William Rowe - Böcker

The purpose of the book is to enhance the concept of Technique in the teaching and practice of Social Work. Over the years Technique has not been stressed as a part of practice even though the actual practice of Social Work consists of the utilization of techniques in addition to theory and the process of assessment and diagnosis.The book seeks to achieve its goal in four ways. It addresses the way the concept of Tchnique has or has not been used over the years. It addresses the need for a clear definition of technique. It analysis the qualities that Technique should have at this point in our history of clinical practice. It then formulates and presents a definition of technique for our thesis based on this definition. It then presents a brief discussion of 101 Techniques discussed in contemporary literature by discussing each one's place in practice a bit about its history and necessary knowledge skills to use responsibly. It addresses the latter by grouping a level of risk involved in its utilization.

What came after Neruda and Vallejo? This is the first book to answer that question, presenting the new movements in Latin American poetry since 1950. Eight poets are selected, with substantial excerpts from their work and parallel translations in English: the test for inclusion is whether their writing expands the possibilities of poetry. Some - for example Juan L. Ortiz, Nicanor Parra, Gonzalo Rojas, Ana Enriqueta Terán - reached maturity well before mid-century, but have continued to explore new poetic expression in the decades since; the younger generation of poets chosen includes Ernesto Cardenal as well as lesser-known figures: Jorge Eduardo Eielson, Carmen Ollé, and Raúl Zurita. Together they display the new forms and languages of poetry which have been emerging in contemporary Latin America. Revealing the freshness of the poems, as they invite new perceptions of the world and of language, is paramount in this study. Its method is to bring together poetics with cultural studies, presenting detailed readings of the work of each poet, as well as exposition and discussion of their poetics, especially where they grapple with the tensions between the inner self and history in the later twentieth century.

This book offers the general reader an introduction to some of the most exciting poetry of recent years. Lee Harwood, Chris Torrance and Barry MacSweeney all write against the grain, shaping the lyric into an instrument of criticism as well as ecstatic joy. Their writing expresses the power of poetry to expose the corruption of language to excite political passion, but also to touch the deepest bodily core of pain and joy. This is poetry written against the prevailing culture, uncompromising in its commitment to truth. These poets take lyrical emotion away from gutless pastoral nostalgia and dull conservative language and bring it into the contemporary: poetry that, instead of lulling to sleep, explodes with the possibilities of life.

Samba and carnival, radio soaps and telenovelas, oral poetry, popular drama, Amerindian art. This illustrated overview of Latin America's popular culture considers the broad spectrum of cultural forms in the various countries of the subcontinent.Exploring the ways in which daily life and ritual have resisted and been influenced by Western mass culture, Memory and Modernity traces the main anthropological, sociological and political debates about the nature of popular culture. Rowe and Schelling use their analysis of the development of a culture industry in Latin America to engage with wider debates about modernity, drawing out the contrast between Latin America's cultural wealth and its widespread material poverty.In challenging the assumptions of much Western cultural criticism, this book will be essential reading for students of Latin American society, while offering the general reader a concise and accessible overview of an exciting and varied popular culture.

In Latin America, where even today writing has remained a restricted form of expression, the task of generating consent and imposing the emergent nation-state as the exclusive form of the political, was largely conferred to the image. Furthermore, at the moment of its historical demise, the new, 'postmodern' forms of sovereignty appear to rely even more heavily on visual discourses of power. However, a critique of the iconography of the modern state-form has been missing. This volume is the first concerted attempt by cultural, historical and visual scholars to address the political dimension of visual culture in Latin America, in a comparative perspective spanning various regions and historical stages. The case studies are divided into four sections, analysing the formation of a public sphere, the visual politics of avant-garde art, the impact of mass society on political iconography, and the consolidation and crisis of territory as a key icon of the state.

In Latin America, where even today writing has remained a restricted form of expression, the task of generating consent and imposing the emergent nation-state as the exclusive form of the political, was largely conferred to the image. Furthermore, at the moment of its historical demise, the new, 'postmodern' forms of sovereignty appear to rely even more heavily on visual discourses of power. However, a critique of the iconography of the modern state-form has been missing. This volume is the first concerted attempt by cultural, historical and visual scholars to address the political dimension of visual culture in Latin America, in a comparative perspective spanning various regions and historical stages. The case studies are divided into four sections, analysing the formation of a public sphere, the visual politics of avant-garde art, the impact of mass society on political iconography, and the consolidation and crisis of territory as a key icon of the state.