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This report includes the Council of Ministers Resolution on prospects for thet rend in transport in the period 1956-1960 and the report by the Committee of Deputies on the same topic.
Admissions and financial aid policies at liberal arts colleges have changed dramatically since 1955. Through the 1950s, most colleges in the United States enrolled fewer than 1000 students, nearly all of whom were white. Few colleges were truly selective in their admissions; they accepted most students who applied. In the 1960s, as the children of the baby boom reached college age and both federal and institutional financial aid programs expanded, many more students began to apply to college. For the first time, liberal arts colleges were faced with an abundance of applicants, which raised new questions. What criteria would they use to select students? How would they award financial aid? The answers to these questions were shaped by financial and educational considerations as well as by the struggles for civil rights and gender equality that swept across the nation. The colleges' answers also proved crucial to their futures, as the years since the mid-1970s have shown. When the influx of baby boom students slowed, colleges began to recruit aggressively in order to maintain their class sizes. In the past decade, financial aid has become another tool that colleges use to compete for the best students. By tracing the development of competitive admission and financial aid policies at a selected group of liberal arts colleges, Crafting a Class explores how institutional decisions reflect and respond to broad demographic, economic, political, and social forces. Elizabeth Duffy and Idana Goldberg closely studied sixteen liberal arts colleges in Massachusetts and Ohio. At each college, they not only collected empirical data on admissions, enrollment, and financial aid trends, but they also examined archival materials and interviewed current and former administrators. Duffy and Goldberg have produced an authoritative and highly readable account of some of the most important changes that have taken place in American higher education during the tumultuous decades since the mid-1950s. Crafting a Class will interest all readers who are concerned with the past and future directions of higher education in the United States. Originally published in 1997. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Cette bibliographie commentee touche tous les domaines du savoir humain, soit de l'Art a la Zoologie;elle signale les ouvrages les plus importants soit des bibliographies, des index, des encyclopedies, des dictionnaires, des guides, des revues etc dont le support ed'information est soit du papier, soit un cd-rom, soit une base de donnees en ligne directe, soit un microforme ect. L'objectif du guide Walford est de devenir La source d'information sur tout type de reference, nonobstant le support technique.
New York Times Book Review Editors' Choice A groundbreaking and endlessly surprising history of how artisans created America, from the nation's origins to the present day. At the center of the United States' economic and social development, according to conventional wisdom, are industry and technology-while craftspeople and handmade objects are relegated to a bygone past. Renowned historian Glenn Adamson turns that narrative on its head in this innovative account, revealing makers' central role in shaping America's identity. Examine any phase of the nation's struggle to define itself, and artisans are there-from the silversmith Paul Revere and the revolutionary carpenters and blacksmiths who hurled tea into Boston Harbor, to today's “maker movement.” From Mother Jones to Rosie the Riveter. From Betsy Ross to Rosa Parks. From suffrage banners to the AIDS Quilt. Adamson shows that craft has long been implicated in debates around equality, education, and class. Artisanship has often been a site of resistance for oppressed people, such as enslaved African-Americans whose skilled labor might confer hard-won agency under bondage, or the Native American makers who adapted traditional arts into statements of modernity. Theirs are among the array of memorable portraits of Americans both celebrated and unfamiliar in this richly peopled book. As Adamson argues, these artisans' stories speak to our collective striving toward a more perfect union. From the beginning, America had to be-and still remains to be-crafted.