of an increasingly diverse Islamic world.
Taken together, these chapters embody a distinctive big-picture
approach, pulling an exceptional diversity of voices and topics
into productive dialogue.
Sociological Thinking in Music Education presents new ideas about
music teaching and learning as important social, political,
economic, ecological, and cultural ways of being. At the book's
heart is the intersection between theory and practice where readers
gain glimpses of intriguing social phenomena as lived through music
learning and teaching. The vital roles played by music and music
education in various societies around the world are illustrated
through pivotal intersections between music education and
sociology: community, schooling, and issues of decolonization. In
this book, emerging as well as established scholars mobilize the
links between applied sociology, music, education, and music
education in ways that intersect the scholarly and the personal.
These interdisciplinary vantage points fulfil the book's
overarching aim to move beyond mere descriptions of what is, by
analyzing how social inequalities and inequities, conflict and
control, and power can be understood in and through music teaching
and learning at both individual and collective levels. The result
is not only encountering new ideas regarding the social
construction of music education practices in specific places, but
also seeing and hearing familiar ones in fresh ways. Digital assets
enable readers to meet the authors and the points of their inquiry
via various audiovisual media, including videos, a documentary
music film, and multi-lingual video precis for each chapter in
English as well as in each author's language of origin.
The Ideology of Competition in School Music explores competition as
a structuring force in school music and provides critiques of that
system from multiple philosophical and theoretical perspectives.
Competition is seen by many music teachers, students, and
supporters as natural and inevitable—a taken-for-granted aspect
of music education or an irresistible force, rather than a choice.
This book uncovers this ideological nature of competition and
examines its effect on student learning, teacher agency, and equity
within music education. It considers ways in which music educators
might reconsider the role of competition in their teaching practice
and offers alternative frameworks for organizing school music. In
this book, author Sean Robert Powell views competition as a
microcosm of the wider neoliberal capitalist society, in which
subjects are interpolated in an antagonistic competitive field as
market logic dictates a system of accountability, reduction, and
audit culture. Music teachers, students, and education
administrators, consciously and unconsciously, reinforce,
replicate, and sustain the competitive structure, even if they do
so while expressing a cynical disavowal. Powell considers
competition broadly, including, for example: formal competitions
between schools in which ensembles are given numerical scores and
ranked; "festivals" in which groups are given ratings based on
pre-given criteria; state, regional, and national honor ensembles;
hierarchical arrangements within school music programs; or simply
the pursuit of social prestige, reputation, and ever-higher
performance standards. Although the book provides examples from the
competitive landscape of school music in the United States (and,
especially, Texas, considered a "hyper" example of competitive
culture), Powell's analyses and discussions are relevant to readers
in any context around the world. Although the degree to which
competitive achievement as an explicitly-stated aim of instruction
varies from program to program and location to location, the
"realism" of neoliberal capitalism—and its effect on all aspects
of education—is a global phenomenon.
A barely edited, almost verbatim account of the voices in my head
thrown at you from my Northern Fortress of Solitude. It started as
a list. A list of 100 things I actively disliked written one
afternoon in jest. It became a series of essays on each item in the
list. It changed, I changed, it became less angry and more
introspective, I became a tad lazy, I watched a lot of TV and ran a
lot of miles late at night with wolves nipping at my heels. It
ended up as a book.
Just because you aren't where you want to be, doesn't mean you
can't love where you are. Plus-sized women across the world have
been waiting for someone to say the things that Sean Robert
Shuemate expresses in this, his debut book about positive body
image and high self-esteem. Unlike any other fitness book you have
ever read, "Size 3? Not For Me " How to Love Your Body &
Yourself - Unconditionally addresses more than just what to eat and
how to exercise. It shows you how to love yourself, and that is
better than getting into any size dress
The Islamic world finds itself increasingly at the epicenter of our
escalating climate emergency, both as a locus of the petrochemical
industry and as home to extraordinary landscapes in which the
effects of environmental transformation are acutely felt. Yet, far
from a solely twenty-first-century concern, engagement with
changing, and often extreme, natural conditions has long
characterized Islamic art and architecture in the central Islamic
lands and beyond into the Muslim diaspora. This new book
brings together a diverse group of scholars and critics whose
contributions address this profound ecological awareness through
the dual lenses of Islamic culture and climate change. Their case
studies range from the Gulf, Iraq, Syria, the Indian Subcontinent,
North Africa, and even outer space. Contributors examine the
optimistic, sustainable, and innovative responses adopted by
artists and builders in the face of often irreversible and
escalating environmental destruction that necessitates such
ingenuity. Breaking traditional disciplinary boundaries, this
timely book brings together a diverse range of perspectives to bear
on this increasingly urgent problem.
In 1482, the Florentine humanist and statesman Francesco
Berlinghieri produced the Geographia, a book of over one hundred
folio leaves describing the world in Italian verse, inspired by the
ancient Greek geography of Ptolemy. The poem, divided into seven
books (one for each day of the week the author “travels” the
known world), is interleaved with lavishly engraved maps to
accompany readers on this journey. Sean Roberts demonstrates that
the Geographia represents the moment of transition between printing
and manuscript culture, while forming a critical base for the rise
of modern cartography. Simultaneously, the use of the Geographia as
a diplomatic gift from Florence to the Ottoman Empire tells another
story. This exchange expands our understanding of Mediterranean
politics, European perceptions of the Ottomans, and Ottoman
interest in mapping and print. The envoy to the Sultan represented
the aspirations of the Florentine state, which chose not to bestow
some other highly valued good, such as the city’s renowned
textiles, but instead the best example of what Florentine visual,
material, and intellectual culture had to offer.
Secrets in all their variety permeated early modern Europe, from
the whispers of ambassadors at court to the emphatically publicised
books of home remedies that flew from presses and booksellers
shops. This interdisciplinary volume draws on approaches from art
history and cultural studies to investigate the manifestations of
secrecy in printed books and drawings, staircases and narrative
paintings, ecclesiastical furnishings and engravers tools. Topics
include how patrons of art and architecture deployed secrets to
construct meanings and distinguish audiences, and how artists and
patrons manipulated the content and display of the subject matter
of artworks to create an aura of exclusive access and privilege.
Essays examine the ways in which popes and princes skilfully
deployed secrets in works of art to maximise social control, and
how artists, printers, and folk healers promoted their wares
through the impression of valuable, mysterious knowledge. The
authors contributing to the volume represent both established
authorities in their field as well as emerging voices. This volume
will have wide appeal for historians, art historians, and literary
scholars, introducing readers to a fascinating and often unexplored
component of early modern culture.
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