While a substantial body of research explains how the conflict between India and Pakistan originated and developed over time, a systematic and multivariate inquiry cutting across different IR paradigms to understand this rivalry is rare or limited. Surinder Mohan contributes to the understanding of India and Pakistan’s rivalry by presenting a new type of framework, also known as complex rivalry model. This comprehensive model, by not limiting its theoretical tool-kit to any single paradigm, is unique in its approach and better positioned to debate and answer baffling questions that the single-paradigm-based studies address rather inadequately and in isolation.
This book, through an examination of fifty-seven militarized disputes between 1947 and 2021, explains the life cycle of India-Pakistan rivalry in four phases: initiation; development; maintenance; and a possible transformation/termination. Mohan delineates five specific conditions that evolved the subcontinental conflict into a complex rivalry: first, its survival in spite of the Bangladesh War and the end of the Cold War; second, its linkage with other rivalries; third, the inclusion of nuclear factor; fourth, the dyadic stability in the militarized disputes and hostility level despite changes in the regime type; and fifth, the dyad’s involvement in a multilayered conflict pattern. To break this deadlock and mitigate their longstanding differences, Mohan proposes that India and Pakistan must reframe their national priorities and political goals so that the new situation or combinations of conditions would assist their peace strategists to downgrade the dyadic hostility and implement risky policies to make headway to a promising transformation.
Complex Sleep, Tony Tost’s ambitious second book of poems, leaps upward with an astounding multiplicity of voices, utterances, and bursts. Each leap marks a sure and precise entry into a world of images, ideas, and sensations that is brand new—the true accomplishment of any poetic work.
The octet of poems that compose Complex Sleep comprises a complex organism, audacious in scope, swiping at meaning via language as fragmented music. Tost takes on the problem of physical shape, reorchestrates phrases according to the alphabet, and writes himself into the hypnagogic state between waking and dreaming. Informed by their own procedural constraints, these poems invent forms that tap the unconscious poetic, the very complexity embodied in sleep. All the while, Tost reforms utterance beyond the mere epistemology of much contemporary poetry.
Devising an innovative formalism rather than concerning itself with discovering the what, Complex Sleep is about discovering how to say what needs to be said. Skip the opera, this book performs.
Complexity science transects many fields ranging from physics to economics to biology. Its focus is the study of systems of interacting factors, which has lately been extended to include behavior in human societies. In prehistoric societies, whether these agents are defined at the scale of individuals, groups, households, or villages all agents are connected in such a way that change in the actions of one affects many others.
Complex Systems and Archaeology presents a useful introduction to complexity theory followed by a series of case studies in which human societies and environments are viewed as open systems into and out of which matter or energy can flow. Examples of such systems include the introduction of new crops, the creation of new artifacts, or the flux of products in a market.
This volume will have important implications for how archaeologists understand the dynamics of culture change and how they think about chronological stages, unique events, and the role of human agents.
Complexity Systems in the Social and Behavioral Sciences provides a sophisticated yet accessible account of complexity science or complex systems research. Phenomena in the behavioral, social, and hard sciences all exhibit certain important similarities consistent with complex systems. These include the concept of emergence, sensitivity to initial conditions, and interactions between agents in a system that yield unanticipated, nonlinear outcomes. The topics discussed range from the implications for artificial intelligence and computing to questions about how to model complex systems through agent-based modeling, to complex phenomena exhibited in international relations, and in organizational behavior. This volume will be an invaluable addition for both the general reader and the specialist, offering new insights into this fascinating area of research.
Sanders gives detailed analyses of widely divergent thinkers: Afrikaner nationalist poet N. P. van Wyk Louw, Drum writer Bloke Modisane, Xhosa novelist A. C. Jordan, Afrikaner dissident Breyten Breytenbach, and Black Consciousness leader Steve Biko. Drawing on theorists including Derrida, Sartre, and Fanon, and paying particular attention to the linguistic intricacy of the literary and political texts considered, Sanders shows how complicity emerges as a predicament for intellectuals across the ideological and social spectrum. Through discussions of the colonial intellectuals Olive Schreiner and Sol T. Plaatje and of post-apartheid feminist critiques of the Truth and Reconciliation Commission, Complicities reveals how sexual difference joins with race to further complicate issues of collusion.
Complicities sheds new light on the history and literature of twentieth-century South Africa as it weighs into debates about the role of the intellectual in public life.
A unique contribution to an emerging field, Composed Theatre explores musical strategies of organization as viable alternative means of organizing theatrical work. In addition to insightful essays by a stellar group of international contributors, this volume also includes interviews with important practitioners, shedding light on historical and theoretical aspects of composed theatre.
This is an auto-narrated audiobook edition of this book.
“What any body is—and is able to do—cannot be disentangled from the media we use to consume and produce texts.” ---from the Introduction.
Kristin Arola and Anne Wysocki argue that composing in new media is composing the body—is embodiment. In Composing (Media) = Composing (Embodiment), they havebrought together a powerful set of essays that agree on the need for compositionists—and their students—to engage with a wide range of new media texts. These chapters explore how texts of all varieties mediate and thereby contribute to the human experiences of communication, of self, the body, and composing. Sample assignments and activities exemplify how this exploration might proceed in the writing classroom.
Contributors here articulate ways to understand how writing enables the experience of our bodies as selves, and at the same time to see the work of (our) writing in mediating selves to make them accessible to institutional perceptions and constraints. These writers argue that what a body does, and can do, cannot be disentangled from the media we use, nor from the times and cultures and technologies with which we engage.
To the discipline of composition, this is an important discussion because it clarifies the impact/s of literacy on citizens, freedoms, and societies. To the classroom, it is important because it helps compositionists to support their students as they enact, learn, and reflect upon their own embodied and embodying writing.
When movies replaced theatre as popular entertainment in the years 1910–20, the world of live drama was wide open for reform. American advocates and practitioners founded theatres in a spirit of anticommercialism, seeking to develop an American audience for serious theatre, mounting plays in what would today be called “alternative spaces,” and uniting for the cause an eclectic group of professors, social workers, members of women’s clubs, bohemians, artists, students, and immigrants. This rebellion, called the Little Theatre Movement, also prompted and promoted the college theatre major, the inclusion of theatre pedagogy in K–12 education, prototypes for the nonprofit model, and the notion that theatre is a valuable form of self-expression.
Composing Ourselves: The Little Theatre Movement and the American Audience argues that the movement was a national phenomenon, not just the result of aspirants copying the efforts of the much-storied Provincetown Players, Washington Square Players, Neighborhood Playhouse, and Chicago Little Theatre. Going beyond the familiar histories of the best-known groups, Dorothy Chansky traces the origins of both the ideas and the infrastructures for serious theatre that are ordinary parts of the American cultural landscape today; she also investigates the gender discrimination, racism, and class insensitivity that were embedded in reformers’ ideas of the “universal” and that still trouble the rhetoric of regional, educational, and community theatre.
An important piece of revisionist history, Composing Ourselves shows how theatre reform, in keeping with other Progressive Era activism, took on corporate, conservative society, but did so in ways that were sometimes contradictory. For example, women constituted the majority of ticket buyers and the bulk of unsung labor, yet plays by women were considered inferior. Most reformers were comfortably middle class and sought change that would eliminate the anomie of modernity but not challenge their privileged positions.
Chansky deliberates on antifeminist images of women theatergoers in literature and cartoons and considers the achievements and failures of the Drama League of America, a network of women’s clubs, following up with a case study of the playwright Alice Gerstenberg to point out that theatre history has not fully realized the role of women in the Little Theatre Movement. Even as women were earning the majority of degrees in newly minted theatre programs, their paths were barred to most professional work except teaching. Chansky also considers a blackface production of a play about rural African Americans, which was a step towards sympathetic portrayals of minority characters yet still a reinforcement of white upper- and middle-class perspectives.
Cindy Johanek offers a new perspective on the ideological conflict between qualitative and quantitative research approaches, and the theories of knowledge that inform them. With a paradigm that is sensitive to the context of one's research questions, she argues, scholars can develop less dichotomous forms that invoke the strengths of both research traditions. Context-oriented approaches can lift the narrative from beneath the numbers in an experimental study, for example, or bring the useful clarity of numbers to an ethnographic study.
A pragmatic scholar, Johanek moves easily across the boundaries that divide the field, and argues for contextualist theory as a lens through which to view composition research. This approach brings with it a new focus, she writes. "This new focus will call us to attend to the contexts in which rhetorical issues and research issues converge, producing varied forms, many voices, and new knowledge, indeed reconstructing a discipline that will be simultaneously focused on its tasks, its knowledge-makers, and its students."
Composing Research is a work full of personal voice and professional commitment and will be a welcome addition to the research methods classroom and to the composition researcher's own bookshelf.
2000 Outstanding Scholarship Award from the International Writing Centers Association.
Composing while Dancing: An Improviser’s Companion examines the world of improvisational dance and the varied approaches to this art form. By introducing the improvisational strategies of twenty-six top contemporary artists of movement improvisation, Melinda Buckwalter offers a practical primer to the dance form. Each chapter focuses on an important aspect of improvisation including spatial relations, the eyes, and the dancing image. Included are sample practices from the artists profiled, exercises for further research, and a glossary of terms. Buckwalter gathers history, methods, interviews, and biographies in one book to showcase the many facets of improvisational dance and create an invaluable reference for dancers and dance educators.
In a data-driven world, anything can be data. As the techniques and scale of data analysis advance, the need for a response from rhetoric and composition grows ever more pronounced. It is increasingly possible to examine thousands of documents and peer-review comments, labor-hours, and citation networks in composition courses and beyond. Composition and Big Data brings together a range of scholars, teachers, and administrators already working with big-data methods and datasets to kickstart a collective reckoning with the role that algorithmic and computational approaches can, or should, play in research and teaching in the field. Their work takes place in various contexts, including programmatic assessment, first-year pedagogy, stylistics, and learning transfer across the curriculum. From ethical reflections to database design, from corpus linguistics to quantitative autoethnography, these chapters implement and interpret the drive toward data in diverse ways.
Composition and Cornel West: Notes toward a Deep Democracy identifies and explains key aspects of the work of Cornel West—the highly regarded scholar of religion, philosophy, and African American studies—as they relate to composition studies, focusing especially on three rhetorical strategies that West suggests we use in our questioning lives as scholars, teachers, students, and citizens.
In this study, author Keith Gilyard examines the strategies of Socratic Commitment (a relentless examination of received wisdom), Prophetic Witness (an abiding concern with justice and the plight of the oppressed), and Tragicomic Hope (a keep-on-pushing sensibility reflective of the African American freedom struggle). Together, these rhetorical strategies comprise an updated form of cultural criticism that West calls prophetic pragmatism.
This volume, which contains the only interview in which Cornel West directly addresses the field of composition,sketches the development of Cornel West’s theories of philosophy, political science, religion, and cultural studies and restates the link between Deweyan notions of critical intelligence and the notion of critical literacy developed by Ann Berthoff, Ira Shor, and Henry Giroux. Gilyard provides examples from the classroom to illustrate the possibilities of Socratic Commitment as part of composition pedagogy, shows the alignment of Prophetic Witness with traditional aims of critical composition, and in his chapter on Tragicomic Hope, addresses African American expressive culture with an emphasis on music and artists such as Curtis Mayfield, Marvin Gaye, Aretha Franklin, and Kanye West.
The first book to comprehensively connect the ideas of one of America's premier scholars of religion, philosophy and African American studies with composition theory and pedagogy, Composition and Cornel West will be valuable to scholars, teachers, and students interested in race, class, critical literacy, and the teaching of writing.
In the face of the gradual saturation of US public education by the logics of neoliberalism, educators often find themselves at a loss to respond, let alone resist. Through state defunding and many other “reforms” fueled by austerity politics, a majority of educators are becoming casual labor in US universities while those who hang onto secure employment are pressed to act as self-supporting entrepreneurs or do more with less. Focusing on the discipline of writing studies, this collection addresses the sense of crisis that many educators experience in this age of austerity.
The chapters in this book chronicle how neoliberal political economy shapes writing assessments, curricula, teacher agency, program administration, and funding distribution. Contributors also focus on how neoliberal political economy dictates the direction of scholarship, because the economic and political agenda shaping the terms of work, the methods of delivery, and the ways of valuing and assessing writing also shape the primary concerns and directions of scholarship.
Composition in the Age of Austerity offers critical accounts of how the restructuring of higher education is shaping the daily realities of composition programs. The book documents the effects and implications of the current restructuring, examines how cherished rhetorical ideals actually leave the field unprepared to respond effectively to defunding and corporatizing trends, and establishes points of departure for collective response.
Despite its pervasiveness and its significance, composition has an unstable status within the curriculum. Writing programs and writing faculty are besieged by academic, political, and financial concerns that have not been well understood or addressed.
At many institutions, composition functions paradoxically as both the gateway to academic success and as the gatekeeper, reducing access to academic work and opportunity for those with limited facility in English. Although writing programs are expected to provide services that range from instruction in correct grammar to assisting—or resisting—political correctness, expanding programs and shrinking faculty get caught in the crossfire. The bottom line becomes the firing line as forces outside the classroom determine funding and seek to define what composition should do.
In search of that definition, the contributors ask and answer a series of specific and salient questions: What implications—intellectual, political, and institutional—will forces outside the classroom have on the quality and delivery of composition in the twenty-first century? How will faculty and administrators identify and address these issues? What policies and practices ought we propose for the century to come?
This book features sixteen position papers by distinguished scholars and researchers in composition and rhetoric; most of the papers are followed by invited responses by other notable compositionists. In all, twenty-five contributors approach composition from a wide variety of contemporary perspectives: rhetorical, historical, social, cultural, political, intellectual, economic, structural, administrative, and developmental. They propose solutions applicable to pedagogy, research, graduate training of composition teachers, academic administration, and public and social policy. In a very real sense, then, this is the only book to offer a map to the future of composition.
Composition in the University examines the required introductory course in composition within American colleges and universities. Crowley argues that due to its association with literary studies in English departments, composition instruction has been inappropriately influenced by humanist pedagogy and that modern humanism is not a satisfactory rationale for the study of writing. Crowley envisions possible nonhumanist rationales that could be developed for vertical curricula in writing instruction, were the universal requirement not in place.
Composition in the University examines the required introductory course in composition within American colleges and universities. According to Sharon Crowley, the required composition course has never been conceived in the way that other introductory courses have been—as an introduction to the principles and practices of a field of study. Rather it has been constructed throughout much of its history as a site from which larger educational and ideological agendas could be advanced, and such agendas have not always served the interests of students or teachers, even though they are usually touted as programs of study that students “need.”
If there is a master narrative of the history of composition, it is told in the institutional attitude that has governed administration, design, and staffing of the course from its beginnings—the attitude that the universal requirement is in place in order to construct docile academic subjects.
Crowley argues that due to its association with literary studies in English departments, composition instruction has been inappropriately influenced by humanist pedagogy and that modern humanism is not a satisfactory rationale for the study of writing. She examines historical attempts to reconfigure the required course in nonhumanist terms, such as the advent of communications studies during the 1940s. Crowley devotes two essays to this phenomenon, concentrating on the furor caused by the adoption of a communications program at the University of Iowa.
Composition in the University concludes with a pair of essays that argue against maintenance of the universal requirement. In the last of these, Crowley envisions possible nonhumanist rationales that could be developed for vertical curricula in writing instruction, were the universal requirement not in place.
Crowley presents her findings in a series of essays because she feels the history of the required composition course cannot easily be understood as a coherent narrative since understandings of the purpose of the required course have altered rapidly from decade to decade, sometimes in shockingly sudden and erratic fashion.
The essays in this book are informed by Crowley’s long career of teaching composition, administering a composition program, and training teachers of the required introductory course. The book also draw on experience she gained while working with committees formed by the Conference on College Composition and Communication toward implementation of the Wyoming Resolution, an attempt to better the working conditions of post-secondary teachers of writing.
Working with the complete collection of Tender is the Night manuscripts in the Princeton University Library, Matthew J. Bruccoli reconstructs seventeen drafts and three versions of the novel to answer questions about F. Scott Fitzgerald’s major work that have long puzzled critics of modern literature.
In 1934, nine years after the appearance of The Great Gatsby, Fitzgerald permitted publication of Tender is the Night. Disappointed by its critical reception, Fitzgerald suggested that the structure of the novel should be drastically rearranged. In 1951, eleven years after his death, Charles Scribner’s Sons brought out an edition that incorporated Fitzgerald’s changes. Controversy arose over the merits of the two published versions and over the “nine lost years” in Fitzgerald’s life between his two great novels, years of rewriting before publication of Tender is the Night that resulted in six cartons of notes and drafts. After analyzing this wealth of material, Bruccoli reconstructs every working stage in the novel and reaches his own conclusions about which edition is the most valid.
Edited by four nationally recognized leaders of composition scholarship, Composition, Rhetoric, and Disciplinarity asks a fundamental question: can Composition and Rhetoric, as a discipline, continue its historical commitment to pedagogy without sacrificing equal attention to other areas, such as research and theory? In response, contributors to the volume address disagreements about what it means to be called a discipline rather than a profession or a field; elucidate tensions over the defined breadth of Composition and Rhetoric; and consider the roles of research and responsibility as Composition and Rhetoric shifts from field to discipline.
Outlining a field with a complex and unusual formation story, Composition, Rhetoric, and Disciplinarity employs several lenses for understanding disciplinarity—theory, history, labor, and pedagogy—and for teasing out the implications of disciplinarity for students, faculty, institutions, and Composition and Rhetoric itself. Collectively, the chapters speak to the intellectual and embodied history leading to this point; to questions about how disciplinarity is, and might be, understood, especially with regard to Composition and Rhetoric; to the curricular, conceptual, labor, and other sites of tension inherent in thinking about Composition and Rhetoric as a discipline; and to the implications of Composition and Rhetoric’s disciplinarity for the future.
Contributors: Linda Adler-Kassner, Elizabeth H. Boquet, Christiane Donahue, Whitney Douglas, Doug Downs, Heidi Estrem, Kristine Hansen, Doug Hesse, Sandra Jamieson, Neal Lerner, Jennifer Helene Maher, Barry Maid, Jaime Armin Mejía, Carolyn R. Miller, Kelly Myers, Gwendolynne Reid, Liane Robertson, Rochelle Rodrigo, Dawn Shepherd, Kara Taczak
A collection of twenty-four essays assessing and challenging the current state of writing instruction, Composition Studies in the New Millennium: Rereading the Past, Rewriting the Future emerges from presentations given at the national Writing Program Administrators conference held at Miami University in Oxford, Ohio, in 2001. Like its acclaimed and widely-used predecessor, Composition in the Twenty-First Century: Crisis and Change, this timely collection by leading scholars in composition studies responds to concerns about the evolution and future of this field of study.
Charting new directions, the contributors grapple with seven distinct questions: What do we mean by composition studies—past, present, and future? What do and should we teach when we teach composition? Where will composition be taught, and who will teach it? What theories and philosophies will undergird our research paradigms, and what will those paradigms be? How will new technologies change composition studies? What languages will our students write, and what will they write about? What political and social issues have shaped composition studies in the past and will shape this field in the future?
In addressing these queries, the essayists approach composition studies from perspectives ranging from rhetorical to cultural, political to economic, administrative to technological; and they do so with a style and organization appropriate for composition instructors, scholars, and administrators at all levels, from teaching assistants to college presidents. The result is an invaluable vision of the future of composition studies in the new millennium.
This ambitious study offers a panoramic survey of musical thought in the eighteenth century and, at the same time, a close analysis of the important theoretical topics of the period. The result is the most comprehensive account ever given of the theory behind the music of late Baroque and early Classical composers from Bach to Beethoven.
While giving preeminent theorists their due, Joel Lester also examines the works of over 100 seventeenth- and eighteenth-century writers to show how prominent theories were received and applied in actual teaching situations. Beginning with the influence of Zarlino and seventeenth-century theorists, Lester goes on to focus on central traditions emerging from definitive works in the early eighteenth century: species counterpoint in the writings of Fux; thoroughbass as presented by Niedt and Heinichen Rameau’s harmonic theories; and Mattheson’s views on melodic structure. The author traces the development and interactions of these traditions over the remainder of the century, through the writings of Albrechtsberger, C. P. E. Bach, Kirnberger, Koch, Marpurg, Martini, Nichelmann, Riepel, and many others. This historical overview is leavened throughout with accounts of individual composers grappling with theoretical issues—Haydn’s careful study of Fux’s treatise, Mozart’s instructions on harmony to his composition students, Beethoven’s own student exercises.
The links between various theoretical traditions, the pervasive influence of Rameau’s harmonic thinking, and the harmonic theories of Koch are just some of the numerous topics given their first full treatment here. Many of the theorists Lester cites are either unknown or often misunderstood today. By bringing their contributions to light and placing them within the context of theoretical tradition, Lester offers a fresh perspective, one that will inform and enhance any future study of this magnificent era in Western music.
Connors provides a history of composition and its pedagogical approaches to form, genre, and correctness. He shows where many of the today’s practices and assumptions about writing come from, and he translates what our techniques and theories of teaching have said over time about our attitudes toward students, language and life.
Connors locates the beginning of a new rhetorical tradition in the mid-nineteenth century, and from there, he discusses the theoretical and pedagogical innovations of the last two centuries as the result of historical forces, social needs, and cultural shifts.
This important book proves that American composition-rhetoric is a genuine, rhetorical tradition with its own evolving theria and praxis. As such it is an essential reference for all teachers of English and students of American education.
New Yorkers generate millions of tons of trash annually, which, through the magic of infrastructure and one of the largest waste management systems in the world, disappears from city sidewalks each night. Under pressure from environmentalists, activists, policymakers, and industry, the New York City Department of Sanitation started exploring ways to divert organic material from the waste stream, and in 2013, launched its composting pilot program.
Drawing on three years of ethnographic fieldwork with community composters and microhaulers in New York City, alongside the rollout of the city’s curbside organics collection system, Composting Utopia describes how local, grassroots organizations intervened in the city’s waste system, enacting change and presenting an alternative vision of the composting city. As Guy Shaffer argues, movement-driven infrastructure projects develop new tools for organizing the world, give communities agency over urban design, and promote just sustainability.
When does a reigning great power of the international system supplement military containment of a challenging power by restricting its economic exchanges with that state? Scholars of great power politics have traditionally focused on examining a reigning power’s military containment of a challenging power. In direct contrast, Compound Containment demonstrates that these conventional studies are flawed without a sound understanding of the multilayered aspects of containment strategy in great power politics. Since economic capacity and military power are intimately linked to one another, countering a challenging power requires addressing both economic and military dimensions. Nonetheless, this nexus of security and economy in a reigning power’s response to a challenging power cannot be explained by traditional theories that dominate research in international security. Author Dong Jung Kim fills a gap in the scholarship on great power competition by investigating when a reigning power will make its military containment of a challenging power “compound” by simultaneously employing restrictive economic measures. Its main theoretical claims are corroborated by an analysis of key historical cases of reigning power-challenging power competition. This book also offers policy prescriptions for the United States by examining whether the United States is in a position to complement military containment of China with restrictive economic measures.
Used for self-study or in the classroom, this text shows the reader how to read and translate technical Japanese texts by providing graded readings, explanatory notes, and translation aids.
This second edition of A Comprehensive Indonesian-English Dictionary brings the highly successful first edition up to date with hundreds of new entries in business, law, and finance, as well as specialized terminology in the fields of technology, engineering, mining, and construction.
Based on five years of research, including input from users, this new edition offers readers the most current information on names of political parties, acronyms for government offices, Islamic terms, colloquial pronunciations, and abbreviated forms used in blogs and e-mail. As with the original edition, the dictionary is designed to be as user-friendly as possible. Root words, meanings, proverbs, idioms, compounds that begin with the root word, and derivatives are given. Thousands of sample sentences from primary sources illustrate meaning and usage; no sentences are invented, ensuring complete authenticity and reliability. The new edition is essential for reference libraries, as well as students and scholars of Indonesian.
Jerry Norman’s Comprehensive Manchu-English Dictionary, a substantial revision and enlargement of his Concise Manchu-English Lexicon of 1978, now long out of print, is poised to become the standard English-language resource on the Manchu language. As the dynastic language of the Qing dynasty (1644–1911), Manchu was used in official documents and was also the vehicle for an enormous translation literature, mostly from the Chinese. The new Dictionary, based exclusively on Qing sources, retains all of the information from the earlier Lexicon, but also includes hundreds of additional entries cited from original Manchu texts, enhanced cross-references, and an entirely new introduction on Manchu pronunciation and script. All content from the earlier publication has also been verified.
This final book from the preeminent Manchu linguist in the English-speaking world is a reference work that not only updates Norman’s earlier scholarship but also summarizes his decades of study of the Manchu language. The Dictionary, which represents a significant scholarly contribution to the field of Inner Asian studies and to all students and scholars of Manchu and other Tungusic and related languages around the world, will become a major tool for archival research on Chinese late imperial period history and government.
Kimberly A. Scott explores this question and others as she details the National Science Foundation-funded enrichment project COMPUGIRLS. This groundbreaking initiative teaches tech skills to adolescent girls of color but, as importantly, offers a setting that emphasizes empowerment, community advancement, and self-discovery. Scott draws on her experience as an architect of COMPUGIRLS to detail the difficulties of translating participants' lives into a digital context while tracing how the program evolved. The dramatic stories of the participants show them blending newly developed technical and communication skills in ways designed to spark effective action and bring about important change.
A compelling merger of theory and storytelling, COMPUGIRLS provides a much-needed roadmap for understanding how girls of color can find and define their selves in today's digital age.
The pixelated rectangle we spend most of our day staring at in silence is not the television as many long feared, but the computer—the ubiquitous portal of work and personal lives. At this point, the computer is almost so common we don’t notice it in our view. It’s difficult to envision that not that long ago it was a gigantic, room-sized structure only to be accessed by a few inspiring as much awe and respect as fear and mystery. Now that the machine has decreased in size and increased in popular use, the computer has become a prosaic appliance, little-more noted than a toaster. These dramatic changes, from the daunting to the ordinary, are captured in Computer by design historian Paul Atkinson.
Here, Atkinson chronicles the changes in physical design of the computer and shows how these changes in design are related to changes in popular attitude. Atkinson is fascinated by how the computer has been represented and promoted in advertising. For example, in contrast to ads from the 1970s and ’80s, today’s PC is very PC—genderless, and largely status free. Computer also considers the role of the computer as a cultural touchstone, as evidenced by its regular appearance in popular culture, including the iconography of the space age, HAL from 2001: A Space Odyssey, James Bond’s gadgetry, and Stars War and Star Trek.
Computer covers many issues ignored by other histories of computing, which have focused on technology and the economics involved in their production, but rarely on the role of fashion in the physical design and promotion of computers and their general reception. The book will appeal to professionals and students of design and technology as well as those interested in the history of computers and how they have shaped—and been shaped by—our lives.
In a field choked with seemingly impenetrable jargon, Philip N. Johnson-Laird has done the impossible: written a book about how the mind works that requires no advance knowledge of artificial intelligence, neurophysiology, or psychology. The mind, he says, depends on the brain in the same way as the execution of a program of symbolic instructions depends on a computer, and can thus be understood by anyone willing to start with basic principles of computation and follow his step-by-step explanations.
The author begins with a brief account of the history of psychology and the birth of cognitive science after World War II. He then describes clearly and simply the nature of symbols and the theory of computation, and follows with sections devoted to current computational models of how the mind carries out all its major tasks, including visual perception, learning, memory, the planning and control of actions, deductive and inductive reasoning, and the formation of new concepts and new ideas. Other sections discuss human communication, meaning, the progress that has been made in enabling computers to understand natural language, and finally the difficult problems of the conscious and unconscious mind, free will, needs and emotions, and self-awareness. In an envoi, the author responds to the critics of cognitive science and defends the computational view of the mind as an alternative to traditional dualism: cognitive science integrates mind and matter within the same explanatory framework.
This first single-authored introduction to cognitive science will command the attention of students of cognitive science at all levels including psychologists, linguists, computer scientists, philosophers, and neuroscientists--as well as all readers curious about recent knowledge on how the mind works.
A Computer Perspective is an illustrated essay on the origins and first lines of development of the computer. The complex network of creative forces and social pressures that have produced the computer is personified here in the creators of instruments of computation, and their machines or tables; the inventors of mathematical or logical concepts and their applications; and the fabricators of practical devices to serve the immediate needs of government, commerce, engineering, and science.
The book is based on an exhibition conceived and assembled for International Business Machines Corporation. Like the exhibition, it is not a history in the narrow sense of a chronology of concepts and devices. Yet these pages actually display more true history (in relation to the computer) than many more conventional presentations of the development of science and technology.
A Computer Perspective is an illustrated essay on the origins and first lines of development of the computer. The complex network of creative forces and social pressures that have produced the computer is personified here in the creators of instruments of computation, and their machines or tables; the inventors of mathematical or logical concepts and their applications; and the fabricators of practical devices to serve the immediate needs of government, commerce, engineering, and science.
The book is based on an exhibition conceived and assembled for International Business Machines (IBM) Corporation. Like the exhibition, it is not a history in the narrow sense of a chronology of concepts and devices. Yet these pages actually display more true history (in relation to the computer) than many more conventional presentations of the development of science and technology.
Darwin Reid Payne’s approach to theatrical design is that of a computer advocate and pioneer. With Computer Scenographics, he ushers in a new generation of scenery design by applying state-of-the-art technology to the traditional methods of scenography. Though not a how-to book, Computer Scenographics is a general introduction to, and an affirmation of, the value of computer graphics for both student and working scenographers.
Payne acknowledges that many scenographers would not want to use computers exclusively in the preparation of their designs. Today’s scenographers continue to value the manual skills of drawing and painting, learned and perfected over time, and would not consider abandoning these skills entirely. And it is unlikely that the most powerful computer or most sophisticated software could ever supplant that intimate interaction of hand and mind provided by traditional tools and materials. Nevertheless, Payne’s utilization of the Virtus Walk-Through computer program to facilitate set design expands the tools of the artist to new dimensions.
Aided by 129 illustrations, Payne addresses four major topics: (1) how computer studios are set up; (2) how computers serve as storage for visual ideas and as conceptual tools; (3) how technical information needed for producing a scenographer’s ideas onstage is created with computers; (4) and how modelmaking has been changed by computer-generated three-dimensional possibilities, especially by the introduction of "virtual reality" onto the computer platform.
This account of efforts to build a domestic Japanese computer industry is enlivened with quotations from industrial leaders commenting on the stages through which Japan has emerged as a world-class competitor.
In the late 1950s, Japan was still relying on IBM and other foreign suppliers. After the decision to enter the computer field, the government used protectionism, financial aid, and cooperative R&D projects to assist firms in developing hardware and improving their technology. The establishment of a quasi-public computer rental company to carry the burden of financing rentals played a key role in helping fledgling firms compete with IBM.
Marie Anchordoguy shows how government intervention in the market avoided the risks of technological sluggishness by encouraging keen competition among domestic computer firms. She traces the growth of Japanese computer hardware to Japan’s position as an exporter of mainframes and describes some of the problems encountered in producing software. This study provides a clear example of the way in which government–industry cooperation has enhanced Japan’s position in the world market.
Computers, Surveillance, and Privacy was first published in 1996. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
From computer networks to grocery store checkout scanners, it is easier and easier for governments, employers, advertisers, and individuals to gather detailed and sophisticated information about each of us. In this important new collection, the authors question the impact of these new technologies of surveillance on our privacy and our culture.
Although surveillance-literally some people "watching over" others-is as old as social relationships themselves, with the advent of the computer age this phenomenon has acquired new and distinctive meanings. Technological advances have made it possible for surveillance to become increasingly global and integrated-both commercial and government-related personal data flows more frequently across national boundaries, and the flow between private and public sectors has increased as well.
Addressing issues of the global integration of surveillance, social control, new information technologies, privacy violation and protection, and workplace surveillance, the contributors to Computers, Surveillance, and Privacy grapple with the ramifications of these concerns for society today. Timely and provocative, this collection will be of vital interest to anyone concerned with resistance to social control and incursions into privacy.
Contributors: Jonathan P. Allen, Colin J. Bennett, Simon G. Davies, Oscar H. Gandy Jr., Calvin C. Gotlieb, Rob Kling, Gary T. Marx, Abbe Mowshowitz, Judith A. Perrolle, Mark Poster, Priscilla M. Regan, James B. Rule.
David Lyon is professor of sociology at Queen's University, Canada. His previous books include The Electronic Eye: The Rise of Surveillance Society (Minnesota, 1994). Elia Zureik is also professor of sociology at Queen's University, Canada, and coedited (with Dianne Hartling) The Social Context of the New Information and Communication Technologies (1987).
A deconstruction of gender through the voices of Siri, HAL 9000, and other computers that talk
Although computer-based personal assistants like Siri are increasingly ubiquitous, few users stop to ask what it means that some assistants are gendered female, others male. Why is Star Trek’s computer coded as female, while HAL 9000 in 2001: A Space Odyssey is heard as male? By examining how gender is built into these devices, author Liz W. Faber explores contentious questions around gender: its fundamental constructedness, the rigidity of the gender binary, and culturally situated attitudes on male and female embodiment.
Faber begins by considering talking spaceships like those in Star Trek, the film Dark Star, and the TV series Quark, revealing the ideologies that underlie space-age progress. She then moves on to an intrepid decade-by-decade investigation of computer voices, tracing the evolution from the masculine voices of the ’70s and ’80s to the feminine ones of the ’90s and ’00s. Faber ends her account in the present, with incisive looks at the film Her and Siri herself.
Going beyond current scholarship on robots and AI to focus on voice-interactive computers, The Computer’s Voice breaks new ground in questions surrounding media, technology, and gender. It makes important contributions to conversations around the gender gap and the increasing acceptance of transgender people.
Critical and iconoclastic, Comrade or Brother? traces the history of the British Labour Movement from its beginnings at the onset of industrialisation through its development within a capitalist society, up to the end of the twentieth-century. Written by a leading activist in the labour movement, the book redresses the balance in much labour history writing. It examines the place of women and the influence of racism and sexism as well as providing a critical analysis of the rival ideologies which played a role in the uneven development of the labour movement.
Highly acclaimed in Sweden where it was first published in both hardcover and paperback editions, A Concealed God poses two intriguing questions:
•Does God truly exist?The God presented by most religions doesn't make sense in today's world; we have little room for miracles. Furthermore, there are irreconcilable aspects in the world's religions. Must we abandon our faith or belief in God? Perhaps not, says popular Swedish thinker Stefan Einhorn. We can behave as scientists do when they run experiments only to obtain contradictory results. They ask themselves whether there might not be a logical conclusion that binds all the results together and leads to the most probable explanation.
Einhorn hypothesizes that if God truly exists, then many different religions would have discovered this. He finds a common denominator in the concept of a hidden God in seven major religions: Judaism, Christianity, Islam, Hinduism, Buddhism, Taoism, and Confucianism. But even with this shared belief, can we know if God exists? Did humankind create the idea of God to answer the unexplainable? What about evil and suffering, the absence of meaning in life, loneliness and insecurity? And most importantly, how do we search for a concealed God?
Most religions share common principles for the search for "that which is concealed," including meditation, contemplation, and prayer. Whatever route is chosen, the search for God may bring us some answers. Einhorn concludes that two themes are central to the search: one is that God is both concealed and simultaneously omnipresent; the other is that only with utter humility and an awareness of our inability to fully understand may we approach the divine.
In the end, there are no definite answers. But the search sheds light on the many paths to enlightenment offered by the world's religions.
The biological functions of coloration in animals are sometimes surprising. Color can attract mates, intimidate enemies, and distract predators. But color patterns can also conceal animals from detection. Concealing coloration is unusual because it is an adaptation not only to the visual features of the environment but also to the perceptual and cognitive capabilities of other organisms. Judy Diamond and Alan Bond bring to light the many factors at work in the evolution of concealing coloration.
Animals that resemble twigs, tree bark, stones, and seaweed may appear to be perfect imitations, but no concealment strategy is without flaws. Amid the clutter of the natural world, predators search for minute, telltale clues that will reveal the identity of their prey. Predators have remarkable abilities to learn to discriminate the fake from the real. But prey have their own range of defensive tactics, evolving multiple appearances or the ability to change color at will. Drawing on modern experimental evidence of the functional significance of animal color strategies, Diamond and Bond offer striking illustrations of how the evolution of features in one organism can be driven by the psychology of others.
Concealing Coloration in Animals takes readers on a scientific adventure that explores creatures inside mats of floating seaweed, mice and lizards on desert rocks and sand, and rare parrots in the rainforest of New Zealand. Color photographs extensively document the mind-boggling array of deceptive strategies animals use to blend in, mislead, or vanish from view.
Americans have long acknowledged a deep connection between evangelical religion and democracy in the early days of the republic. This is a widely accepted narrative that is maintained as a matter of fact and tradition—and in spite of evangelicalism’s more authoritarian and reactionary aspects.
In Conceived in Doubt, Amanda Porterfield challenges this standard interpretation of evangelicalism’s relation to democracy and describes the intertwined relationship between religion and partisan politics that emerged in the formative era of the early republic. In the 1790s, religious doubt became common in the young republic as the culture shifted from mere skepticism toward darker expressions of suspicion and fear. But by the end of that decade, Porterfield shows, economic instability, disruption of traditional forms of community, rampant ambition, and greed for land worked to undermine heady optimism about American political and religious independence. Evangelicals managed and manipulated doubt, reaching out to disenfranchised citizens as well as to those seeking political influence, blaming religious skeptics for immorality and social distress, and demanding affirmation of biblical authority as the foundation of the new American national identity.
As the fledgling nation took shape, evangelicals organized aggressively, exploiting the fissures of partisan politics by offering a coherent hierarchy in which God was king and governance righteous. By laying out this narrative, Porterfield demolishes the idea that evangelical growth in the early republic was the cheerful product of enthusiasm for democracy, and she creates for us a very different narrative of influence and ideals in the young republic.
In Conceiving Masculinity, Liberty Walther Barnes puts the world of male infertility under the microscope to examine how culturally pervasive notions of gender shape our understanding of disease, and how disease impacts our personal ideas about gender.
Taking readers inside male infertility clinics, and interviewing doctors and couples dealing with male infertility, Barnes provides a rich account of the social aspects of the confusing and frustrating diagnosis of infertility. She explains why men resist a stigmatizing label like "infertile," and how men with poor fertility redefine for themselves what it means to be manly and masculine in a society that prizes male virility. Conceiving Masculinity also details how and why men embrace medical technologies and treatment for infertility.
Broaching a socially taboo topic, Barnes emphasizes that infertility is not just a women's issue. She shows how gender and disease are socially constructed within social institutions and by individuals.
This ground-breaking rhetorical analysis examines a 1987 Massachusetts law affecting infertility treatment and the cultural context that makes such a law possible
Elizabeth C. Britt uses a Massachusetts statute requiring insurance coverage for infertility as a lens through which the work of rhetoric in complex cultural processes can be better understood. Countering the commonsensical notion that mandatory insurance coverage functions primarily to relieve the problem of infertility, Britt argues instead that the coverage serves to expose its contours.
Britt finds that the mandate, operating as a technology of normalization, helps to identify the abnormal (the infertile) and to create procedures by which the abnormal can be subjected to reform. In its role in normalizing processes, the mandate is more successful when it sustains, rather than resolves, the distinction between the normal and the abnormal. This distinction is achieved in part by the rhetorical mechanism of the double bind. For the middle-class white women who are primarily served by the mandate, these double binds are created both by the desire for success, control, and order and by adherence to medical models that often frustrate these same desires. The resulting double binds help to create and sustain the tension between fertility and infertility, order and discontinuity, control and chaos, success and failure, tensions that are essential for the process of normalization to continue.
Britt uses extensive interviews with women undergoing fertility treatments to provide the foundation for her detailed analysis. While her study focuses on the example of infertility, it is also more broadly a commentary on the power of definition to frame experience, on the burdens and responsibilities of belonging to social collectives, and on the ability of rhetorical criticism to interrogate cultural formations.
A trusted advisor to Presidents Eisenhower, Kennedy, and Johnson and one of America's leading professors of economic history, W. W. Rostow has helped shape the intellectual debate and governmental policies on major economic, political, and military issues since World War II. In this thought-provoking memoir, he takes a retrospective look at eleven key policy problems with which he has been involved to show how ideas flow into concrete action and how actions taken or not taken in the short term actually determine the long run that we call "the future."
The issues that Rostow discusses are these:
In discussing how he and others have worked to meet these challenges, Rostow builds a compelling case for including long-term forces in the making of current policy. He concludes his memoir with provocative reflections on the twentieth and twenty-first centuries and on how individual actors shape history.
Most professors and administrators are aware that academic freedom is in danger of being brushed aside by a public that has little understanding of what is at stake. They may be only marginally aware that the defense of academic freedom is endangered by certain confusions concerning the nature of academic freedom, the criteria for its violation, and the structure of an adequate justification for claims to it. These confusions were enshrined in some of the central documents on the subject, including the 1940 Statement on Academic Freedom and Tenure, agreed upon by the American Association of University Professors and the Association of American Colleges and endorsed by many professional organizations. Careful analysis of them will not do away with debate; it will bring the debate into focus, so that attacks on academic freedom can be appraised as near or far away from the center of the target and can then be appropriately answered.
Nearly all the contemporary writing on academic freedom consists of attack or defense. The Concept of Academic Freedom is the first book to deal exclusively with fundamental conceptual issues underlying the battle. In the discussion of these issues, certain philosophical positions crystallize: radical versus liberal conceptions of the status and function of university teachers, specific versus general theories of academic freedom, consequential versus nonconsequential theories of justification. Partisans (and enemies) of academic freedom would do well to decide on which side of these divisions they stand, or how they would mediate between sides. Otherwise many questions will remain unclear: What is under discussion—a special right peculiar to academics or a general right that is especially important to academics? Is justification of that right possible? Can the right be derived from other rights, or from the theory of justice or of democratic society? Or is the argument for academic freedom one that more properly turns on the consequences for society as a whole if that freedom is not protected?
The essays in this book explore these and other problems concerning the defense of academic freedom by radicals, the justification for disruption on campus, and the control of research.
Contributors to the volume include Hugo Adam Bedau, Bertram H. Davis, Milton Fisk, Graham Hughes, Alan Pasch, Hardy E. Jones, Alexander Ritchie, Amelie Oksenberg Rorty, Rolf Sartorius, T. M. Scanlon, Richard Schmitt, John R. Searle, Judith Jarvis Thomson, and William Van Alstyne. All are outstanding in their fields. Many have had practical experience in the legal profession or with the American Association of University Professors on the issue of academic freedom.
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