Elizabeth Campbell – författare

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners?In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century.The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process.

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans'' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt''s luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners?In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century.The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments'' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process.

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans'' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt''s luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners?In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century.The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments'' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process.

This book presents the concept of ethical knowledge as it is revealed, as it is challenged, and as it may be used in schools. The book combines empirical expressions of teachers' beliefs and practices with a discussion of the connections between the moral dimensions of schooling and applied professional ethics in teaching:Ethical knowledge relies on the teacher's awareness, understanding, and acceptance of the demands of moral agency.Ethical knowledge is compromised by moral dilemmas and complexities that routinely challenge teachers.Moral tensions may be eased by three avenues of renewal based on heightened attention to ethical knowledge: a renewed sense of teacher professionalism, renewed school cultures, and renewed teacher education and professional learning.The Ethical Teacher is for teachers and teacher educators and for those who conduct research about their worlds.

This book presents the concept of ethical knowledge as it is revealed, as it is challenged, and as it may be used in schools. The book combines empirical expressions of teachers'' beliefs and practices with a discussion of the connections between the moral dimensions of schooling and applied professional ethics in teaching:Ethical knowledge relies on the teacher''s awareness, understanding, and acceptance of the demands of moral agency.Ethical knowledge is compromised by moral dilemmas and complexities that routinely challenge teachers.Moral tensions may be eased by three avenues of renewal based on heightened attention to ethical knowledge: a renewed sense of teacher professionalism, renewed school cultures, and renewed teacher education and professional learning.The Ethical Teacher is for teachers and teacher educators and for those who conduct research about their worlds.

Prompted by the overt omission of Muncie's black community from the famous community study by Robert S. Lynd and Helen Merrell Lynd, Middletown: A Study in Modern American Culture, the authors initiated this project to reveal the unrecorded historical and contemporary life of Middletown, a well-known pseudonym for the Midwestern city of Muncie, Indiana. As a collaboration of community and campus, this book recounts the early efforts of Hurley Goodall to develop a community history and archive that told the story of the African American community, and rectify the representation of small town America as exclusively white. The authors designed and implemented a collaborative ethnographic field project that involved intensive interviews, research, and writing between community organizations, local experts, ethnographers, and teams of college students. This book is a unique model for collaborative research, easily accessible to students. It will be a valuable resource for instructors in anthropology, creative writing, sociology, community research, and African American studies.

Stephen Bourne (1791-1868) was a British civil servant who served as a magistrate in Jamaica between 1834 and 1841 and as Registrar of British Guiana between 1841 and 1848. His daughter Elizabeth Campbell left England with her father in 1834, and lived in the West Indies for thirteen years. This volume contains two essays and a published letter, the essays written by Elizabeth Campbell and the letter by Stephen Bourne, discussing the effects and limits of the Emancipation Act on the economy and society of the British West Indies. The two essays by Campbell discuss the limited social effects of the Emancipation Act, with the letter by Bourne suggesting ways to improve the economic prosperity of the West Indies. The ideology of later abolitionists, who endeavoured to improve social and economic conditions in plantations to demonstrate the possibility of prosperity without slavery, is fully explored in this volume.

Doing Ethnography Today explores the methodologies and theories behind contemporary, collaborative ethnography and provides an opportunity to cultivate experience with included exercises. • Presents ethnography as creative and artful rather than analytical or technical • Emphasises the collaborative nature of ethnography • Structured exercises cultivate practical experience • Includes a discussion on indexing and interpreting project materials • Provides guidance on interview questions and selecting appropriate field equipment

Doing Ethnography Today explores the methodologies and theories behind contemporary, collaborative ethnography and provides an opportunity to cultivate experience with included exercises. • Presents ethnography as creative and artful rather than analytical or technical • Emphasises the collaborative nature of ethnography • Structured exercises cultivate practical experience • Includes a discussion on indexing and interpreting project materials • Provides guidance on interview questions and selecting appropriate field equipment

Doing Ethnography Today explores the methodologies and theories behind contemporary, collaborative ethnography and provides an opportunity to cultivate experience with included exercises. • Presents ethnography as creative and artful rather than analytical or technical• Emphasises the collaborative nature of ethnography• Structured exercises cultivate practical experience • Includes a discussion on indexing and interpreting project materials• Provides guidance on interview questions and selecting appropriate field equipment

This is a book that challenges contemporary images of ‘place’. Too often we are told about ‘deprived neighbourhoods’ but rarely do the people who live in those communities get to shape the agenda and describe, from their perspective, what is important to them. In this unique book the process of re-imagining comes to the fore in a fresh and contemporary look at one UK town, Rotherham. Using history, artistic practice, writing, poetry, autobiography and collaborative ethnography, this book literally and figuratively re-imagines a place. It is a manifesto for alternative visions of community, located in histories and cultural reference points that often remain unheard within the mainstream media. As such, the book presents a ‘how to’ for researchers interested in community collaborative research and accessing alternative ways of knowing and voices in marginalised communities.

This is a book that challenges contemporary images of ‘place’. Too often we are told about ‘deprived neighbourhoods’ but rarely do the people who live in those communities get to shape the agenda and describe, from their perspective, what is important to them. In this unique book the process of re-imagining comes to the fore in a fresh and contemporary look at one UK town, Rotherham. Using history, artistic practice, writing, poetry, autobiography and collaborative ethnography, this book literally and figuratively re-imagines a place. It is a manifesto for alternative visions of community, located in histories and cultural reference points that often remain unheard within the mainstream media. As such, the book presents a ‘how to’ for researchers interested in community collaborative research and accessing alternative ways of knowing and voices in marginalised communities.

On January 9th 2014, residents across Charleston, West Virginia, awoke to an unusual liquorice smell in the air and a similar taste in the public drinking water. That evening residents were informed that the tap water in tens of thousands of homes, hundred of businesses, and dozens of schools and hospitals - the water made available to as many as 300,00 citizens in a nine-county region - had been contaminated with a chemical used for cleaning crushed coal. This books tells a particular set of stories about that chemical spill and its aftermath, an unfolding water crisis that would lead to months, even years, of fear and distrust. It is both oral history and collaborative ethnography, jointly conceptualised, researched, and written by people - more than fifty in all - across various positions in academia and local communities. I'm Afraid of That Water foregrounds the ongoing concerns of West Virginians (and people in comparable situations in places like Flint, Michigan) confronted by the problem of contamination, where thresholds for official safety may be crossed, but a genuine return to normality is elusive.

On January 9th 2014, residents across Charleston, West Virginia, awoke to an unusual liquorice smell in the air and a similar taste in the public drinking water. That evening residents were informed that the tap water in tens of thousands of homes, hundred of businesses, and dozens of schools and hospitals - the water made available to as many as 300,00 citizens in a nine-county region - had been contaminated with a chemical used for cleaning crushed coal. This books tells a particular set of stories about that chemical spill and its aftermath, an unfolding water crisis that would lead to months, even years, of fear and distrust. It is both oral history and collaborative ethnography, jointly conceptualised, researched, and written by people - more than fifty in all - across various positions in academia and local communities. I'm Afraid of That Water foregrounds the ongoing concerns of West Virginians (and people in comparable situations in places like Flint, Michigan) confronted by the problem of contamination, where thresholds for official safety may be crossed, but a genuine return to normality is elusive.

Prompted by the overt omission of Muncie's black community from the famous community study by Robert S. Lynd and Helen Merrell Lynd, Middletown: A Study in Modern American Culture, the authors initiated this project to reveal the unrecorded historical and contemporary life of Middletown, a well-known pseudonym for the Midwestern city of Muncie, Indiana. As a collaboration of community and campus, this book recounts the early efforts of Hurley Goodall to develop a community history and archive that told the story of the African American community, and rectify the representation of small town America as exclusively white. The authors designed and implemented a collaborative ethnographic field project that involved intensive interviews, research, and writing between community organizations, local experts, ethnographers, and teams of college students. This book is a unique model for collaborative research, easily accessible to students. It will be a valuable resource for instructors in anthropology, creative writing, sociology, community research, and African American studies.

Prompted by the overt omission of Muncie's black community from the famous community study by Robert S. Lynd and Helen Merrell Lynd, Middletown: A Study in Modern American Culture, the authors initiated this project to reveal the unrecorded historical and contemporary life of Middletown, a well-known pseudonym for the Midwestern city of Muncie, Indiana. As a collaboration of community and campus, this book recounts the early efforts of Hurley Goodall to develop a community history and archive that told the story of the African American community, and rectify the representation of small town America as exclusively white. The authors designed and implemented a collaborative ethnographic field project that involved intensive interviews, research, and writing between community organizations, local experts, ethnographers, and teams of college students. This book is a unique model for collaborative research, easily accessible to students. It will be a valuable resource for instructors in anthropology, creative writing, sociology, community research, and African American studies. It may be purchased with a companion DVD, Middletown Redux, which recounts the making of the Other Side of Middletown, illuminating the development of this rewarding ethnography out of joint fieldwork, and the strong ties formed as a result between the local communities.The Other Side of Middletown project is sponsored by the Virginia B. Ball Center for Creative Inquiry in Muncie, Indiana. Middletown Redux is a twenty-six-minute documentary that recounts the development and writing of The Other Side of Middletown, written in response to the overt omission of Muncie's black community from the famous study by Robert S. and Helen Merrell Lynd, Middletown: A Study in Modern American Culture. In their own words, faculty, students, and community members comment on the project's evolution and the relationships formed between the campus and community. This informative and compelling film illustrates the process of creating a rich ethnography out of fieldwork and the rewards of collaborating with local communities. Middletown Redux is directed by James Miles and produced by the Virginia B. Ball Center for Creative Inquiry, Ball State University.