A book of poems looking at the lyrics and songs of John Frusciante.
Kirjahaku
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1000 tulosta hakusanalla Natalie Butler
During World War II, as women stepped in to fill jobs vacated by men in the armed services, the federal government established public child care centers in local communities for the first time. When the government announced plans to withdraw funding and terminate its child care services at the end of the war, women in California protested and lobbied to keep their centers open, even as these services rapidly vanished in other states. Analyzing the informal networks of cross-class and cross-race reformers, policymakers, and educators, Demanding Child Care: Women's Activism and the Politics of Welfare, 1940–1971 traces the rapidly changing alliances among these groups. During the early stages of the childcare movement, feminists, Communists, and labor activists banded together, only to have these alliances dissolve by the 1950s as the movement welcomed new leadership composed of working-class mothers and early childhood educators. In the 1960s, when federal policymakers earmarked child care funds for children of women on welfare and children described as culturally deprived, it expanded child care services available to these groups but eventually eliminated public child care for the working poor. Deftly exploring the possibilities for partnership as well as the limitations among these key parties, Fousekis helps to explain the barriers to a publically funded comprehensive child care program in the United States.
In US security culture, motherhood is a site of intense contestation--both a powerful form of cultural currency and a target of unprecedented assault. Linked by an atmosphere of crisis and perceived vulnerability, motherhood and nation have become intimately entwined, dangerously positioning national security as reliant on the control of women's bodies. Drawing on feminist scholarship and critical studies of security culture, Natalie Fixmer-Oraiz explores homeland maternity by calling our attention to the ways that authorities see both non-reproductive and "overly" reproductive women's bodies as threats to social norms--and thus to security. Homeland maternity culture intensifies motherhood's requirements and works to discipline those who refuse to adhere. Analyzing the opt-out revolution, public debates over emergency contraception, and other controversies, Fixmer-Oraiz compellingly demonstrates how policing maternal bodies serves the political function of securing the nation in a time of supposed danger--with profound and troubling implications for women's lives and agency.
During World War II, as women stepped in to fill jobs vacated by men in the armed services, the federal government established public child care centers in local communities for the first time. When the government announced plans to withdraw funding and terminate its child care services at the end of the war, women in California protested and lobbied to keep their centers open, even as these services rapidly vanished in other states. Analyzing the informal networks of cross-class and cross-race reformers, policymakers, and educators, Demanding Child Care: Women's Activism and the Politics of Welfare, 1940–1971 traces the rapidly changing alliances among these groups. During the early stages of the childcare movement, feminists, Communists, and labor activists banded together, only to have these alliances dissolve by the 1950s as the movement welcomed new leadership composed of working-class mothers and early childhood educators. In the 1960s, when federal policymakers earmarked child care funds for children of women on welfare and children described as culturally deprived, it expanded child care services available to these groups but eventually eliminated public child care for the working poor. Deftly exploring the possibilities for partnership as well as the limitations among these key parties, Fousekis helps to explain the barriers to a publically funded comprehensive child care program in the United States.
In US security culture, motherhood is a site of intense contestation--both a powerful form of cultural currency and a target of unprecedented assault. Linked by an atmosphere of crisis and perceived vulnerability, motherhood and nation have become intimately entwined, dangerously positioning national security as reliant on the control of women's bodies. Drawing on feminist scholarship and critical studies of security culture, Natalie Fixmer-Oraiz explores homeland maternity by calling our attention to the ways that authorities see both non-reproductive and "overly" reproductive women's bodies as threats to social norms--and thus to security. Homeland maternity culture intensifies motherhood's requirements and works to discipline those who refuse to adhere. Analyzing the opt-out revolution, public debates over emergency contraception, and other controversies, Fixmer-Oraiz compellingly demonstrates how policing maternal bodies serves the political function of securing the nation in a time of supposed danger--with profound and troubling implications for women's lives and agency.
Offering a rare look at the musical life of Russia Abroad as it unfolded in New York City, Natalie K. Zelensky examines the popular music culture of the post-Bolshevik Russian emigration and the impact made by this group on American culture and politics. Performing Tsarist Russia in New York begins with a rich account of the musical evenings that took place in the Russian émigré enclave of Harlem in the 1920s and weaves through the world of Manhattan's Russian restaurants, Tin Pan Alley industry, Broadway productions, 1939 World's Fair, Soviet music distributors, postwar Russian parish musical life, and Cold War radio programming to close with today's Russian ball scene, exploring how the idea of Russia Abroad has taken shape through various spheres of music production in New York over the course of a century. Engaging in an analysis of musical styles, performance practice, sheet music cover art, the discourses surrounding this music, and the sonic, somatic, and social realms of dance, Zelensky demonstrates the central role played by music in shaping and maintaining the Russian émigré diaspora over multiple generations as well as the fundamental paradox underlying this process: that music's sustaining power in this case rests on its proclivity to foster collective narratives of an idealized prerevolutionary Russia while often evolving stylistically to remain relevant to its makers, listeners, and dancers. By combining archival research with fieldwork and interviews with Russian émigrés of various generations and emigration waves, Performing Tsarist Russia in New York presents a close historical and ethnographic examination of music's potential as an aesthetic, discursive, and social space through which diasporans can engage with an idea of a mythologized homeland, and, in turn, the vital role played by music in the organization, development, and reception of Russia Abroad.
Offering a rare look at the musical life of Russia Abroad as it unfolded in New York City, Natalie K. Zelensky examines the popular music culture of the post-Bolshevik Russian emigration and the impact made by this group on American culture and politics. Performing Tsarist Russia in New York begins with a rich account of the musical evenings that took place in the Russian émigré enclave of Harlem in the 1920s and weaves through the world of Manhattan's Russian restaurants, Tin Pan Alley industry, Broadway productions, 1939 World's Fair, Soviet music distributors, postwar Russian parish musical life, and Cold War radio programming to close with today's Russian ball scene, exploring how the idea of Russia Abroad has taken shape through various spheres of music production in New York over the course of a century. Engaging in an analysis of musical styles, performance practice, sheet music cover art, the discourses surrounding this music, and the sonic, somatic, and social realms of dance, Zelensky demonstrates the central role played by music in shaping and maintaining the Russian émigré diaspora over multiple generations as well as the fundamental paradox underlying this process: that music's sustaining power in this case rests on its proclivity to foster collective narratives of an idealized prerevolutionary Russia while often evolving stylistically to remain relevant to its makers, listeners, and dancers. By combining archival research with fieldwork and interviews with Russian émigrés of various generations and emigration waves, Performing Tsarist Russia in New York presents a close historical and ethnographic examination of music's potential as an aesthetic, discursive, and social space through which diasporans can engage with an idea of a mythologized homeland, and, in turn, the vital role played by music in the organization, development, and reception of Russia Abroad.
The first monograph on an important young American artist, generously illustrated with color images of his work. In his sculptures and installations, Matthew Angelo Harrison (b. 1989) engages with the legacies of racism and colonialism, parsing their contemporary connections to labor in the United States through an evolving visual language. With works that merge manufacturing technologies with the formal concerns of modernism and minimalism, the artist questions ideas of authorship and reproduction. Harrison's sculptures often include found objects--including traditional African figurines and auto industry ephemera--encased in resin blocks. Frozen and entombed, these sculptures appear as strangely haunted minimalist objects, both ancient and futuristic. This generously illustrated volume, published in conjunction with two major solo exhibitions, is the first monograph on an important young American artist. Another specter haunting Harrison's work is that of Detroit's defunct auto industry. A native of Detroit who once worked making prototypes in an auto manufacturing plant, Harrison sometimes employs precision machine-tooling techniques that are derived from those used by auto makers. In other works, Harrison replicates rare African masks and sculptures using hand-built, low-resolution 3D printing machines, rendering large-scale forms in wet clay--fragile, imperfect, and subject to glitches. The book features color images of Harrison's work, additional images that illustrate the artist's relationship to Detroit and essays by curators and art historians Jessica Bell Brown, Elena Filipovic, and Ikechukwu Onyewuenyi, as well as a conversation between Harrison and musician and theorist DeForrest Brown Jr., led by curator Taylor Renee Aldridge. ContributorsNatalie Bell, Elena Filipovic, Jessica Bell Brown, Taylor Renee Aldridge, DeForrest Brown Jr., Matthew Angelo Harrison
The first comprehensive monograph in over a decade celebrating the work of pioneering video artist Steina, who is known for pushing perspective beyond the human-centered realm. Accompanying the related exhibition at MIT List Visual Arts Center and Buffalo AKG Art Museum, Steina: Playback brings renewed recognition to Steina (b. 1940, Iceland), tracing her oeuvre from early collaborative works with her partner Woody Vasulka to her independent explorations of optics and a liberated, non-anthropocentric subjectivity. It follows her practice from downtown New York to Buffalo to the vast landscapes of New Mexico and Iceland, which appear in her immersive video environments of the 1990s and 2000s. Venturing into nature and combining imaging technologies with reflective orbs, Steina reorientated the human body s relationship to nature and expanded how we access the natural world through media. Scholars including Gloria Sutton, Joey Heinen, and Ina Blom consider how Steina s generative sense of play gave way to methods of processing and computation; contextualize Steina alongside a group of her peers who shared an obsession with the electronic signal; and argue for her interest in video as a proto-virtual space. Steina has never felt more relevant. Steina, born Steinunn Briem Bjarnadottir, studied violin and music theory in Reykjavik before attending the State Music Conservatory in Prague, Czechoslovakia. In 1965, she emigrated to New York City. By the late 1960s, she began to focus entirely on video work, and in 1971, cofounded The Electronic Kitchen (later The Kitchen), an experimental electronic media space. Her work has been shown at the Centre Georges Pompidou, Paris, the Whitney Museum of American Art, New York, and many other places. A copublication with the MIT List Visual Arts Center and Buffalo AKG Art Museum.
Impossible Heir For The King / The Boss's Forbidden Assistant
Natalie Anderson; Clare Connelly
HARPERCOLLINS PUBLISHERS
2023
nidottu
A royal blunder leads to a royal baby! Unwilling to inflict his crown on anyone else, King Niko doesn’t want a wife. But then he learns of a medical mix-up. Maia, a woman he’s never met, is carrying his child! And there’s only one way to legitimise his heir… Two weeks to resist temptation… Brazilian billionaire Salvador retreated to his private island after a tragic loss, vowing not to love again. When he must hire a temporary assistant he’s convinced Harper won’t meet his scrupulous standards. Instead, she exceeds them! If only he wasn’t drawn by their untameable forbidden chemistry…
Royal Temptation: A Convenient Crown
Natalie Anderson; Olivia Gates; Kelly Hunter
HARPERCOLLINS PUBLISHERS
2023
pokkari
An imperfect arrangement
European Escapes: Athens
Natalie Anderson; Pippa Roscoe; Abby Green
HARPERCOLLINS PUBLISHERS
2024
nidottu
Love, desire, passion The Greek's One-Night Heir – Natalie AndersonWhen tycoon Theo sees security footage of a woman requesting to speak with him, he recognises Leah instantly. They spent an amazing night together and he’s been trying – and failing – to forget her since. Leah’s baby bombshell floors Theo…and his marriage proposal stuns her! Their chemistry is undeniable, but can Leah trust this him to give her anything more…? Rumours Behind the Greek's Wedding – Pippa RoscoeShe’s been hired to repair Loukis’ public reputation – not to become involved in his private affairs. Yet spiralling rumours have Loukis demanding Célia play the role of his fiancée. To deny the Greek would be the end of her career, but to agree…? She is tempting beyond reason – and perhaps just the woman he needs. They might have already indulged in their wedding night…but will they make it to the altar? The Maid's Best Kept Secret – Abby GreenShy housekeeper Maggie considers herself immune to rich, powerful men. And then she meets billionaire Nikos… The pleasure that Maggie finds in his arms is astonishing – as are the consequences! Maggie is determined her new-born son won’t want for anything. But when Nikos uncovers her secret, and their sizzling chemistry is reignited, it’s clear they have unfinished business…
Very Convenient Vows Includes 2 titles! Their Altar Arrangement by Natalie Anderson Perfect plan… Wrong billionaire! Though Elodie has vowed never to remarry, she’ll do anything to stop her sister’s forced nuptials—even take her place. Challenging Ramon Fernandez to wed her instead, she’s shocked when he reveals she’s got the wrong man! But he will accept her proposal to secure the inheritance the actual groom has stolen. And the thought of their wedding night threatens to unleash a hunger neither can control… Unwanted Royal Wife by Clare Connelly His princess in public. His enemy in private. Marrying Rosie was playboy Prince Sebastian’s way back from royal exile. Otherwise, the infuriatingly poised palace advisor is the last wife he’d choose. Behind closed doors, they live completely separate lives… Only now they need to secure the line of succession. And when they're forced into a tentative truce, Sebastian is astonished to find himself delighting in a slow, sweet seduction of his oh-so-proper princess… – Perfect for fans of: ?? Billionaires ?? Marriage of convenience ?? Enemies to lovers
Greek Vows Revisited Their reunion is temporary. Their passion isn’t! Bethan’s whirlwind wedding to sinfully attractive shipping magnate Ares was a dream come true. Until a week later she received a devastating dose of reality and fled… Now her ruthless husband has finally tracked her down—to finalize their divorce! Only, before Bethan can sign on the dotted line, the threat of a PR nightmare forces them to remain in Greece…as man and wife! Stolen Pregnant Bride Claim his heir, or forever hold his peace! Billionaire Gio refuses to relinquish the woman he craves—even if it means stealing Stella from her altar of her convenient wedding. After all, she’s pregnant with his baby! Still, Stella's family is responsible for destroying his, so he’s torn between distrusting her and desiring her. Now Gio has nine months to decide once and for all… Perfect for fans of: ?? Billionaire ?? Accidental pregnancy ?? Marriage of convenience
The Slave Ship Clotilda and the Making of AfricaTown, USA
Natalie S. Robertson
Praeger Publishers Inc
2008
sidottu
Debates on reparations for slavery have emerged on national and international levels. However, much of the discourse centers on the legitimate slave trade. Few people are cognizant of the fact that the transatlantic slave trade consisted of both a legal trade and an illegal trade that began after January 1, 1808. Despite statutory prohibitions against slave smuggling, American citizens continued to smuggle African captives into the United States up to and beyond the threshold of the Civil War. The Slave Ship Clotilda and the Making of AfricaTown, USA is the only well-documented work of serious nonfiction that chronicles the transatlantic smuggling expedition of the slaver Clotilda during the slave trade's illegal period, dramatizing the plight of her captives from the point of capture in the West African interior to the point of disembarkation in Mobile, Alabama in 1860, and tracing the specific means by which the captives triumphed over their tragedy. Thirty members of that fateful cargo established AfricaTown in Alabama, where many of their descendants still live. In 1927, Zora Neale Hurston interviewed Cudjo Kazoola, the last survivor of the Clotilda. In The Slave Ship Clotilda and the Making of AfricaTown, USA Natalie S. Robertson uses ethnography, cartography, linguistics, and oral history to connect the story of the Clotilda captives to their origins in Africa, through their ordeals on the middle passage, all the way to the issue of reparations in the present day. She incorporates indigenous African perspectives, Hurston's interviews, and sources such as the Clotilda's log, meshing diverse voices into a narrative that reveals the centrality of slavery, Africanisms, and resistance in American culture even today.
All of us will be familiar with supporting friends, family and colleagues through the ups and downs of relationships. But could some of the more difficult times of argument and conflict be more than general relationship issues? Is there something more sinister going on? Over the course of a lifetime, 30% of women and 16% of men will be subjected to abuse by a partner, yet so many of us are unsure exactly what constitutes domestic abuse, and wouldn't know how to react if we, or one of our friends or family, found ourselves in a relationship with an abuser. Natalie Collins is the perfect guide to lead you through this subject, amassing over a decade's experience leading workshops, raising awareness and capturing national media attention in her work against domestic abuse. Highly readable, invaluably insightful and steeped in theological insight, Natalie starts right from the basics, exploring what domestic abuse is, why it is perpetrated and the impact it has on children and adults. Filled with case studies, including Natalie's own story, this book offers much-needed advice on how we can address domestic abuse, both as individuals and as a church community.
We’re called to be like Jesus, not like each other – so why are most Western churches predominantly middle class? Could it be that we’re reaching out to people in poverty, but struggling to connect them into church life? Natalie Williams and Paul Brown know all too well that those saved from working-class backgrounds often find themselves discipled effectively – but into middle classism rather than authentic Christianity. Drawing on their own experiences, and mixing theory with practical application, they explore the invisible divides that prevent churches from becoming places of true inclusion and keep poor and working-class people on the edges of faith. Packed full of surprising insights and helpful advice, Invisible Divides will change the way you see church life. Essential reading for anyone concerned with the class divide within the church, it will challenge you to look at the ways in which we inadvertently exclude, alienate and offend people who aren’t like us, and equip you to start working towards making church a more open, inclusive space for everyone. Jesus calls for us all to follow him, no matter our background; together, we can break down the invisible divides between us so that people from all walks of life can come to know Christ and find family in our churches.
'Natalie writes with the raw honesty and authenticity... This book will inspire and challenge you to rediscover that mercy is at the heart of our spiritual formation.' Olivia Amartey, Elim In a world of polarising politics, cancel culture and social media virtue signalling, we risk losing any sense of what it means to have mercy. And yet Jesus calls us to 'be merciful, just as your Father is merciful' (Luke 6.36). In this thoughtful and practical book, Natalie Williams explores what it means to be a true mercy-bringer. First, we need to develop a deep appreciation of the mercy of God, which is more astonishing than we dare to believe. As the old hymn says, 'tis mercy all when it comes to God's dealings with his children. Once we have understood that, it will transform the way we see God, ourselves and the world around us. We will be drawn closer to Jesus and, as a result, we will reflect his mercy to a world that desperately needs it. 'Challenging yet encouraging, moving yet refreshing, and theologically rich yet practically accessible.' Andrew Wilson, King’s Church London 'A much-needed book from an important voice for our times.' Graham Miller, London City Mission Contents Introduction Part 1: 'A God Merciful' Part 2: Our struggle to 'love mercy' Part 3: Merciful thinking Part 4: Merciful actions Conclusion
Digital ethnography can be understood as a method for representing real-life cultures through storytelling in digital media. Enabling audiences to go beyond absorbing facts, computer-based storytelling allows for immersion in the experience of another culture. A guide for anyone in the social sciences who seeks to enrich ethnographic techniques, Digital Ethnography offers a groundbreaking approach that utilizes interactive components to simulate cultural narratives.Integrating insights from cultural anthropology, folklore, digital humanities, and digital heritage studies, this work brims with case studies that provide in-depth discussions of applied projects. Web links to multimedia examples are included as well, including projects, design documents, and other relevant materials related to the planning and execution of digital ethnography projects. In addition, new media tools such as database development and XML coding are explored and explained, bridging the literature on cyber-ethnography with inspiring examples such as blending cultural heritage with computer games.One of the few books in its field to address the digital divide among researchers, Digital Ethnography guides readers through the extraordinary potential for enrichment offered by technological resources, far from restricting research to quantitative methods usually associated with technology. The authors powerfully remind us that the study of culture is as much about affective traits of feeling and sensing as it is about cognition-an approach facilitated (not hindered) by the digital age.