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In 2011, Lawrence Davidson founded his website, tothepointanalyses.com, as a home for his brief essays on contemporary issues touching on US domestic and foreign policy. Over the last few years, Davidson's analytic reflections on contemporary politics have garnered over six million views. Now, for the first time, these essays are collected together to form a coherent, punchy look at American Politics in 2018. Contextualized by a new prologue and new conclusion, as well as updated with new material throughout, these essays provide a cogent demonstration of the power of analytical thinking to create clear and understandable descriptions of issues that impact us all, but are most often obfuscated by propaganda, lying by omission, or other forms of distortion. For those who encounter this work, it is hoped that they will come away with a clearer, if not happier, idea of what sort of world we are all living in.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
Sovereignty is among the most important phenomena for making sense of political life. But there are many mistaken assumptions associated with the concept. This book provides a new and somewhat unorthodox interpretation of it from the standpoint of a theory of practice. The Sovereign responds to pressing political issues of our time, like immigration and refugees, transnationalism and populism, the prospects for democracy, and the relationship between civil society and the state. The chapters trace the concept of sovereignty from its origins in political theory, providing perspective and insights that leave the reader with a phenomenological sketch of the sovereign. Bronner transforms our ideas about political power, what it is, how it has been used, and how it can be used. His new theory of sovereignty concludes with twenty-five provocative theses on the sovereign’s role in modern capitalist society. The Sovereign is a novel and unparalleled overview of a crucial concept by an influential thinker. It is especially and particularly recommended to scholars and student of comparative politics, international relations, contemporary political theory, and the wider general public.
This volume explores the two themes of equity in employment for Muslim women, and the identity and aspirations of Muslim youth in an age of Islamophobia in Western countries through conceptual and empirical studies of employment discrimination and alienation in the UK and the Netherlands. To these accounts are added a worldwide perspective on how women (and especially ethnic minority and Muslim women) experience, and try to overcome ethno-religious discrimination in entry to employment. The themes of Muslim women and youth struggling to survive are illustrated by accounts of teachers from Gaza who are providing ‘alternative families’ for children traumatised and orphaned through Israeli attacks. The idea of peaceful resistance, and Islamic patience in the face of persecution is developed throughout the book, and applied in a variety of settings.
Art and politics are often regarded as denizens of different realms, but few artists have been comfortable with the notion of a purely aesthetic definition of art. The artist has a public and thus political vision of the world interpreted by his art no less than the statesman and the legislator have a creative vision of the world they wish to make. The sixteen original essays in this volume bear eloquent witness to this interpenetration of art and politics. Each confronts the intersection of the aesthetic and the social, each is concerned with the interface of poetic vision and political vision, of reflection and action. They take art in the broadest sense, ranging over poets, dramatists, novelists, essayists, and filmmakers. Their focus is on art and its political dilemmas, not simply on the artist. They consider the issues raised for politics and culture by alienation, violence, modernization, technology, democracy, progress, and revolution. And they debate the capacity of art to stimulate social change and incite revolution, the temptations of social control of culture and of political censorship, the uncertain relationship between art and history, the impact of economic structure on artistic creation and of economic class on artistic product, the common ground between art and legislation and between crea-tivitv and control.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Politics and the English Language, the second in the Orwell’s Essays series, Orwell takes aim at the language used in politics, which, he says, ‘is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind’. In an age where the language used in politics is constantly under the microscope, Orwell’s Politics and the English Language is just as relevant today, and gives the reader a vital understanding of the tactics at play. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
Siena, Florence and Padua were all major centres for the flowering of early Italian Renaissance art and civic culture. The three communities shared a common concern for the embelishment of their cities by means of painting, sculpture and architecture. The eleven papers in this volume re-examine and re-assess the artistic legacy of the three cities during the 14th century amd locate the various works of art considered within their broader cultural, social and religious contexts. Contributors include: D Norman (Patrons, politics and art) ; C Harrison (Giotto and the `rise of painting') ; C King (The arts of carving and casting) ; T Benton (The building trades and design methods) ; D Norman (Art and religion after the Black Death) ; C King (The trecento: New ideas, new evidence) .
These essays follow a veteran teacher educator and school reform activist as he tries to understand an enterprise he calls "mysterious and immeasurable." By focusing on the authentic experiences of teaching and learning that he has lived over the past 15 years, Bill Ayers reconsiders, argues, reflects, and searches for ways to break through the routine and the ordinary to see teaching as the important and extraordinary work it is. Covering a range of issues—standards, equity, testing, professionalism—this book shows us teaching as an achingly personal calling, and ultimately as a social and a political act. With these essays, Bill Ayers invites teachers into a wonderful conversation about the meaning of teaching as craft, as art, as vocation. He reminds us that an active kind of hope is at the core of teaching,seeing things both as they are and as they could be.
The Routledge Companion to Art and Politics offers a thorough examination of the complex relationship between art and politics, and the many forms and approaches the engagement between them can take. The contributors - a diverse assembly of artists, activists, scholars from around the world – discuss and demonstrate ways of making art and politics legible and salient in the world. As such the 32 chapters in this volume reflect on performing and visual arts; music, film and new media; as well as covering social practice, community-based work, conceptual, interventionist and movement affiliated forms. The Companion is divided into four distinct parts: Conceptual Cartographies Institutional Materialities Modalities of Practice Making Publics Randy Martin has assembled a collection that ensures that readers will come away with a wider view of what can count as art and politics; where they might find it; and how it moves in the world. The diversity of perspectives is at once challenging and fortifying to those who might dismiss political art on the one hand as not making sufficient difference and on the other to those embracing it but seeking a means to elaborate the significance that it can make in the world. The Routledge Companion to Art and Politics brings together a range of issues and approaches and encourages critical and creative thinking about how art is produced, perceived, and received.