My ancestry includes landowners, scholars, and government officials. I have six siblings. I am a citizen of the Republic of Korea. I come from a land of pear fields and streams, where people laugh loudly and honor their dead. Halfway around the world, I am someone else. Jane Jeong Trenka and her sister Carol were adopted by Frederick and Margaret Brauer and raised in the small, homogeneous town of Harlow, Minnesota—a place "where the sky touches the earth in uninterrupted horizon . . . where stoicism is stamped into the bones of each generation." They were loved as American children without a past.With inventive and radiant prose that includes real and imagined letters, a fairy tale, a one-act play, crossword puzzles, and child-welfare manuals, Trenka recounts a childhood of insecurity, a battle with a stalker that escalates to a plot for her murder, and an extraordinary trip to Seoul to meet her birth mother and siblings. Lost between two cultures for the majority of her life, it is in Korea that she begins to understand her past and the power of the unspoken language of blood.

    Twenty step-by-step exercises cover methods of finding inspiration, developing observation techniques, and creating fashion drawings in both color and black-and-white media. Separate sections are devoted to getting started and understanding figure proportions, planning and designing garments, and creating and assessing flat specification drawings. The book also features cross-references to its various art instruction techniques, a designer�1/2s glossary, and a helpful index. This book guides students through their first steps in fashion illustration, covering everything that is presented in the best college-level courses. It makes a fine starting point for all students of fashion, introducing them to fashion drawing as a first step toward a career as a creative costumier. More than 250 illustrations in color and black and white.

    Rather than relying on abstract generalizations and theories, van Manen offers an alternative that taps the unique nature of each human situation.The book offers detailed methodological explications and practical examples of hermeneutic-phenomenological inquiry. It shows how to orient oneself to human experience in education and how to construct a textual question which evokes a fundamental sense of wonder, and it provides a broad and systematic set of approaches for gaining experiential material that forms the basis for textual reflections.Van Manen also discusses the part played by language in educational research, and the importance of pursuing human science research critically as a semiotic writing practice. He focuses on the methodological function of anecdotal narrative in human science research, and offers methods for structuring the research text in relation to the particular kinds of questions being studied. Finally, van Manen argues that the choice of research method is itself a pedagogic commitment and that it shows how one stands in life as an educator.

    Nussbaum, philosopher and classicist, argues that contemporary curricular reform is already producing such citizens of the world in its advocacy of diverse forms of cross-cultural studies. Her vigorous defense of the new education is rooted in Seneca's ideal of the citizen who scrutinizes tradition critically and who respects the ability to reason wherever it is found--in rich or poor, native or foreigner, female or male.Drawing on Socrates and the Stoics, Nussbaum establishes three core values of liberal education--critical self-examination, the ideal of the world citizen, and the development of the narrative imagination. Then, taking us into classrooms and campuses across the nation, including prominent research universities, small independent colleges, and religious institutions, she shows how these values are (and in some instances are not) being embodied in particular courses. She defends such burgeoning subject areas as gender, minority, and gay studies against charges of moral relativism and low standards, and underscores their dynamic and fundamental contribution to critical reasoning and world citizenship.For Nussbaum, liberal education is alive and well on American campuses in the late twentieth century. It is not only viable, promising, and constructive, but it is essential to a democratic society. Taking up the challenge of conservative critics of academe, she argues persuasively that sustained reform in the aim and content of liberal education is the most vital and invigorating force in higher education today.

    The critic's job becomes one of the interpreting human symbolizing wherever he finds it, with the aim of illuminating human motivation. Thus the reach of the literary critic now extends to the social and ethical.A Grammar of Motives is a "methodical meditation" on such complex linguistic forms as plays, stories, poems, theologies, metaphysical systems, political philosophies, constitutions. A Rhetoric of Motives expands the field to human ways of persuasion and identification. Persuasion, as Burke sees it, "ranges from the bluntest quest of advantage, as in sales promotion or propaganda, through courtship, social etiquette, education, and the sermon, to a 'pure' form that delights in the process of appeal for itself alone, without ulterior purpose. And identification ranges from the politician who, addressing an audience of farmers, says, 'I was a farm boy myself,' through the mysteries of social status, to the mystic's devout identification with the sources of all being."

    Did you know that there are one million earthworms in an acre of soil, or that an average American eats 10 pounds of marshmallows in a year? Did you know that the act of yawning and stretching at the same time is known as pandiculation?These facts, and hundreds more in a wide variety of subjects including history, science, sports, music and more, make Hmm...I Did Not Know That a must read for trivia buffs and fact fanatics.

    Widely regarded as one of the country's most important Native American poets, Ortiz has led a thirty-year career marked by a fascination with language—and by a love of his people. This omnibus of three previous works offers old and new readers an appreciation of the fruits of his dedication.Going for the Rain (1976) expresses closeness to a specific Native American way of life and its philosophy and is structured in the narrative form of a journey on the road of life. A Good Journey (1977), an evocation of Ortiz's constant awareness of his heritage, draws on the oral tradition of his Pueblo culture. Fight Back: For the Sake of the People, For the Sake of the Land (1980)—revised for this volume—has its origins in his work as a laborer in the uranium industry and is intended as a political observation and statement about that industry's effects on Native American lands and lives. In an introduction written for this volume, Ortiz tells of his boyhood in Acoma Pueblo, his early love for language, his education, and his exposure to the wider world. He traces his development as a writer, recalling his attraction to the Beats and his growing political awareness, especially a consciousness of his and other people's social struggle. "Native American writers must have an individual and communally unified commitment to their art and its relationship to their indigenous culture and people," writes Ortiz. "Through our poetry, prose, and other written works that evoke love, respect, and responsibility, Native Americans may be able to help the United States of America to go beyond survival."

    Book annotation not available for this title.Title: Rhetorical CriticismAuthor: Foss, Sonja K.Publisher: Waveland Pr IncPublication Date: 2008/10/31Number of Pages: 444Binding Type: PAPERBACKLibrary of Congress: 2009464644

    Why are so many of the superhero myths tied up with loss, often violent, of parents or parental figures? What is the significance of the dual identity? What makes some superhuman figures "good" and others "evil"? Why are so many of the prime superheroes white and male? How has the superhero evolved over the course of the 20th and early 21st centuries? And how might the myths be changing? Why is it that the key superhero archetypes - Superman, Batman, Wonder Woman, Spider-Man, the X-Men - touch primal needs and experiences in everyone? Why has the superhero moved beyond the pages of comics into other media? All these topics, and more, are covered in this lively and original exploration of the reasons why the superhero - in comic books, films, and TV - is such a potent myth for our times and culture.

    

    Economics, finance, business & management

    Said. Addressed to students and scholars throughout the humanities, these essays address what Antonio Gramsci--the founder of the Italian communist party--called the subaltern classes, reexamining well-known historical and political events, such as Gandhi's role in India, from a Marxist perspective. Together, the essays examine aspects of the analysis of domination, with special reference to the critique of imperialism, in an attempt to rectify the elitist bias characteristic of much academic work on India. A ground-breaking work of considerable pedagogical relevance for courses dealing with colonialism and imperialism in literature, sociology, anthropology, politics, and history, Subaltern Studies also features a comprehensive glossary of Indian terms for readers not familiar with Indian history.

    Franklin Evans had watched every war movie John Wayne ever made, sometimes several times over. When the “Duke” led his men, war was exciting and heroes were made as they ruggedly fought and predictably won each battle. But when Evans’ high school friend and real-life hero Glenn was killed in Vietnam, war became real and personal for Evans, and he felt a tremendous obligation to the buddy who gave his life in that faraway jungle. At the tender age of nineteen, Evans voluntarily enlisted in the U.S. Army and left for basic training in early December of 1966. Before long, he was deeply entrenched in a treacherous war, far removed from his innocent and carefree youth. He had to learn not only to survive but also to muster the bravery to lead others in combat as he was thrust from adolescence into adulthood. It has taken Evans more than thirty-five years to begin to heal the physical and emotional wounds that kept him from sharing his intensely personal story. From his depiction of the picturesque aerial view of Cam Rahn Bay to that of the barbed wire, metal planking, and squat huts housing weapons of death and destruction, Evans’s Stand To …provides a vividly detailed glimpse into what it was like to become a man on the battlefields of Vietnam.

    In most subjects, the majority of twelfth-grade Black students do not have even a "partial mastery" of the skills and knowledge that the authoritative National Assessment of Educational Progress calls "fundamental for proficient work" at their grade. No Excuses marshals facts to examine the depth of the problem, the inadequacy of conventional explanations, and the limited impact of Title I, Head Start, and other familiar reforms. Its message, however, is one of hope: Scattered across the country are excellent schools getting terrific results with high-needs kids. These rare schools share a distinctive vision of what great schooling looks like and are free of many of the constraints that compromise education in traditional public schools. In a society that espouses equal opportunity we still have a racially identifiable group of educational have-nots—young African Americans and Latinos whose opportunities in life will almost inevitably be limited by their inadequate education. When students leave high school without high school skills, their futures—and that of the nation—are in jeopardy. With successful schools already showing the way, no decent society can continue to turn a blind eye to such racial and ethnic inequality.

    Ted Hope, whose films have garnered 12 Oscar nominations, draws from his own personal experiences working on the early films of Ang Lee, Eddie Burns, Hal Hartley, Michel Gondry, Nicole Holofcener, Todd Solondz and other indie mavericks, relating those decisions that brought him success as well as the occasional failure.Whether navigating negotiations with Harvey Weinstein over final cuts or clashing with high-powered CAA agents over their clients, Hope offers behind-the-scenes stories from the wild and often heated world of low-budget cinema—where art and commerce collide. As mediator between these two opposing interests, Hope offers his unique perspective on how to make movies while keeping your integrity intact and how to create a sustainable business enterprise out of that art while staying true to yourself. Against a backdrop of seismic changes in the indie-film industry, from corporate co-option to the rise of social media, Hope for Film provides not only an entertaining and intimate ride through the ups and downs of the business of art-house movies over the last 25 years, but also hope for its future.