To overcome the practical, social, and psychological obstacles along the way, you need a knowledgeable guide and the right tools. This comprehensive how-to guide to developing and writing a quality dissertation provides: Expanded and updated coverage of crucial topics such as conducting a literature review, dissertation support groups, and harnessing technology to conduct research Progress tracking tools, sample forms, resource lists, and other user-friendly elements Thoroughly updated and revised chapters with the most current need-to-know information

    In Pretty in Punk, Lauraine Leblanc examines what happens when girls ignore these cultural messages, parody ideas of beauty, and refuse to play the games of teenage femininity. She explores the origins and development of the punk subculture, the processes by which girls decide to “go punk,” patterns of resistance to gender norms, and tactics girls use to deal with violence and harassment.Pretty in Punk takes readers into the lives of girls living on the margins of contemporary culture. Drawing on interviews with 40 girls and women between the ages of 14-37, Leblanc examines the lives of her subjects, illuminating their forms of rebellion and survival. Pretty in Punk lets readers hear the voices of these women as they describe the ways their  constructions of femininity—from black lipstick to slamdancing—allow them to reject damaging cultural messages and build strong identities. The price they pay for resisting femininity can be steep—girls tell of parental rejection, school expulsion, institutionalization,  and harassment. Leblanc illuminates punk girls’ resistance to adversity, their triumphs over tough challenges, and their work to create individual identities in a masculine world.

    It features interviews (that read like thoughtful essays) with Joan Jett, Kathleen Hanna (Bikini Kill), Valerie Agnew (7 Year Bitch), Lois Maffeo, Naomi Yang (Galaxie 500), Kendra Smith, Phranc, Candice Pederson (K Records), Bettina Richards, Chrissie Hynde, and June Millington (Fanny, the "Godmothers of Womyn's Rock").

    This book studies the evolution of the family from the sixteenth to the eighteenth century and how the process radically influenced child-rearing, education, contraception, sexual behaviour and marriage.

    Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, Hubbs confronts the shifting and deeply entangled workings of taste, sexuality, and class politics. In Hubbs’s view, the popular phrase “I’ll listen to anything but country” allows middle-class Americans to declare inclusive “omnivore” musical tastes with one crucial exclusion: country, a music linked to low-status whites. Throughout Rednecks, Queers, and Country Music, Hubbs dissects this gesture, examining how provincial white working people have emerged since the 1970s as the face of American bigotry, particularly homophobia, with country music their audible emblem. Bringing together the redneck and the queer, Hubbs challenges the conventional wisdom and historical amnesia that frame white working folk as a perpetual bigot class. With a powerful combination of music criticism, cultural critique, and sociological analysis of contemporary class formation, Nadine Hubbs zeroes in on flawed assumptions about how country music models and mirrors white working-class identities. She particularly shows how dismissive, politically loaded middle-class discourses devalue country’s manifestations of working-class culture, politics, and values, and render working-class acceptance of queerness invisible. Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture.

    Charles Rosen says of sonata form#58; "[It] is not a definite form like a minuet, a da capo aria, or a French overture; it is, like the fugue, a way of writing, a feeling for proportion, direction, and texture rather than a pattern."

    It is NOT about Nazism, or Neo-Nazism, and definitely not about politics; it is the story of how the ebullience of youth can be corrupted and misinterpreted by propaganda and the media. Warning This story contains a lot of strong language, British slang and outspoken opinions that may be offensive to some; it is nevertheless the truth.

    She critiques both the male bias of current theory and the debilitating dominion held by notions of "proper femininity" over women and their bodies in patriarchal culture.

    Permanent positions are scarce, science survival is rarely part of formal graduate training, and a good mentor is hard to find. This exceptional volume explains what stands between you and fulfilling long-term research career. Bringing the key survival skills into focus, A Ph.D. Is Not Enough! proposes a rational approach to establishing yourself as a scientist. It offers sound advice of selecting a thesis or postdoctoral adviser, choosing among research jobs in academia, government laboratories, and industry, preparing for an employment interview, and defining a research program. This book will help you make your oral presentations effective, your journal articles compelling, and your grant proposals successful. A Ph.D. Is Not Enough should be required reading for anyone on the threshold of a career in science.

    This provocative book tackles some of the enduring 'sacred truths' surrounding the high cultural status of the live event.

    In the case of Beethoven, however, the standard approach has been to treat his life and his art separately. Now, Barry Cooper's new volume incorporates the latest international research on many aspects of the composer's life and work and presents these in a truly integrated narrative. Cooper employs a strictly chronological approach that enables each work to be seen against the musical and biographical background from which it emerged. The result is a much closer confluence of life and work than is usually achieved, for two reasons. First, composition was Beethoven's central preoccupation for most of his life: I live entirely in my music, he once wrote. Second, recent study of his many musical sketches has enabled a much clearer picture of his everyday compositional activity than was previously possible, leading to rich new insights into the interaction between his life and music. This volume concentrates on Beethoven's artistic achievements both by examining the origins of his works and by expert commentary on some of their most striking and original features. It also reexamines virtually all the evidence--from fictitious anecdotes right down to the translations of individual German words--to avoid recycling old errors. And it offers numerous new details derived from sketch studies and a new edition of Beethoven's correspondence. Offering a wealth of fresh conclusions and intertwining life and work in illuminating ways, Beethoven will establish itself as the reference on one of the world's greatest composers.

    Miriam Ticktin focuses on France and its humanitarian immigration practices to argue that a politics based on care and protection can lead the state to view issues of immigration and asylum through a medical lens. Examining two “regimes of care”—humanitarianism and the movement to stop violence against women—Ticktin asks what it means to permit the sick and sexually violated to cross borders while the impoverished cannot? She demonstrates how in an inhospitable immigration climate, unusual pathologies can become the means to residency papers, making conditions like HIV, cancer, and select experiences of sexual violence into distinct advantages for would-be migrants. Ticktin’s analysis also indicts the inequalities forged by global capitalism that drive people to migrate, and the state practices that criminalize the majority of undocumented migrants at the expense of care for the exceptional few.

    Because music consoles and restores us. Through music, whether we are listening or playing, we know ourselves more intimately, more honestly, and more clearly with every note. And with every note, music offers us a hand to the beyond.Through music, we can say what we didn't even know we felt.This book is an ode to music, and a celebration of humanity's greatest creation. It is not a call to arms, but a call to instruments.In music, Ed Ayres finds answers to the big questions life throws at us. Using personal anecdotes - including those relating to his transition from Emma to Ed - and observations from teaching and learning music, Ed finds hope in our desire to become whole, with some simple music lessons along the way.PRAISE'Whole Notes may appear to be about music, but really, it's simply about how to be kind and how to listen without judgement. Which is the best definition of love, no?' Jessie Tu, Sydney Morning Herald'A truly beguiling account' Geraldine Doogue'An almost divine presence' Rick Morton

    Charts the amazing fifty-year history of the British music business, where bad behaviour is encouraged, and where drugs are sometimes as important as talent.