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With 10 beautiful step-by-step projects, master the art of needle felting with this practical guide. Needle felting is an increasingly popular craft because it can be used to create almost anything! This book has everything you need to know to make your very own three-dimensional needle felted sculptures. After learning about the different types of wools, materials and tools needed, discover how to 'jab' fibres into basic shapes and build your own armatures from wire. Whilst they make wonderful display pieces, some projects can become wearable as brooches - all of which is explored in the book. Featuring 10 step-by-step projects to get you started, ranging from toadstools and teacups to puffins and mice, learn how to create your very own sculptures. Wool Sculpting is enriching and aspirational as well as being eminently practical. Get your needle out and start sculpting your own miniature works of art!

"Places posthumanism and feminist theory into direct conversation with contemporary science fiction film and media from the 1980s to present"--

"Challenges and contextualizes the standard language used in translation theory and comparative literature within the unique linguistic and translational context of the Canadian nation-state"--

The Beatles are known for cheeky punchlines, but understanding their humor goes beyond laughing at John Lennon's memorable "rattle your jewelry" dig at the Royal Variety Performance in 1963. From the beginning, the Beatles' music was full of wordplay and winks, guided by comedic influences ranging from rhythm and blues, British radio, and the Liverpool pub scene. Gifted with timing and deadpan wit, the band habitually relied on irony, sarcasm, and nonsense. Early jokes revealed an aptitude for improvisation and self-awareness, techniques honed throughout the 1960s and into solo careers. Experts in the art of play, including musical experimentation, the Beatles' shared sense of humor is a key ingredient to their appeal during the 1960s-and to their endurance.The Beatles and Humour offers innovative takes on the serious art of Beatle fun, an instrument of social, political, and economic critique. Chapters also situate the band alongside British and non-British predecessors and collaborators, such as Billy Preston and Yoko Ono, uncovering diverse components and unexpected effects of the Beatles' output.

"Explores films of the long 60s that were assigned an "X" certificate by the British Board of Film Censors alongside new and emerging social and sexual practices of the time"--

An investigation into the powerful effects occurring at the threshold between articulation and in-articulation in original and translated works, this book models how creative writing research, practice, processes, products and theories can further academic thought. At the threshold of in/articulacy, language can be said to 'thicken' and obscure the usual conditions of legibility or lexical meaning, becoming unfamiliar, flexible, incomplete, even absent. These 'thickening' moments alter and enrich literary processes and texts to initiate a paradigm shift in composition, translation and reading experiences. Interrogating this shift from the viewpoints of writers, translators and readers, Judy Kendall draws on translation studies, literary theory, anthropology, philosophy and physics and more to examine the practices of Semantic Poetry Translation, code-switching, made-up English, visual text, vital materiality and the material-discursive. Breaking new ground with her enactment of the ways in which creative writing can take an active and productive lead in research enquiries, Kendall looks at works including Old English riddles, Nigerian novels, J R. R. Tolkien's and Ursula K. Le Guin's narratives, Caroline Bergvall's hybrid works, Caryl Churchill's The Skriker, Patrick Chamoiseau's novels, Zong! and several other visual texts.

Is there a connection between the environmental, climate, and political crises facing us today and Western dualism? By critically examining the subject/object dualism that has supported Western philosophy and aesthetics since the 17th century, Nicola Perullo presents a relational and co-operative account of aesthetic experience and human existence.Exploring science, ontology and aesthetics through the perspectives of quantum physics' relational interpretation and non-dualistic philosophies, Perullo draws on Western theories in anthropology and cultural traditions such as Buddhism and Daoism. We see how the ontology supported by dualism renders the world to consist of static, solid, and discrete things, making them vulnerable to be controlled, dominated, and possessed. In Perullo's ground-breaking analysis an alternative way of perceiving is offered: the "haptic" modality which is guided by cooperation, communication, and correspondence. Such a mode of perception and experience is ecological, precluding the possibility of domination, hierarchy, and exploitation. This challenge to the ramifications of the subject-object model, the very cornerstone of Western thought, is an exciting invitation to rethink the purpose of philosophizing and its impact on life.

Education and Historical Justice explores how global movements for historical redress and reconciliation are reshaping education and schooling. This book is the first to theorize and name the important and growing nexus between education and historical justice: historical justice education. It considers how educational policy, curriculum, pedagogy, and materials are being reformed to address goals of historical justice, redress and reparations globally with a focus on Australia, Canada, Sweden, and the USA. It places these changes and challenges in historical context drawing on international human rights law, political and historical theory, and histories of education, to account for the growing role of education in the pursuit of historical justice. Finally, it assesses how education oriented towards historical justice reconfigures subjectivities and raises questions around complicity, guilt, and collective responsibility which have important implications for educators, researchers, and policymakers.

A blend of memoir and scholarly review, this book explores the kinds of thinking creative writing as a distinctly practical subject makes possible within post-secondary education. Based on personal experience, Lisa Martin reimagines higher education in more equitable, diverse, and inclusive directions. Taking the idea that creative writing should be grounded in practice, she explores how the nature of the subject gives permission to think specifically, locally, from one's own position, and in a necessarily limited way - without having one's thinking discounted as lacking rigour as a result. Modelling the deep and essential connection between practice and research in the field, this book considers post-secondary creative writing in its three key aspects - artistic practice, pedagogical practice, and practice-led research - in order to articulate the distinctive contributions creative writing makes to what "thinking" means (and whose thinking gets included). Drawing on Martin's own artistic practice as well as more than a decade of pedagogical experience in creative writing, this book braids together disciplinary history, research-informed autobiographical analysis of artistic practice and pedagogy, and scholarly research in adjacent fields such as creativity studies and educational psychology. Connecting creative writing's central commitment to artistic practice and local, material, embodied thinking with the development of learner-centred pedagogies, Creative Writing in Post-Secondary Education is timely, important and will spark spirited discussion within a debate that has been simmering since the inception of creative writing.

This groundbreaking book offers a unique collection of Indigenous and non-Indigenous approaches to decolonizing international development.The world is facing enormous challenges, from ever-growing global inequality to climate change to the continuing fallout from the Covid pandemic. It is becoming increasingly clear that the origin of these challenges lies in the economic models and imperial lifestyles perpetuated by the Global North. In order to find new answers to the world's biggest challenges, then, it is necessary for the Global North to acknowledge Indigenous knowledge systems as unique and legitimate epistemologies and to engage in dialogues with them. This collection brings together contributions from Indigenous and non-Indigenous authors to promote that dialogue. It provides a unique, rare forum for discourse between the expressive potentials of differing world views, and ultimately, for developing cooperation in the terms of Eisenstein's notion of interbeing, which counteracts the "History of Separation" between nature and culture and between Global South and Global North. What emerges is a path forward towards a new, interwoven modernity characterized by an embrace of separate, but mutually constitutive, ways of knowing.For its wide topical and geographic breadth, and for its bringing together of Indigenous and non-Indigenous scholars around the world, this book is a must-read for researchers and students interested in indigenous studies and decolonial approaches to international development.

Focusing on the corpus of Fantasy texts written in colonial India during the late 19th and early 20th century, this book explores the origins, motivations, nature and role of speculative writing around the period of the Indian independence movement. Taking stock of Bengali texts previously designated as children's literature, Mayurika Chakravorty examines the works of such authors as Sanjibchandra Chattopadhyay, Trailokyanath Mukhopadhyay, Sukumar Ray and Parashuram (Rajshekhar Basu) and Sukumar Ray to shed light on how their writing offered stringent commentaries on the colonial situation whilst grappling with larger questions surrounding science, progress, the environment, ethics and morality. With a focus on how key works - previously omitted from the established canon of fantasy literature - were based on diverse classical streams from European, Persian, classical Sanskrit and local folk traditions, the book explores how speculative writers challenged the dominant literary tropes of both colonial (Western) and revivalist (Sanskrit) classicism. In highlighting overlooked writing within Indian literary history and fantasy and children's literature studies, Chakravorty demonstrates that in understanding these works in relation to one another, they provide evidence of compelling bodies of work produced in the context of, and in resistance to, empire.

What makes us human beings? Is it merely some corporeal aspect, or rather some specific mental capacity, language, or some form of moral agency or social life? Is there a gendered bias within the concept of humanity? How do human beings become more human, and can we somehow cease to be human? This volume provides some answers to these fundamental questions and more by charting the increased preoccupation of the European Enlightenment with the concepts of humankind and humanity. Chapters investigate the philosophical concerns of major figures across Western Europe, including Montesquieu, Diderot, Rousseau, Locke, Hume, Ferguson, Kant, Herder, Johann Friedrich Blumenbach and the Comte de Buffon. As these philosophers develop important descriptive and comparative approaches to the human species and moral and social ideals of humanity, they present a view of the Enlightenment project as a particular kind of humanism that is different from its Ancient and Renaissance predecessors. With contributions from a team of internationally recognized scholars, including Stephen Gaukroger, Michael Forster, Céline Spector, Jacqueline Taylor, and Günter Zöller, this book offers a novel interpretation of the Enlightenment that is both clear in focus and impressive in scope.

Ghosts haunt the stages of world theatre, appearing in classical Greek drama through to the plays of 21st-century dramatists. Tracing the phenomenon across time and in different cultures, the chapters collected here examine their representation, dramatic function, and what they may tell us about the belief systems of their original audiences and the conditions of theatrical production. As illusions of illusions, they foreground many dramatic themes common to a wide variety of periods and cultures. Arranged chronologically, this collection examines how ghosts represent political change in Athenian culture in three plays by Aeschylus; their function in traditional Japanese drama; the staging of the supernatural in the dramatic liturgy of the early Middle Ages; ghosts within the dramatic works of Middleton, George Peele, and Christopher Marlowe, and the technologies employed in the 18th and 19th centuries to represent the supernatural on stage. Coverage of the dramatic representation of ghosts in the 20th and 21st centuries includes studies of Noël Coward's Blithe Spirit, August Wilson's Pittsburgh Cycle, plays by Sam Shepard, David Mamet, and Sarah Ruhl, Paddy Chayefsky's The Tenth Man, Suzan-Lori Parks' Topdog/Underdog, and the spectral imprint of Shakespeare's ghosts in the Irish drama of Marina Carr, Martin McDonagh, William Butler Yeats, and Samuel Beckett. The volume closes by examining three contemporary American indigenous plays by Anishinaabe author, Alanis King.

This book shows how critical theory can help school leaders and administrators to prepare students for the ever-changing political, cultural, economic, and societal conditions of the world. The contributors use ideas from critical theorists including Adorno, Fromm, Marcuse and Habermas and connect them with contemporary theories and debates in educational leadership from moral education to criticaltheories on race, to culturally relevant practice.Educational Leadership and Critical Theory challenges the misconceptions of many present-day educators about the analytical lens offered by the Frankfurt School theorists which is often dismissed by policymakers and practitioners. Written by leading scholars based in the UK, USA, and Canada, the contributors emphasize and explain the importance of educational aesthetics, dialectics, education and civilization, the structural transformation of education's place in the public sphere, and education as revolution and enlightenment.

Across these essays Arnold Berleant demonstrates how aesthetic values and theory can be used to reappraise our social practices. He tackles issues within the built environment, everyday life, and politics, breaking down the dichotomy between the natural and the human. His work represents a fresh approach to traditional philosophical questions in not only ethics, but in metaphysics, truth, meaning, psychology, phenomenology, and social and moral philosophy. Topics covered include the cultural aesthetics of environment, ecological aesthetics, the aesthetics of terrorism, and the subversion of beauty. The corruption of taste by the forces of commercial interests as well as how aesthetics can advance our understanding of violence are also considered. Berleant's exploration is supported by his analysis of 19th-century art to the present day, starting with impressionism through to postmodernism and contemporary artistic interventions. By critically examining the field in this way and casting new light on social understanding and practice, this collection makes a substantive contribution in identifying and clarifying central human issues, guided by an understanding of aesthetic engagement as a powerful tool for social critique.

What goes on in the body and mind of an endurance athlete at the limits of performance? How do they relate to the world around and prepare for the task ahead? Offering a refreshing perspective on training in the cross-lighting of aesthetic and athletic processes, this book focuses on the learning, mastery and creative adaptation of technique in performance. From traditional and physical actors to runners, boxers and other sports practitioners, it is about performers: their bodies, trainings and experiences. It interrogates what it means to prepare and train as a performer in the early 21st century.Writing from extensive experience in physical theatre and long-distance running, the author combines insights from both disciplines along with theatre history, sports science and perspectives like embodied cognition and affective science. From the kind of thoughts that go through the mind of an actor or a runner, to the economy and aesthetic of their movement and to how they feel about it, this book sheds light on the performing body and its capacities for action.Topics covered include attentional focus and distraction, affordances and equipment, 'choking' and stage fright, physiological regulation and effort perception, pacing and play, optimal flow and creative improvisation, and intentionality and automaticity in expert performance. The volume presents an informative and thought-provoking account accessible to readers interested in theatre, dance, performance, running, athletics, and sport.

What is the role of a soldier at the end of war, when either victory or defeat is inevitable? This book delves into that question, exploring how the military and soldiers on the ground have contributed to the transition to peace. With case studies from 1800 to the present day, Soldiers in Peace-making offers a historical overview of the part military men and women have played in the aftermath of war. From UN peacekeeping in Cambodia to military observers in former Yugoslavia, the post-Cold War US Army and more, the essays in this collection map the strategy, politics and practicalities involved in the transition from war to postwar. Analyzing the legitimacy of each 'peace' and the military's approach to them, the chapters explore how soldiers have engaged with politics and political leaders, interacted with civil populations, and called upon their own expertise to enable the peace-making process. In exploring the hybrid role of military men and women as diplomats, peacemakers, negotiators and fighters this book reveals the crucial part they have played as conflicts come to a close.

'We have two cuisines in France, that of the north and that of the south', boldly stated the first cookbook directly concerned with southern French cuisine in 1830. This book investigates the reasons for and background to these differences, specifically in Provence. In the absence of cookbooks for the region in the 18th century, it uses innovative methodologies relying on a range of hitherto unexplored primary resources, ranging from household accounts and manuscript recipes to local newspapers and gardening manuals that focus on the actuality of the 18th century Provençal table. The sources emphasise the essentially seasonal and local nature of eating in Provence at this time. In many ways eating habits echoed generalised French patterns, according to class, but at the same time the use of particular foods and culinary practices testified to a distinctive Provençal food culture, partly related to geographic and climatic differences but also to cultural influences. This food culture represented the foundation for the Provençal cuisine which was recognised and codified in the early 19th century.From a diverse archive of documents has emerged new evidence for the cultivation and consumption of potatoes and tomatoes in Provence and for the origins and evolution of emblematic dishes such as bourride, bouillabaisse and brandade. In linking the coming-of-age of Provençal cuisine to post-Revolutionary culture, in particular the success of restaurants and the flourishing of gastronomic discourse, this book offers a new understanding of the development and evolution of regional cuisines.

Bringing together thinkers from philosophy of religion, religious studies, music, art, and film, while drawing on a wealth of phenomenological resources and methods, a team of renowned scholars provide new vantages on the question of how art is an expression of the human desire for God. In three interrelated parts, chapters employ phenomenological tools to propose new ways for speaking of the desire for God. Scholars first draw upon music, sculpture, film, and painting to develop ways of expressing diverse philosophical and religious aspects characteristic of aesthetic experience. The discussion then opens up to examine the mystical and wounded aspects of embodied interface with God. The final part investigates embodied aesthetic praxis in philosophy of religion and religious studies. With several contributions engaging with the embodied, aesthetic experience of underrepresented voices, Art, Desire, and God offers constructive phenomenological bridges across divides of disciplines, aesthetic experiences, and embodied actions.

This volume explores the work of Polish phenomenologist Roman Ingarden (1893-1970) with respect to his ontology, epistemology and aesthetics. An outstanding student of Edmund Husserl, it offers a unique tribute to one of the most important figures in contemporary philosophy. Leszek Sosnowski and Natalia Anna Michna introduce a team of renowned scholars to present new and timely readings of Ingarden's thought, placing his philosophy in a broader historical and cultural context. In doing so, they offer a cutting edge reflection on the relevance, refinement and depth of Ingarden's theory. Chapters are not only retrospective, but also set out the present and future development of philosophy inspired by his works. Reinvigorating the debate about Ingarden's phenomenological legacy and its relevance for contemporary thought, this collection of essays guides us through his place in the history of philosophy and presents new perspectives on selected aspects of his theory.