Kirjahaku

In a book that speaks clearly and forcefully to the heart of the welfare debate in the United States, Ruth Horowitz examines one of the most critical questions of welfare policy: how can a United States government program help teen mothers--one of the most needful groups of all welfare recipients--move from welfare dependency to employment, independence, and responsible citizenship?

Like a perfect day at the beach, Crab Moon leaves an indelible memory of a special adventure, and a quiet message about doing our part to preserve earth's oldest creatures. One June night, under the full moon, Daniel's mother wakes him up to see the extraordinary sight of horseshoe crabs spawning on the beach, just as they have every spring for an awesome 350 million years. But when Daniel returns in the morning, he finds only one lonely crab, marooned upside down in the sand. Can he possibly save it? Like a perfect day at the beach, Crab Moon leaves an indelible memory of a special adventure between parent and child, and a quiet message about doing our part to preserve even earth's oldest creatures. Back matter includes a note about horseshoe crabs.

Thirty-second Street in Chicago. A Chicano community, peaceful on a warm summer night, residents socializing, children playing--and gang warfare ready to explode at any time. Ruth Horowitz takes us to the heart of this world, one characterized by opposing sets of values. On the one hand, residents believe in hard work, education, family ties, and the American dream of success. On the other hand, gang members are preoccupied with fighting to maintain their personal and family honor. Horowitz gives us an inside look at this world, showing us how the juxtaposition of two worlds--the streets and the social ladder--and two cultures, Mexican and American, constantly challenges the residents of the community.

Winner of the American Sociological Association Sociology of Law Section 2013 Outstanding Book Award How do we know when physicians practice medicine safely? Can we trust doctors to discipline their own? What is a proper role of experts in a democracy? In the Public Interest raises these provocative questions, using medical licensing and discipline to advocate for a needed overhaul of how we decide public good in a society dominated by private interest groups. Throughout the twentieth century, American physicians built a powerful profession, but their drive toward professional autonomy has made outside observers increasingly concerned about physicians’ ability to separate their own interests from those of the general public. Ruth Horowitz traces the history of medical licensure and the mechanisms that democratic societies have developed to certify doctors to deliver critical services. Combining her skills as a public member of medical licensing boards and as an ethnographer, Horowitz illuminates the workings of the crucial public institutions charged with maintaining public safety. She demonstrates the complex agendas different actors bring to board deliberations, the variations in the board authority across the country, the unevenly distributed institutional resources available to board members, and the difficulties non-physician members face as they struggle to balance interests of the parties involved.In the Public Interest suggests new procedures, resource allocation, and educational initiatives to increase physician oversight. Horowitz makes the case for regulations modeled after deliberative democracy that promise to open debates to the general public and allow public members to take a more active part in the decision-making process that affects vital community interests.

Corps de ballet literally means the "body" of the ballet company, and it refers to the group of dancers who are not principals. Another large group of dancers puts together portfolios of work, often across several dance companies. These categories of dancers typically don't have name recognition and yet comprise the majority of professional dancers today. The ways that they stitch together careers, through dedication, grit, and no small amount of skill – and the reasons they have for doing so without the promise of fame or fortune – are telling of broader trends that shape the precarious labor of professional dance, and creative careers more generally. In Passionate Work, dance hobbyist and sociologist, Ruth Horowitz captures their stories. When creative labor is studied, it is often thought of in opposition to more conventional work, and the primary metric that distinguishes them is passion. Professional creatives are not working in the traditional sense because they are following their passion. By tracing the careers of such dancers, Horowitz troubles the binary understanding of passion and work. A career in dance requires both, and approaching her subjects through this lens allows her to explore their strategies for sustaining passion through the ups and downs of a career. Horowitz explores how dancers evaluate the rewards and challenges of a notoriously underpaid, and uncertain profession. Horowitz considers major dimensions of a career in a performing art, documenting each stage in a dancer's life. Above all, she shines a light on the strategies used to achieve a sense of biographical continuity in a world often marked by discontinuity and rupture.

Corps de ballet literally means the "body" of the ballet company, and it refers to the group of dancers who are not principals. Another large group of dancers puts together portfolios of work, often across several dance companies. These categories of dancers typically don't have name recognition and yet comprise the majority of professional dancers today. The ways that they stitch together careers, through dedication, grit, and no small amount of skill – and the reasons they have for doing so without the promise of fame or fortune – are telling of broader trends that shape the precarious labor of professional dance, and creative careers more generally. In Passionate Work, dance hobbyist and sociologist, Ruth Horowitz captures their stories. When creative labor is studied, it is often thought of in opposition to more conventional work, and the primary metric that distinguishes them is passion. Professional creatives are not working in the traditional sense because they are following their passion. By tracing the careers of such dancers, Horowitz troubles the binary understanding of passion and work. A career in dance requires both, and approaching her subjects through this lens allows her to explore their strategies for sustaining passion through the ups and downs of a career. Horowitz explores how dancers evaluate the rewards and challenges of a notoriously underpaid, and uncertain profession. Horowitz considers major dimensions of a career in a performing art, documenting each stage in a dancer's life. Above all, she shines a light on the strategies used to achieve a sense of biographical continuity in a world often marked by discontinuity and rupture.