Robert Baron – författare

For courses in Social Psychology

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Social Psychology, 15th Edition retains the hallmark of its past success: up-to-date coverage of the quickly evolving subject matter written in a lively manner that has been embraced by thousands of students around the world. Authors Nyla Branscombe and Robert Baron both respected scholars with decades of undergraduate teaching experience generate student excitement by revealing the connections between theory and real-world experiences. The 14th Edition offers updated content to engage students, as well as new What Research Tells Us About sections in each chapter that illustrate how research findings help answer important questions about social life.

A landmark volume exploring the public presentation and application of folk culture in collaboration with communities, Public Folklore is available again with a new introduction discussing recent trends and scholarship. Editors Robert Baron and Nick Spitzer provide theoretical framing to contributions from leaders of major American folklife programs and preeminent folklore scholars, including Roger D. Abrahams, Robert Cantwell, Gerald L. Davis, Archie Green, Bess Lomax Hawes, Richard Kurin, Daniel Sheehy, and Barbara Kirshenblatt-Gimblett. Their essays present vivid accounts of public folklore practice in a wide range of settings—nineteenth-century world''s fairs and minstrel shows, festivals, museums, international cultural exchange programs, concert stages, universities, and hospitals. Drawing from case studies, historical analyses, and their own experiences as advocates, field researchers, and presenters, the essayists recast the history of folklore in terms of public practice, while discussing standards for presentation to new audiences. They approach engagement with tradition bearers as requiring collaboration and dialogue. They critically examine who has the authority to represent folk culture, the ideologies informing these representations, and the effect upon folk artists of encountering revived and new audiences within and beyond their own communities. In discussions of the relationship between public practice and the academy, this volume also offers new models for integrating public folklore training within graduate studies.

If you are an entrepreneur starting a new venture, this book provides the information you need to choose your initial team of cofounders and employees. It shows you how to piece individual skills, talents and abilities into a cohesive structure that is prepped for success and follows with advice on how to continue using the same principles beyond the founding team far into the future.

Global in scope and multidisciplinary in approach, Creolization as Cultural Creativity explores the expressive forms and performances that come into being when cultures encounter one another. Creolization is presented as a powerful marker of identity in the postcolonial creole societies of Latin America, the Caribbean, and the southwest Indian Ocean region, as well as a universal process that can occur anywhere cultures come into contact.An extraordinary number of cultures from Haiti, Martinique, Guadeloupe, the southern United States, Trinidad and Tobago, Madagascar, Mauritius, Seychelles, Réunion, Puerto Rico, Argentina, Suriname, Jamaica, and Sierra Leone are discussed in these essays. Drawing from the disciplines of folklore, anthropology, ethnomusicology, literary studies, history, and material culture studies, essayists address theoretical dimensions of creolization and present in-depth field studies. Topics include adaptations of the Gombe drum over the course of its migration from Jamaica to West Africa; uses of ""ritual piracy"" involved in the appropriation of Catholic symbols by Puerto Rican brujos; the subversion of official culture and authority through playful and combative use of ""creole talk"" in Argentine literature and verbal arts; the mislabeling and trivialization (""toy blindness"") of objects appropriated by African Americans in the American South; the strategic use of creole techniques among storytellers within the islands of the Indian Ocean; and the creolized character of New Orleans and its music. In the introductory essay the editors address both local and universal dimensions of creolization and argue for the centrality of its expressive manifestations for creolization scholarship.

Global in scope and multidisciplinary in approach, Creolization as Cultural Creativity explores the expressive forms and performances that come into being when cultures encounter one another. Creolization is presented as a powerful marker of identity in the postcolonial creole societies of Latin America, the Caribbean, and the southwest Indian Ocean region, as well as a universal process that can occur anywhere cultures come into contact. An extraordinary number of cultures from Haiti, Martinique, Guadeloupe, the southern United States, Trinidad and Tobago, Madagascar, Mauritius, Seychelles, Réunion, Puerto Rico, Argentina, Suriname, Jamaica, and Sierra Leone are discussed in these essays. Drawing from the disciplines of folklore, anthropology, ethnomusicology, literary studies, history, and material culture studies, essayists address theoretical dimensions of creolization and present in-depth field studies. Topics include adaptations of the Gombe drum over the course of its migration from Jamaica to West Africa; uses of “ritual piracy” involved in the appropriation of Catholic symbols by Puerto Rican brujos; the subversion of official culture and authority through playful and combative use of “creole talk” in Argentine literature and verbal arts; the mislabeling and trivialization (“toy blindness”) of objects appropriated by African Americans in the American South; the strategic use of creole techniques among storytellers within the islands of the Indian Ocean; and the creolized character of New Orleans and its music. In the introductory essay the editors address both local and universal dimensions of creolization and argue for the centrality of its expressive manifestations for creolization scholarship.

Global in scope and multidisciplinary in approach, Creolization as Cultural Creativity explores the expressive forms and performances that come into being when cultures encounter one another. Creolization is presented as a powerful marker of identity in the postcolonial Creole societies of Latin America, the Caribbean, and the southwest Indian Ocean region, as well as a universal process that can occur anywhere cultures come into contact.An extraordinary number of cultures from Haiti, Martinique, Guadeloupe, the southern United States, Trinidad and Tobago, Madagascar, Mauritius, Seychelles, Réunion, Puerto Rico, Argentina, Suriname, Jamaica, and Sierra Leone are discussed in these essays.Essayists address theoretical dimensions of creolization and present in-depth field studies. Topics include adaptations of the Gombe drum over the course of its migration from Jamaica to West Africa; uses of ""ritual piracy"" involved in the appropriation of Catholic symbols by Puerto Rican brujos; the subversion of official culture and authority through playful and combative use of ""creole talk"" in Argentine literature and verbal arts; the mislabeling and trivialization (""toy blindness"") of objects appropriated by African Americans in the American South; the strategic use of creole techniques among storytellers within the islands of the Indian Ocean; and the creolized character of New Orleans and its music. In the introductory essay the editors address both local and universal dimensions of creolization and argue for the centrality of its expressive manifestations for creolization scholarship.Creolization as Cultural Creativity draws from the disciplines of folklore, anthropology, ethnomusicology, literary studies, history, and material culture studies. Contributors include Roger D. Abrahams, Robert Baron, Kenneth Bilby, Ana C. Cara, J. Michael Dash, Grey Gundaker, Lee Haring, Raquel Romberg, Nick Spitzer, and John F. Szwed.

A landmark volume exploring the public presentation and application of folk culture in collaboration with communities, Public Folklore is available again with a new introduction discussing recent trends and scholarship. Editors Robert Baron and Nick Spitzer provide theoretical framing to contributions from leaders of major American folklife programs and preeminent folklore scholars, including Roger D. Abrahams, Robert Cantwell, Gerald L. Davis, Archie Green, Bess Lomax Hawes, Richard Kurin, Daniel Sheehy, and Barbara Kirshenblatt-Gim-blett. Their essays present vivid accounts of public folklore prac-tice in a wide range of settings-nineteenth-century world\'s fairs and minstrel shows, festivals, mu-seums, international cultural ex-change programs, concert stages, universities, and hospitals. Drawing from case studies, historical analyses, and their own experiences as advocates, field re-searchers, and presenters, the es-sayists recast the history of folk-lore in terms of public practice, while discussing standards for presentation to new audiences. They approach engagement with tradition bearers as requiring collaboration and dialogue. They critically examine who has the authority to represent folk culture, the ideologies informing these representations, and the effect upon folk artists of encountering revived and new audiences within and beyond their own communities. In discussions of the relationship between public practice and the academy, this volume also offers new models for integrating public folklore training within graduate studies. Robert Baron directs the Folk Arts Program at the New York State Council on the Arts and has been a non-resident Fellow at the W. E. B. Du Bois Institute for African and African American Research at Harvard University. Nick Spitzer is host and creator of public radio\'s American Routes and folklore professor at the University of New Orleans.