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Confronted with the implications of a biblical understanding of the human condition, human society and the place and calling of scholarly reflection, Dooyeweerd contends that humanism has done more for the recognition of human freedom for religious convictions than did 17th-century Calvinism.
"Published in conjunction with the exhibition Dutch New York: the roots of Hudson Valley culture, organized by the Hudson River Museum, Yonkers, June 13, 2009 through January 10, 2010"--T.p. verso.
This multidisciplinary volume highlights the African presence throughout the Americas, and African and African Diasporan contributions to the material and cultural life of all of the Americas, and of all Americans. It includes articles from leading scholars and from cultural leaders from both well-known and little-known African Diasporan communities. Privileging African Diasporan voices, it offers new perspectives, data, and interpretations that challenge prevailing understandings of the Americas. Visit our website for sample chapters!
Strategic Intelligence is a form of meaning that promises the possibility of strategic advantage, dignity, the achievement of objective, and the fulfillment of potential in hostile environments. In The Cultural Roots of Strategic Intelligence Gino LaPaglia demonstrates that the strategic aspect of reason—arising in human experience, encoded as value, and born by culture as a strategic resource—has been encoded as values that have been memorialized in culturally authoritative sources in various Eurasian cultures for thousands of years. These sources have validated a strategic orientation in the world, legitimized the strategist as a heroic identity, and transmitted a coherent world view that enables the practitioner of strategy to overcome asymmetric threat. By excavating the provenance of strategic thought expressed in the cultural identity of the strategist in the most culturally authoritative mythological, literary, philosophical and religious sources, and excavating the underlying strategic values expressed in cultural products, LaPaglia demonstrates that the strategic aspect of human rationality is one of the most basic structural dynamics of human meaning, and that the transmission of this strategic way of being and acting in the world offers hope for life’s underdogs.
How did a distinct and powerful Black British identity emerge? In the 1950s, when many Caribbean migrants came to Britain, there was no such recognised entity as “Black Britain.” Yet by the 1980s, the cultural landscape had radically changed, and a remarkable array of creative practices such as theatre, poetry, literature,South Sudan in War and Peace music and the visual arts gave voice to striking new articulations of Black-British identity.
Argues that since black children grow up in a distinct culture, they require 'an educational system that recognizes their strengths, their abilities, and their culture, and that incorporates them into the learning process'. -- Washington Post
Roots of a Region reveals the importance of folk traditions in shaping and expressing the American South. This overview covers the entire region and all forms of ex-pression-oral, musical, customary, and material. The author establishes how folklore pervades and reflects the region\'s economics, history (espe-cially the Civil War), race rela-tions, religion, and politics. He follows with a catalog of those folk-cultural traits-from food and crafts to music and story-that are distinctly southern. The book then explores the Native American and Old World sources of southern folk culture. Two case studies serve as examples to stu-dents and as evidence of the author\'s larger points. The first traces the origins and develop-ment of an artifact type, the clay jug; the second examines a place, Georgia, and the relationship of its folklore to the region as a whole. The author concludes by looking to the future of folklife in a region that has lost much of its agrarian base as it modernizes, a future dependent on recent immigration and appreciation of older southern traditions by a largely urban audience. Supporting these explorations are 115 illustrations-sixteen in color-and an extensive bibliography of books on southern folk culture. John A. Burrison is Regents Professor of English and director of the folklore curriculum at Georgia State University. He also serves as curator of the Goizueta Folklife Gallery at the Atlanta History Museum and of the Folk Pottery Museum of Northeast Georgia at Sautee Nacoochee Center. His previous books are Brothers in Clay: The Story of Georgia Folk Pottery, Storytellers: Folktales and Legends from the South, and Shaping Traditions: Folk Arts in a Changing South.
What are the features of the school environment that make students' of color incorporation greater at some schools than at others? Prudence L. Carter seeks to answer this basic but bedeviling question through a rich comparative analysis of the organizational and group dynamics in eight schools located within four cities in the United States and South Africa - two nations rebounding from centuries of overt practices of racial and social inequality. Stubborn Roots provides insight into how school communities can better incorporate previously disadvantaged groups and engender equity by addressing socio-cultural contexts and promoting "cultural flexibility." It also raises important and timely questions about the social, political, and philosophical purposes of multiracial schooling that have been greatly ignored by many, and cautions against narrow approaches to education that merely focus on test-scores and resources.
The Creolization of American Culture examines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807–1868) as a lens through which to see the multiethnic antebellum world that gave birth to blackface minstrelsy. As a young man living in the multiethnic working-class community of New York's Lower East Side, Mount took part in the black-white musical interchange his paintings depict. An avid musician and tune collector as well as an artist, he was the among the first to depict vernacular fiddlers, banjo players, and dancers precisely and sympathetically. His close observations and meticulous renderings provide rich evidence of performance techniques and class-inflected paths of musical apprenticeship that connected white and black practitioners. Looking closely at the bodies and instruments Mount depicts in his paintings as well as other ephemera, Christopher J. Smith traces the performance practices of African American and Anglo-European music-and-dance traditions while recovering the sounds of that world. Further, Smith uses Mount's depictions of black and white music-making to open up fresh perspectives on cross-ethnic cultural transference in Northern and urban contexts, showing how rivers, waterfronts, and other sites of interracial interaction shaped musical practices by transporting musical culture from the South to the North and back. The "Africanization" of Anglo-Celtic tunes created minstrelsy's musical "creole synthesis," a body of melodic and rhythmic vocabularies, repertoires, tunes, and musical techniques that became the foundation of American popular music. Reading Mount's renderings of black and white musicians against a background of historical sites and practices of cross-racial interaction, Smith offers a sophisticated interrogation and reinterpretation of minstrelsy, significantly broadening historical views of black-white musical exchange.