A Semiotics of the Public/Private Distinction

Introduction: The Project of Historiography Section 1: Beginnings - East and West Introduction 1.1 Asian Historiography: Two Traditions 1.2 Historiography and Greek Self-Definition .3 Re-Reading the Roman Historians 1.4 The Historiography of Rural Labour 1.5 Towards Late-Antiquity Section 2: The Medieval World Introduction 2.1 The Historiography of the Medieval State 2.2 Saladin and the Third Crusade 2.3 Family and Household 2.4 The Medieval Nobility 2.5 Armies and Warfare 2.6 Popular Religion Section 3: Early-Modern Historiography Introduction 3.1 The Idea of Early Modern History 3.2 The Scientific Revolution 3.3 Intellectual History 3.4 The English Reformation 3.5 Popular Culture in the Early-Modern West 3.6 Revisionism in Britain Section 4: Reflecting on the Modern Age Introduction I: Revolution and Ideology 4.1 The French Revolution 4.2 The Soviet Revolution 4.3 National Socialism in Germany 4.4 Fascism and Beyond in Italy 4.5 Orientalism London: II Area Studies 4.6 China 4.7 Japan 4.8 India 4.9 Africa 4.10 North America 4.11 Latin America Section 5: Contexts for the Writing of History I: Hinterlands 5.1 History and Philosophy 5.2 History and Anthropology 5.3 History and Archaeology 5.4 History of Art II: Approaches 5.5 The Historical Narrative 5.6 The Annales School 5.7 Marxist Historiography 5.8 Women in Historiography 5.9 Comparative World History 5.10 Archives and Technology

Companion to Historiography

More and more cities have launched urban cultural strategies in the United Kingdom over the past decade. As a result, this has become an interesting and important area of policy innovation. In this paper the author looks at the broader context within which these strategies have emerged, looking at changes in national state policies towards the arts, changes in patterns of cultural consumption, local opposition to central government, and economic restructuring and interurban competition. The author then goes on to illustrate the ways in which these broader processes have interacted with more localised factors to shape the development of recent cultural strategies in Bristol. The paper concludes with some more general comments and criticism on cultural strategies as a whole.

Urban Cultural Strategies and Urban Regeneration: A Case Study and Critique

Every Citizen a Statesman Building a Democracy for Foreign Policy in the American Century

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Every Citizen a Statesman: Building a Democracy for Foreign Policy in the American Century

Structure and Practice in the Labor Theory of Value

Reviewed by: Music Education for Social Change–Constructing an Activist Music Education by Juliet Hess Martin Berger Juliet Hess, Music Education for Social Change–Constructing an Activist Music Education (New York, Routledge, 2019) Juliet Hess’s book is written with great passion and composed for a very good reason. It is published in troubling times when music educators are looking for new perspectives on old problems and in search of a revived relevance for the subject. Although music educators appear to be better qualified for their jobs than ever before, there is still an underlying concern that we have lost the positive political influence on society we might have had in the past, that our contributions to enhancing tolerance and social justice are at stake again, and that our voices are not being heard. Or, in other words, that we lack relevance if we do not act. Juliet Hess raises her voice, reclaiming this relevance at a time when “[h]ate continually manifests in both new and familiar ways” and “the presence of oppression is consistent across time.”1 According to her, rising-up against oppressive ideologies, injustices, and material violence is imperative and urgent. Hess calls on finding ways for music education to contribute to resistance and hails concepts that allow educators to devise a distinctly anti-oppressive pedagogy. Her purpose is to offer a framework for what she calls an “activist music education,” a pedagogy that “aims to address the sexism, racism, Islamophobia, anti-Semitism, heterosexism, cisgenderism, classism, ableism, anti-immigrant [End Page 207] sentiments, and other oppressions so prevalent in our society.”2 Inspired by the impact of their musicking, Hess conducts interviews with twenty activist musicians, exploring common themes, perceptions, values, philosophies, and ideas. All individuals interviewed are involved in social change movements across the United States and Canada. Hess positions them as “catalysts for change in music education,”3 providing “a means to conceptualize activist music education for school music.”4 Activism and music, says Hess, are “enmeshed and inextricably connected,”5 since both intrinsically involve exploring historical, political, social, and cultural contexts. Inspired by the relevance of activist music to a society, Hess is in search of a similar meaning for music education. As a result, she sketches a possible K-12 curriculum with three essential goals: fostering connection with Others, honoring and sharing lived experience, and enabling critical reflection on the world.6 In search of a conceptualization for her idea, Hess draws mainly on Freirian and critical pedagogy as a theoretical framework, placing lived experience at the center of education, and with conscientization and praxis being her key terms.7 According to Hess, praxis, defined as “the integration of thoughtful reflection and action,”8 is fundamental to any kind of transformation, while conscientization refers to processes through which learners “become aware and reflect upon the conditions that shape their lives.”9 Although Hess acknowledges the valuable scholarly contribution to critical pedagogy in the past, she remains careful in its application, urging music educators to “avert any dogmatic implementation.”10 As a result, she suggests a “tri-faceted pedagogy for future activism,”11 which is connective, communicative, and critical: “a pedagogy of community, based on activist musicians’ emphasis on connectivity, a pedagogy of expression rooted in honoring lived experiences and sharing them through music, and a pedagogy of noticing that emerges from activist-musicians’ work on critical thinking.”12 This combination will, according to her, set “the conditions for future activism among youth and offers a possible practical enactment of critical pedagogy for music education.”13 A valuable and most inspiring read! Although I strongly agree with the intention of this book, I do have some questions. The dream of a classroom that exercises social criticism both through thinking about music and through musicking itself has always been an aspiration. Scholars have regularly encouraged music educators to be public intellectuals and agents of change, ideally striving for social justice (or at the very least for social awareness), and preparing learners to be global citizens, able to think critically and ready to engage with the world.14 It is widely agreed that “music education deserves to be seen as a serious form of cultural... 

Martin Berger

Papers

Juliet Hess, Music Education for Social Change–Constructing an Activist Music Education (New York, Routledge, 2019)