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This ground-breaking collection brings together a range of perspectives on the philosophy, design and experience of participatory approaches within education and the environment, health and sustainability. Chapters address participatory work with children, youth and adults in both formal and non-formal settings. Authors combine reflections on experience, models and case studies of participatory education with commentary on key debates and issues.
This book examines the words and structures that emerge from a scrutiny of some well-known works of literature including Wordsworth's "I wandered lonely as a cloud' and Macbeth. To judge by a scrutiny of his short stories, Somerset Maugham might have been a closet believer.
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"This book reflects anthropology's growing encounter with the key "pysch" disciplines (psychology and psychiatry) in theorizing and researching mental illness treatment and recovery. Khan summarizes new approaches to mental illness, situating them in the context of historical, political, psychoanalytic, and postcolonial approaches, and encouraging readers to understand how health, illness, normality, and abnormality is constructed and produced. Using case studies from a variety of regions, Khan explores what anthropologically informed psychology/psychiatry/medicine can tell us about mental illness across cultures."--
This study explores the subject of the Pied Piper of Hamelin from varied angles. It focuses on the historical circumstances in which it arose and leads on to the question of its essential ingredients, its universal appeal to poets and writers. A large part of the book concerns Robert Browning's famous ditty that has popularized the story of the Pied Piper thoughout the English-speaking world and farther still. The nature and power of the Pied Piper were not recognized by the people of Hamelin until it was too late. Browning's poem, though popular, is not generally appreciated as one of the poet's great works. Like its subject, the poem conceals great power that awaits discovery.
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In the early twentieth century, the art world was captivated by the imaginative, original paintings of Henri Rousseau, who, without formal art training, produced works that astonished not only the public but great artists such as Pablo Picasso. Samuel Fuller (1912–1997) is known as the “Rousseau of the cinema,” a mostly “B” genre Hollywood moviemaker deeply admired by “A” filmmakers as diverse as Jim Jarmusch, Martin Scorsese, Francois Truffaut, Jean-Luc Godard, and John Cassavetes, all of them dazzled by Fuller’s wildly idiosyncratic primitivist style. A high school dropout who became a New York City tabloid crime reporter in his teens, Fuller went to Hollywood and made movi...