James O'Leary – författare

Rattled by two world wars, ongoing discrimination, and economic calamity, a group of critics in 1940s New York sought to promote art that would do nothing less than heal the world. The primary obstacle to this project, they believed, was that American culture had splintered into factions, which in turn divided American audiences: highbrow art, which these writers regarded as obscure and elitist; folk art, which they found provincial and alienating; and popular culture, which they considered merely commercial. Blending these kinds of art, they argued, could draw together a fractured society into mutual understanding (if not necessarily agreement) by situating the most sophisticated ideas within longstanding expressive traditions, accessible to all. Their contemporaries called this culture “middlebrow” and believed that its culmination appeared on Broadway.The Middlebrow Musical straddles the study of popular musical theater and opera, and in so doing charts a new path through modernism. Through detailed archival work, this book uncovers the crucial critical networks that originally theorized a middlebrow approach to culture, beginning in the literary circles of Van Wyck Brooks and Archibald MacLeish, and radiating outward to major theater and music critics including Brooks Atkinson and Olin Downes. Their broad influence on theater becomes clear as this book follows three shows from their earliest conceptions to their opening-night reviews: Richard Rodgers's and Oscar Hammerstein II's Oklahoma!, Duke Ellington's and John Latouche's Beggar's Holiday, and Kurt Weill's, Elmer Rice's, and Langston Hughes's Street Scene. Each chapter features behind-the-scenes communications, which reveal how these Broadway writers explicitly deployed middlebrow theories to negotiate high-art aspirations toward operas, symphonies, and experimental theater; toward contemporary folk-music studies; and toward popular-culture accessibility, all with civic intentions of pulling disparate audiences together into a thoughtful reflection upon the modern, war-torn world.While The Middlebrow Musical focuses on Broadway, it also offers new strategies for understanding the relationship between popular and highbrow culture during the early decades of the twentieth century. Compared to the experiments of high modernism, many of the works featured in this book have struck previous scholars as conservative or cautious. The Middlebrow Musical invites readers to take another look, to consider the forgotten principles that inspired these works, and to recognize them as equally daring and controversial contributions to twentieth-century art.

Rattled by two world wars, ongoing discrimination, and economic calamity, a group of critics in 1940s New York sought to promote art that would do nothing less than heal the world. The primary obstacle to this project, they believed, was that American culture had splintered into factions, which in turn divided American audiences: highbrow art, which these writers regarded as obscure and elitist; folk art, which they found provincial and alienating; and popular culture, which they considered merely commercial. Blending these kinds of art, they argued, could draw together a fractured society into mutual understanding (if not necessarily agreement) by situating the most sophisticated ideas within longstanding expressive traditions, accessible to all. Their contemporaries called this culture a middlebrowa and believed that its culmination appeared on Broadway.The Middlebrow Musical straddles the study of popular musical theater and opera, and in so doing charts a new path through modernism. Through detailed archival work, this book uncovers the crucial critical networks that originally theorized a middlebrow approach to culture, beginning in the literary circles of Van Wyck Brooks and Archibald MacLeish, and radiating outward to major theater and music critics including Brooks Atkinson and Olin Downes. Their broad influence on theater becomes clear as this book follows three shows from their earliest conceptions to their opening-night reviews: Richard Rodgers's and Oscar Hammerstein II's Oklahoma!, Duke Ellington's and John Latouche's Beggar's Holiday, and Kurt Weill's, Elmer Rice's, and Langston Hughes's Street Scene. Each chapter features behind-the-scenes communications, which reveal how these Broadway writers explicitly deployed middlebrow theories to negotiate high-art aspirations toward operas, symphonies, and experimental theater; toward contemporary folk-music studies; and toward popular-culture accessibility, all with civic intentions of pulling disparate audiences together into a thoughtful reflection upon the modern, war-torn world.While The Middlebrow Musical focuses on Broadway, it also offers new strategies for understanding the relationship between popular and highbrow culture during the early decades of the twentieth century. Compared to the experiments of high modernism, many of the works featured in this book have struck previous scholars as conservative or cautious. The Middlebrow Musical invites readers to take another look, to consider the forgotten principles that inspired these works, and to recognize them as equally daring and controversial contributions to twentieth-century art.

Rattled by two world wars, ongoing discrimination, and economic calamity, a group of critics in 1940s New York sought to promote art that would do nothing less than heal the world. The primary obstacle to this project, they believed, was that American culture had splintered into factions, which in turn divided American audiences: highbrow art, which these writers regarded as obscure and elitist; folk art, which they found provincial and alienating; and popular culture, which they considered merely commercial. Blending these kinds of art, they argued, could draw together a fractured society into mutual understanding (if not necessarily agreement) by situating the most sophisticated ideas within longstanding expressive traditions, accessible to all. Their contemporaries called this culture a middlebrowa and believed that its culmination appeared on Broadway.The Middlebrow Musical straddles the study of popular musical theater and opera, and in so doing charts a new path through modernism. Through detailed archival work, this book uncovers the crucial critical networks that originally theorized a middlebrow approach to culture, beginning in the literary circles of Van Wyck Brooks and Archibald MacLeish, and radiating outward to major theater and music critics including Brooks Atkinson and Olin Downes. Their broad influence on theater becomes clear as this book follows three shows from their earliest conceptions to their opening-night reviews: Richard Rodgers's and Oscar Hammerstein II's Oklahoma!, Duke Ellington's and John Latouche's Beggar's Holiday, and Kurt Weill's, Elmer Rice's, and Langston Hughes's Street Scene. Each chapter features behind-the-scenes communications, which reveal how these Broadway writers explicitly deployed middlebrow theories to negotiate high-art aspirations toward operas, symphonies, and experimental theater; toward contemporary folk-music studies; and toward popular-culture accessibility, all with civic intentions of pulling disparate audiences together into a thoughtful reflection upon the modern, war-torn world.While The Middlebrow Musical focuses on Broadway, it also offers new strategies for understanding the relationship between popular and highbrow culture during the early decades of the twentieth century. Compared to the experiments of high modernism, many of the works featured in this book have struck previous scholars as conservative or cautious. The Middlebrow Musical invites readers to take another look, to consider the forgotten principles that inspired these works, and to recognize them as equally daring and controversial contributions to twentieth-century art.

Isaak is a fifteen year old Native Alaskan student from the Sanhinga Tribe who has recently moved from his village in Alaska to Denmark after winning a scholarship to attend a private school there. All is well until another student at the school frames Isaak for a crime and he is imprisoned. This sets off a conflict among mortal men and in the spirit world. A great battle will ensue after which nothing will be the same for Isaak or his people.

Exam Board: Pearson BTECAcademic Level: BTEC NationalSubject: Health & Social CareFirst teaching: September 2016First Exams: Summer 2017

 

Ideal for classroom or independent study, this Revision Guide with ActiveBook is the smart choice for learners studying for the externally assessed Units 1, 2, 3 & 4 of the new BTEC Nationals in Health & Social Care qualifications.

The Revision Guide is accompanied by an ActiveBook (eBook) so that learners have the choice and flexibility to access materials anytime or anywhere. The visually engaging format breaks the content down into easily-digestible sections for students and provides hassle-free instant-access revision for learners. Clear specification fit, with revision activities and annotated sample responses for each unit to show students how to tackle the assessed tasks. Written with students in mind - in an informal voice that talks directly to them. Designed to be used alongside the Workbook with clear unit-by-unit correspondence to make it easy to use the books together.

Updates to this title

If you purchased this title before 3rd April 2017, you will have an older edition. In light of updates to the qualification, there may be changes required to this older edition, which will be outlined at www.pearsonfe.co.uk/BTECchanges.

An updated edition of this title will release in time for the new academic year in September 2017. This new edition will reflect updates to the qualification that have been made.

If you have the older edition and would like a copy of the new edition, please contact our customer services team, with proof of purchase, on 0845 313 6666 or email customersolutions@pearson.com

Exam Board: Pearson BTECAcademic Level: BTEC NationalSubject: Health & Social Care

First teaching: September 2016First Exams: Summer 2017

 

This Revision Workbook delivers hassle-free hands-on practice for the externally assessed units.

For all four of the externally assessed Units 1, 2, 3 & 4 Builds confidence with scaffolded practice questions. Unguided questions that allow students to test their own knowledge and skills in advance of assessment. Clear unit-by-unit correspondence between this Workbook and the Revision Guide and ActiveBook.

Updates to this title

If you purchased this title before 3rd April 2017, you will have an older edition. In light of updates to the qualification, there may be changes required to this older edition, which will be outlined at www.pearsonfe.co.uk/BTECchanges.

An updated edition of this title will release in time for the new academic year in September 2017. This new edition will reflect updates to the qualification that have been made.

If you have the older edition and would like a copy of the new edition, please contact our customer services team, with proof of purchase, on 0845 313 6666 or email customersolutions@pearson.com

What does it mean to be governed and what does it mean to resist? Examining how communities form amidst social and political turbulence, this open access book presents four case studies that demonstrate the power of organic social formations over imposed order. Understanding this formation of community in terms of ‘ungovernability’ and a ‘poetics of resistance’, Ungovernable Spaces charts a movement from oppression, through transformation, into imagining, and finally emergence. Throughout the book, the authors engage methods of situated practice and related modes of writing and image-making to consider a range of global case studies: the destruction of the Mecca apartment building in Chicago’s South Side in 1952, following a decade of resistance from the building’s predominantly African American occupants; M.K. Gandhi’s practices of social activism including the Salt March protest of 1930, and the daily practice of spinning and intermittent fasts; the Ciudad Abierta (Open City), a radical pedagogical experiment started by a poet and an architect in Valparaíso, Chile in 1970; and, finally, the urban ecologies developing on either side of Belfast's ‘peace walls’ in the wake of the Troubles and 1998's Good Friday Agreement. Structured via four spatial configurations – the grid, the charkha, the constellation, and the cluster –each case study explores community formation through artistic and aesthetic practices that resist and unsettle forms of hegemonic order. A truly interdisciplinary work at the intersection of poetry, art and spatial practice, Ungovernable Spaces argues for the importance of ethics, aesthetics, imagination and ecology in developing, of necessity, a new poetics of ‘us.’ In doing so, it demonstrates how the formation of community in and through resistance has the potential to introduce new models of social and cultural interaction that make something new, something different, something unknown of the world.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by UKRI. AHRC Techne Doctoral Training Partnership Award [grant number AH/L503940/1].

What does it mean to be governed and what does it mean to resist? Examining how communities form amidst social and political turbulence, this open access book presents four case studies that demonstrate the power of organic social formations over imposed order. Understanding this formation of community in terms of ‘ungovernability’ and a ‘poetics of resistance’, Ungovernable Spaces charts a movement from oppression, through transformation, into imagining, and finally emergence. Throughout the book, the authors engage methods of situated practice and related modes of writing and image-making to consider a range of global case studies: the destruction of the Mecca apartment building in Chicago’s South Side in 1952, following a decade of resistance from the building’s predominantly African American occupants; M.K. Gandhi’s practices of social activism including the Salt March protest of 1930, and the daily practice of spinning and intermittent fasts; the Ciudad Abierta (Open City), a radical pedagogical experiment started by a poet and an architect in Valparaíso, Chile in 1970; and, finally, the urban ecologies developing on either side of Belfast's ‘peace walls’ in the wake of the Troubles and 1998's Good Friday Agreement. Structured via four spatial configurations – the grid, the charkha, the constellation, and the cluster –each case study explores community formation through artistic and aesthetic practices that resist and unsettle forms of hegemonic order. A truly interdisciplinary work at the intersection of poetry, art and spatial practice, Ungovernable Spaces argues for the importance of ethics, aesthetics, imagination and ecology in developing, of necessity, a new poetics of ‘us.’ In doing so, it demonstrates how the formation of community in and through resistance has the potential to introduce new models of social and cultural interaction that make something new, something different, something unknown of the world.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by UKRI. AHRC Techne Doctoral Training Partnership Award [grant number AH/L503940/1].

This book begins in zero gravity and ends with everything flowers. In between, figures are falling as we hear something about philosophy, laughter, architecture and war. With writing and drawing coursing through its pages, Falling gathers momentum and, through this, a picture emerges: it looks something like today.