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Anne C. Armstrong, National Guard Educational Foundation; National Guard Memorial Museum, Library, and Archive
Availability: Available 4 weeks
158pp. ¦ $44 £33 €38
In this monograph, Dr. Armstrong argues that a nation founded in Enlightenment theory can rely on Kant’s categorical imperative as a rationale for voluntary service in one’s local National Guard. Since the 19th century, a Utilitarian argument has been the favored rationale, but in We Hold These Truths to be Self-Evident: The National Guard and the Categorical Imperative Dr. Armstrong contends that there is also a normative rationale. The author traces Guard history from its inception in 1636 to the present day and applies Kant’s unchanging categorical imperative to volunteer service in the militias. She highlights that this is an ideal that is not always met by frail human beings but that the categorical imperative is always there, lurking in the historical record. With a thorough analysis of Kant’s reasoning, the theory is chronologically applied to volunteer service in the National Guard through the perspective of the leadership of each particular era. This book is ideal for the study of American history, Enlightenment philosophy, and political science. It will appeal to scholars and academics as well as officers in Professional Military Education (PME), service academies and War Colleges, and the National Defense University.
Crisis and Vital SignsISBN: 978-1-64889-213-4
$52 £39 €44
In recent years classical music has become a test case for debates over the future of culture. As times have changed, the value traditionally placed on this music has been challenged on social rather than aesthetic grounds. Lovers of classical music have been asked how its privileged history can be reconciled with growing demands for social justice and social inclusiveness. They have been asked how the music’s standing as one of the great accomplishments of the West can be reconciled with the many injustices on which those accomplishments in part depended. How can the future of classical music escape the darker shadows of its past? ‘Classical Music in a Changing World: Crisis and Vital Signs’ addresses the crisis provoked by such questions in two complementary ways. Several of the chapters show how the classical music world is already grappling with the crisis, and finding vital signs beyond the borders of the music’s traditional European strongholds: in Turkey from Ottoman times to the present, in Colombia, and in a Black American film. Other chapters identify areas that still need improvement, especially on behalf of female and LGBTQ+ musicians, and suggest how advances can be made both on concert stages and in schools. This volume, which opens with an introduction by Alberto Nones that contextualizes the book and outlines the main arguments of its chapters, contains an essay by Lawrence Kramer that examines the place of classical music in the history of consciousness—a history now changing rapidly—and concludes with a Postscript written by the two editors. The writing in this volume will be accessible to a wide audience, including scholars and students, professionals and amateurs, performers and listeners. Teachers will find it a source of lively classroom debate, and scholars a source of learning outside the usual arenas. The book’s “vital signs” include the accompanying CD, which features vibrant music-making from a diverse range of performers and composers.
Theory, methods and implementationsApril 2021 / ISBN: 978-1-62273-525-9
Availability: In stock
180pp. ¦ $45 £33 €38
This book provides an analytical framework and toolkit for anyone involved — theoretically or practically — with the economic, social, ecological or cultural development of a territory. This work provides an overview of the various territorial development processes, inclusive of both individual and collective actions. In pursuance of its objectives, the book re-examines the classical concepts of governance and regulation in order to position them in an integrative model of the initiatives which contribute dynamically to territorial development. According to this model, the concepts of governance and regulation become two axes, revealing four main reference situations which differentiate between the local initiatives (ground-up) and public actions (top-down) that coexist in a territory. The model emphasizes the need to consider the place of territorial stakeholders in regulatory processes. The book enriches this concept, familiar in a legislative context, and describes it as an area of influence of and negotiation with shareholders. It contributes to a territorial governance system which encourages development offers. It reveals the inseparable link between influence and development processes that lead to value creation. The logic of governance specifies the various sources of value creation, while the logic of regulation seeks to maximize the acceptability of such value creation by making it into an attractive proposition for stakeholders.
Willemijn de Jong, University of Zurich, Switzerland et al.
$61 £46 €52
'Arts in the Margins of World Encounters' presents original contributions that deal with artworks of differently marginalized people—such as ethnic minorities, refugees, immigrants, disabled people, and descendants of slaves—, a wide variety of art forms—like clay figures, textile, paintings, poems, museum exhibits and theatre performances—, and original data based on committed, long-term fieldwork and/or archival research in Brazil, Martinique, Rwanda, India, Indonesia, Japan, Australia, and New Zealand. The volume develops theoretical approaches inspired by innovative theorists and is based on currently debated analytical categories including the ethnographic turn in contemporary art, polycentric aesthetics, and aesthetic cannibalization, among others. This collection also incorporates fascinating and intriguing contemporary cases, but with solid theoretical arguments and grounds. 'Arts in the Margins of World Encounters' will appeal to students at all levels, scholars, and practitioners in arts, aesthetics, anthropology, social inequality, and discrimination, as well as researchers in other fields, including post-colonialism and cultural organizations.
Availability: In stock
176pp. ¦ $43 £32 €36
He was born to privilege and sought the world of art. She lived at the center of that world—a working artist encouraged by the famous artists in her extended family. Together, Duncan Phillips and Marjorie Acker Phillips founded The Phillips Collection in Washington, D.C., the first museum of modern art in America. It opened in the grand Phillips family home in 1921, eight years before New York City’s Museum of Modern Art and only a few weeks after they wed. Duncan took the lead in developing the collection and showcasing it. Marjorie kept space and time to paint. Duncan considered Marjorie a partner in the museum even though she was not directly involved in all purchasing and presentation decisions. To him, her influence was omnipresent. Although Duncan’s writings on artists and art history were widely published, he chose not to provide much instruction for visitors to the museum. Instead, he combined signature methods of displaying art which live on at The Phillips Collection. Phillips had viewers in mind when he hung American art with European art—or art of the past with modern art, and he frequently rearranged works to stimulate fresh encounters. With unfettered access to archival material, author Pamela Carter-Birken argues that The Phillips Collection’s relevancy comes from Duncan Phillips’s commitment to providing optimal conditions for personal exploration of art. In-depth collecting of certain artists was one of Phillips’s methods of encouraging independent thinking in viewers. Paintings by Pierre Bonnard, Arthur Dove, Georgia O’Keeffe, John Marin, Jacob Lawrence, and Mark Rothko provide testament to the power of America’s first museum of modern art.