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This book deals with all aspects of advertising in various countries. It is a follow-up of Advertising Worldwide by the same editor. The book covers: Bulgaria, China, Greece, Hong Kong, Hungary, Ireland, Latvia, Malaysia, Singapore, South Korea, Spain, Switzerland, and the United Kingdom. It also contains a chapter on intercultural management as well as a case study of Barclaycard International. The authors are specialists from the respective countries. From the reviews: " This reader is an absolute must for all advertisers, agencies and students... " Werben und Verkaufen (Issue 40/2001)
Slaves to Fashion is a pioneering cultural history of the black dandy, from his emergence in Enlightenment England to his contemporary incarnations in the cosmopolitan art worlds of London and New York. It is populated by sartorial impresarios such as Julius Soubise, a freed slave who sometimes wore diamond-buckled, red-heeled shoes as he circulated through the social scene of eighteenth-century London, and Yinka Shonibare, a prominent Afro-British artist who not only styles himself as a fop but also creates ironic commentaries on black dandyism in his work. Interpreting performances and representations of black dandyism in particular cultural settings and literary and visual texts, Monica L. Miller emphasizes the importance of sartorial style to black identity formation in the Atlantic diaspora. Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.
Teachers of Color and Indigenous Teachers are underrepresented in public schools across the United States of America, with Black, Indigenous, and People of Color making up roughly 37% of the adult population and 50% of children, but just 19% of the teaching force. Yet research over decades has indicated their positive impact on student learning and social and emotional development, particularly for Students of Color and Indigenous Students. A first of its kind, the Handbook of Research on Teachers of Color and Indigenous Teachers addresses key issues and obstacles to ethnoracial diversity across the life course of teachers’ careers, such as recruitment and retention, professional development, and the role of minority-serving institutions. Including chapters from leading researchers and policy makers, the Handbook is designed to be an important resource to help bridge the gap between scholars, practitioners, and policy makers. In doing so, this research will serve as a launching pad for discussion and change at this critical moment in our country’s history. The volume’s goal is to drive conversations around the issue of ethnoracial teacher diversity and to provide concrete practices for policy makers and practitioners to enable them to make evidence-based decisions for supporting an ethnoracially diverse educator workforce, now and in the future.
Although David Bowie has famously characterized himself as a "leper messiah," a more appropriate moniker might be "rock god": someone whose influence has crossed numerous sub-genres of popular and classical music and can at times seem ubiquitous. By looking at key moments in his career (1972, 1977-79, 1980-83, and 1995-97) through several lenses-theories of sub-culture, gender/sexuality studies, theories of sound, post-colonial theory, and performance studies Waldrep examines Bowie's work in terms not only of his auditory output but his many reinterpretations of it via music videos, concert tours, television appearances, and occasional movie roles. Future Nostalgia looks at all aspects of Bowie's career in an attempt to trace Bowie's contribution to the performative paradigms that constitute contemporary rock music.
Language as a Local Practice addresses the questions of language, locality and practice as a way of moving forward in our understanding of how language operates as an integrated social and spatial activity. By taking each of these three elements – language, locality and practice – and exploring how they relate to each other, Language as a Local Practice opens up new ways of thinking about language. It questions assumptions about languages as systems or as countable entities, and suggests instead that language emerges from the activities it performs. To look at language as a practice is to view language as an activity rather than a structure, as something we do rather than a system we draw on, as a material part of social and cultural life rather than an abstract entity. Language as a Local Practice draws on a variety of contexts of language use, from bank machines to postcards, Indian newspaper articles to fish-naming in the Philippines, urban graffiti to mission statements, suggesting that rather than thinking in terms of language use in context, we need to consider how language, space and place are related, how language creates the contexts where it is used, how languages are the products of socially located activities and how they are part of the action. Language as a Local Practice will be of interest to students on advanced undergraduate and post graduate courses in Applied Linguistics, Language Education, TESOL, Literacy and Cultural Studies.
The first sustained study of the vibrant links between domestic craft and British colonialism In the eighteenth century, women's contributions to empire took fewer official forms than those collected in state archives. Their traces were recorded in material ways, through the ink they applied to paper or the artifacts they created with muslin, silk threads, feathers, and shells. Handiwork, such as sewing, knitting, embroidery, and other crafts, formed a familiar presence in the lives and learning of girls and women across social classes, and it was deeply connected to colonialism. Chloe Wigston Smith follows the material and visual images of the Atlantic world that found their way into the hands of women and girls in Britain and early America--in the objects they made, the books they held, the stories they read--and in doing so adjusted and altered the form and content of print and material culture. A range of artifacts made by women, including makers of color, brought the global into conversation with domestic crafts and consequently placed images of empire and colonialism within arm's reach. Together, fiction and handicrafts offer new evidence of women's material contributions to the home's place within the global eighteenth century, revealing the rich and complex connections between the global and the domestic.
"Brithop investigates rap music's politics in the 21st century United Kingdom. In what follows, I argue that this music is partly an extension of, or often a counter to, political discourses happening in other realms of British society. These rappers are essentially "talking back" (hooks 1989, see also Hutton and Burns 2020) to mainstream Britain's political discourses, as "an act of resistance, a political gesture that challenges politics of domination that would render us nameless and voiceless." (hooks 1989: 8) The rappers in this book critique the UK's more conservative narratives, and they express their relationship to Britain in the politically turbulent climate of the new century, providing valuable perspectives which can go unnoticed by those skeptical of or ignorant of hip-hop culture. Through themes of nationalism, history, subculture, politics, humor and identity, this book looks at multiple forms of politics in rap discourses from Wales, Scotland and England. It covers selected hip-hop scenes from 2002-2017, featuring rappers and groups such as The Streets, Goldie Lookin Chain, Akala, Lowkey, Stanley Odd, Loki, Speech Debelle, Lady Sovereign, Shadia Mansour, Shay D, Stormzy, Sleaford Mods, Riz MC and Lethal Bizzle. What follows investigates how rappers in the UK respond to the "postcolonial melancholia" (Gilroy) of post-Empire Britain. In contrast to more visible narratives of national identity in Britain, Brithop tells a different, arguably more important, story"--