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Elsewhere, Within Here is an engaging look at travel across national borders--as a foreigner, a tourist, an immigrant, a refugee--in a pre- and post-9/11 world. Who is welcome where? What does it mean to feel out of place in the country you call home? When does the stranger appear in these times of dark metamorphoses? These are some of the issues addressed by the author as she examines the cultural meaning and complexities of travel, immigration, home and exile. The boundary, seen both as a material and immaterial event, is where endings pass into beginnings. Building upon themes present in he.
Challenging the commonly held perception that immigrants' lives are shaped exclusively by their sending and receiving countries, Here, There, and Elsewhere breaks new ground by showing how immigrants are vectors of globalization who both produce and experience the interconnectedness of societies—not only the societies of origin and destination, but also, the societies in places beyond. Tahseen Shams posits a new concept for thinking about these places that are neither the immigrants' homeland nor hostland—the "elsewhere." Drawing on rich ethnographic data, interviews, and analysis of the social media activities of South Asian Muslim Americans, Shams uncovers how different dimensions of the immigrants' ethnic and religious identities connect them to different elsewheres in places as far-ranging as the Middle East, Europe, and Africa. Yet not all places in the world are elsewheres. How a faraway foreign land becomes salient to the immigrant's sense of self depends on an interplay of global hierarchies, homeland politics, and hostland dynamics. Referencing today's 24-hour news cycle and the ways that social media connects diverse places and peoples at the touch of a screen, Shams traces how the homeland, hostland, and elsewhere combine to affect the ways in which immigrants and their descendants understand themselves and are understood by others.
DIVAn account of sick building syndrome and the large number of historical conditions--office worker protests, feminism, ventilation engineering, toxicology, etc.--that coalesced to give this phenomenon real existence./div
Monolingual, monolithic English is an issue of the past. In this collection, by using cinema, poetry, art, and novels we demonstrate that English has become the heteroglossic language of immigration – Englishes of exile. By appropriating its plural form we pay respect to all those who have been improving standard English, thus proving that one may be born in a language as well as give birth to a language or add to it one’s own version. The story of the immigrant, refugee, exile, expatriate is everybody’s story, and without migration, we could not evolve our human race.
Dialectics of Space and Place across Virtual and Corporeal Topographies explores the inter- and multi-disciplinary subjects of space and place in two parts. Part 1 Virtual topographies of Space and Place is concerned with themes related to immaterial places, and Part II Corporeal Topographies of Space and Place explores narratives of real and imagined experiences of places. This volume, underpinned by an array of philosophical positions provides a foundation for new and critical dialogues on space and place.
An all-access, firsthand account of the life and music of one of history's most beloved bands--from an original mastering engineer at Abbey Road Geoff Emerick became an assistant engineer at the legendary Abbey Road Studios in 1962 at age fifteen, and was present as a new band called the Beatles recorded their first songs. He later worked with the Beatles as they recorded their singles “She Loves You” and “I Want to Hold Your Hand,” the songs that would propel them to international superstardom. In 1964 he would witness the transformation of this young and playful group from Liverpool into professional, polished musicians as they put to tape classic songs such as “Eight Days A Week” and “I Feel Fine.” Then, in 1966, at age nineteen, Geoff Emerick became the Beatles’ chief engineer, the man responsible for their distinctive sound as they recorded the classic album Revolver, in which they pioneered innovative recording techniques that changed the course of rock history. Emerick would also engineer the monumental Sgt. Pepper and Abbey Road albums, considered by many the greatest rock recordings of all time. In Here, There and Everywhere he reveals the creative process of the band in the studio, and describes how he achieved the sounds on their most famous songs. Emerick also brings to light the personal dynamics of the band, from the relentless (and increasingly mean-spirited) competition between Lennon and McCartney to the infighting and frustration that eventually brought a bitter end to the greatest rock band the world has ever known.
Richly emotive and darkly captivating, with elements of Shirley Jackson’s “The Lottery” and the imaginative depth of Margaret Atwood, Elsewhere by Alexis Schaitkin conjures a community in which girls become wives, wives become mothers and some of them, quite simply, disappear. Vera grows up in a small town, removed and isolated, pressed up against the mountains, cloud-covered and damp year-round. This town, fiercely protective, brutal and unforgiving in its adherence to tradition, faces a singular affliction: some mothers vanish, disappearing into the clouds. It is the exquisite pain and intrinsic beauty of their lives; it sets them apart from people elsewhere and gives them meaning. Vera, a young girl when her mother went, is on the cusp of adulthood herself. As her peers begin to marry and become mothers, they speculate about who might be the first to go, each wondering about her own fate. Reveling in their gossip, they witness each other in motherhood, waiting for signs: this one devotes herself to her child too much, this one not enough—that must surely draw the affliction’s gaze. When motherhood comes for Vera, she is faced with the question: will she be able to stay and mother her beloved child, or will she disappear? Provocative and hypnotic, Alexis Schaitkin’s Elsewhere is at once a spellbinding revelation and a rumination on the mysterious task of motherhood and all the ways in which a woman can lose herself to it; the self-monitoring and judgment, the doubts and unknowns, and the legacy she leaves behind.
We first met Avery in two of the stories featured in Dana Johnson's award–winning collection Break Any Woman Down. As a young girl, she and her family escape the violent streets of Los Angeles to a more gentrified existence in suburban West Covina. This average life, filled with school, trips to 7–Eleven to gawk at Tiger Beat magazine, and family outings to Dodger Stadium, is soon interrupted by a past she cannot escape, personified in the guise of her violent cousin Keith. When Keith moves in with her family, he triggers a series of events that will follow Avery throughout her life: to her studies at USC, to her burgeoning career as a painter and artist, and into her relationship with a wealthy Italian who sequesters her in his glass–walled house in the Hollywood Hills. The past will intrude upon Avery's first gallery show, proving her mother's adage: Every goodbye aint gone. The dual–narrative of Elsewhere, California illustrates the complicated history of African Americans across the rolling basin of Los Angeles.
Visitor-Centered Exhibitions and Edu-Curation in Art Museums promotes balanced practices that are visitor-centered while honoring the integrity and powerful storytelling of art objects. Book examples present best practices that move beyond the turning point, where curation and education are engaged in full and equal collaboration. With a mix of theory and models for practice, the book: • provides a rationale for visitor-centered exhibitions; • addresses important related issues, such as collaboration and evaluation; and, • presents success stories written by educators, curators, and professors from the United States and Europe. • introduces the edu-curator, a new vision for leadership in museums with visitor-centered exhibition practices. The book is intended for art museum practitioners, including educators, curators, and exhibitions designers, as well as higher education faculty and students in art/museum education, art history, and museum studies.