How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raA-. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, amb

How are national identities constructed and articulated through music? Popular music has long been associated with political dissent, and the nation state has consistently demonstrated a determination to seek out and procure for itself a stake in the management of 'its' popular musics. Similarly, popular musics have been used 'from the ground up' as sites for both populist and popular critiques of nationalist sentiment, from the position of both a globalizing and a 'local' vernacular culture. The contributions in this book arrive at a critical moment in the development of the study of national cultures and musicology. The book ranges from considerations of the ideological focus of cultural nationalism through to analyses of musical hybridity and musical articulations of other kinds of identities at odds with national identity. The processes of global homogenization are thereby shown to have brought about a transitional crisis for national cultural identities: the evolution of these identities, particularly with reference to the concept of 'authenticity' in music, is situated within broader debates on power, political economy and constructions of the self. Theorizations of practice are employed after the manner of Bourdieu, Gramsci, Goffman, Gadamer, Habermas, Bhabha, Lacan and Zizek. Each contribution acts as a case study to characterize the strategies through which differing modes of musical discourse engage, critique or obscure discourses on national identity. The studies include discussions of: musical representations of Irishness; the relationship between Afropop and World Music; Norwegian club music; the revival of traditional music in Serbia; resistance to cultural homogeneity in Brazil; contemporary Uyghur song in Northwest China; rap and race in French society; technobanda from the barrios of Los Angeles, and Spanish/Moroccan raA-. In this way, the book seeks to characterize the ideological configurations that help to activate and sustain hegemonic, amb

Christmas Tails is a delightful story, beautifully illustrated by Vanessa Knight, of a needy family of squirrels who are kicked out of their village, because of their tattered clothes and nests. Abandoned and in search of friends to accept them, they travel many roads of rebuilding their lives and befriending a new village of friends. Thus the story begins! Their enemies never far away. One in particular...The evil Witch of the forest!

Do you ever wonder what children who are almost too young to talk really see in the world? "Tell Me, Tell Me, What You See" answers that question. This book will both charm and create wonder with children and parents alike.

About the Authors:
Jim Howard, a bankruptcy paralegal, has had a lifetime love of nature and learning that he developed while growing up in Montana. He enjoys traveling, golf and volunteering as a Cub Scout leader. He lives in Denver, Colorado with his wife, son, three dogs and two cats. This is his first book.
Paula Welsh-Howard, met Jim Howard while working for the same employer and was also a bankruptcy paralegal. When she was single she traveled by herself to Europe and toured Europe for 5 months. She enjoys writing, singing, traveling, and being with her family. She developed a love of nature and the wilderness while growing up in Colorado. This is her first book.

In the last chapters of the Rasputin trilogy, the mean old wolf seeks his final revenge upon Sasha the bear cub, for debts long overdue. Sasha still yet a cub, was stricken with an illness he still fights to recover from, and makes an easy target for Rasputin's jaws.
But, while tracking down a cub and his group of caring friends, Rasputin's come upon something in the bushes, moving shivering with fear. In his lust to attack any of Sasha pals, he leaps and grasps hold of his prey, only this time it's something he never anticipated: this time it's a lone wolf pup.
Rasputin's immediately torn by the plight of the pup, which was so similar to his own fate growing up. He fears the worst, but the pup is still alive, but in dire need of milk and food. Rasputin has to swallow his pride and anger and goes out in search of the same healer that is treating the bear cub.
Once among Sasha's friends and finally coming so close to his enemy, Rasputin fights the urge to destroy his foe, thinking only of the new pup he cradles. He takes the healer's advice and even vows to never lay harm onto Sasha or his forest friends, in repayment for the healer's help in reviving the young pup.
Seeking still a continued source of milk and food for the youngster, Rasputin's revives an old relationship with a coyote who also currently has pups. But residing pack if the forest decides to get rid of Rasputin once and for all... and track him down for a final fight to ring out through the night. Rasputin protects the coyote and her family, as well as his own pup, as the battle rages. He is vastly outnumbered, but them someone steps in, Rasputin something he's longed for all his life, and the life Rasputinis forever changed.

Sasha and his friends prepare for an upcoming day of fun and festivities. Sasha wants to win in the fishing contest, but needs to learn exactly how to fish first. He finds help in a new friendship; but when sudden illness befalls him, can he manage to overcome the sorrows of his past? With the mean old wolf Rasputin, out seeking revenge on him and his friends for the time he was defeated by them, will Sasha again manage to best his foes and be the victor...the warrior? Will he learn the ways of the bear and truly become all that a bear can be?
CAST of CHARACTERS
Penelope the Duck - Sasha's new friend teaches him how to fish and keeps their secret throughout their long life together: that Sasha, the bear cub, didn't know how.
Mr. Sirus - The crotchety old farmer who shoots at anyone who trespasses on his chicken farm.
Mr. Hare - The squatter on Old Sirus' vegetable garden. Will his secret be found out (stealing all the food he needs to feed his family) or will he go unnoticed and have food aplenty for his family and himself?
Caribou - The healer of the forest inhabitants. Can she save the little cub, Sasha, or will he die from causes unknown?
The Goat Family - who has milk to nurse the wolf pup, Ivanhoe. Will the raccoon be spared from nursing the pup, or will she agree to the command of their healer to feed the whelp?
The Raccoon Family - The mother is called upon to feed the little wolf. She defies the command bitterly, spitting in disgust.
Guinevere the Coyote - Rasputin's Folly. Always fighting Rasputin for her territory - a long past. Will they ever find a solution to their inner battles of attraction for each other?
The Alpha - The leader of apack that hates the one called Rasputin. Filled with jealousy and rage to destroy him once and for all, to regain his own power and status among the packs, will he succeed in killing his competition or will Rasputin hold the upper paw?
Ivanhoe - Rasputin's latest downfall. Out to seek revenge on the little cub, Sasha, he hunts this night to kill anything that moves on his way to the cub's den. Dragging his catch out into the moonlit night from the brush, he howls in sadness, finding his prize is none other but a baby wolf pup. Will he leave it to die or will he find a way to save his life?
Owls/Foxes/Squirrels & Birds - And all other friends of the forest are part of the family above: playing, mating, and helping one another survive the mean old Rasputin.
This story takes place in the forests of Netherland.

This heart-warming children's story teaches about discrimination and friendship. A young wolf, Ben, wants to play with other animals. However, no one likes wolves. So how can Ben make friends?

Soon to be a Christmas classic! Deciding not to go to bed but wait up for you know who to arrive Billy Bad Boy gets into mischief on Christmas Eve.

Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. 'Hybridity, ' 'postnationalism, ' 'transnationalism, ' 'globalization, ' 'diaspora, ' and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identifica

Postnational Musical Identities gathers interdisciplinary essays that explore how music audiences and markets are imagined in a globalized scenario, how music reflects and reflects upon new understandings of citizenship beyond the nation-state, and how music works as a site of resistance against globalization. "Hybridity," "postnationalism," "transnationalism," "globalization," "diaspora," and similar buzzwords have not only informed scholarly discourse and analysis of music but also shaped the way musical productions have been marketed worldwide in recent times. While the construction of identities occupies a central position in this context, there are discrepancies between the conceptualization of music as an extremely fluid phenomenon and the traditionally monovalent notion of identity to which it has historically been incorporated. As such, music has always been linked to the construction of regional and national identities. The essays in this collection seek to explore the role of music, networks of music distribution, music markets, music consumption, music production, and music scholarship in the articulation of postnational sites of identification.

This new history extends Modern Spanish literature into the late twentieth century and explores imaginative writings often ignored outside Spain. Extensive treatments of famous names are balanced by discussions of non-canonical and non-literary work. Thematic rather than chronological, the book places its texts in a variety of social, imaginary, and intellectual contexts.