In Surreal Change: The Real Life of Transforming Public Education, internationally renowned expert Michael Fullan reflects on the leading trends and ideas within the educational change field over a 50-year period. The author traces the evolution of the field through his own personal developments and contributions to it, working chronologically through "The 12 Seminal Ideas" of his career. Fullan shows his personal and vulnerable side as well as how he came to develop breakthrough ideas. By looking at the way the field has transformed and grown over time, Fullan draws attention to what ideas have persisted, what problems still need solving, and what faces teachers, leaders and reformers today. Deeply personal and insightful, Surreal Change contextualizes the past, present, and future of school reform to help leaders continue to bring about lasting, positive, systemic change in their organization.
This book is about three complementary ideas: 1) learning is a practice of freedom; 2) liberating learning in public education requires widespread cultural change in classrooms, schools, and entire education systems; and 3) social movements have been the most powerful vehicles for widespread cultural change, and in their logic of operation lie the keys to liberate learning. Drawing on existing knowledge and new research on educational change, the author offers nine principles of action to liberate learning in schools and across entire educational systems. Topics discussed include learning, pedagogy, leadership, education policy, widespread cultural change, collective action, and whole system improvement. Written for educators and leaders interested in transforming teaching and learning in classrooms and schools, as well as for public intellectuals and people interested in widespread pedagogical change, the book articulates a new way to think about and pursue educational change.
This book explores the intersection of grassroots leadership and the arts for social change, examining the many movements and subsequent victories the arts community has won for society. The book illustrates the diverse but influential work of these figures, reflecting on their actions, commitments and their positive impact on the modern world.
Life on 1/10th the fossil fuels turns out to be awesome. We all want to be happy. Yet as we consume ever more in a frantic bid for happiness, global warming worsens. Alarmed by drastic changes now occurring in the Earth's climate systems, the author, a climate scientist and suburban father of two, embarked on a journey to change his life and the world. He began by bicycling, growing food, meditating, and making other simple, fulfilling changes. Ultimately, he slashed his climate impact to under a tenth of the US average and became happier in the process. Being the Change explores the connections between our individual daily actions and our collective predicament. It merges science, spirituality, and practical action to develop a satisfying and appropriate response to global warming. Part one exposes our interconnected predicament: overpopulation, global warming, industrial agriculture, growth-addicted economics, a sold-out political system, and a mindset of separation from nature. It also includes a readable but authoritative overview of climate science. Part two offers a response at once obvious and unprecedented: mindfully opting out of this broken system and aligning our daily lives with the biosphere. The core message is deeply optimistic: living without fossil fuels is not only possible, it can be better. AWARDS GOLD (tie) | 2017 IPPY Awards: Books Most Likely to Save the Planet SILVER | 2017 Nautilus Book Awards: Green Living / Sustainability BRONZE | 2017 Foreword INDIES: Ecology & Environment
Corpses mark surrealism's path through the twentieth century, providing material evidence of the violence in modern life. Though the shifting group of poets, artists, and critics who made up the surrealist movement were witness to total war, revolutionary violence, and mass killing, it was the tawdry reality of everyday crime that fascinated them. Jonathan P. Eburne shows us how this focus reveals the relationship between aesthetics and politics in the thought and artwork of the surrealists and establishes their movement as a useful platform for addressing the contemporary problem of violence, both individual and political.In a book strikingly illustrated with surrealist artworks and their sometimes gruesome source material, Eburne addresses key individual works by both better-known surrealist writers and artists (including André Breton, Louis Aragon, Aimé Césaire, Jacques Lacan, Georges Bataille, Max Ernst, and Salvador Dalí) and lesser-known figures (such as René Crevel, Simone Breton, Leonora Carrington, Benjamin Péret, and Jules Monnerot). For Eburne "the art of crime" denotes an array of cultural production including sensationalist journalism, detective mysteries, police blotters, crime scene photos, and documents of medical and legal opinion as well as the roman noir, in particular the first crime novel of the American Chester Himes. The surrealists collected and scrutinized such materials, using them as the inspiration for the outpouring of political tracts, pamphlets, and artworks through which they sought to expose the forms of violence perpetrated in the name of the state, its courts, and respectable bourgeois values.Concluding with the surrealists' quarrel with the existentialists and their bitter condemnation of France's anticolonial wars, Surrealism and the Art of Crime establishes surrealism as a vital element in the intellectual, political, and artistic history of the twentieth century.
Vivienne Brough-Evans proposes a compelling new way of reevaluating aspects of international surrealism by means of the category of divin fou, and consequently deploys theories of sacred ecstasy as developed by the Collège de Sociologie (1937–39) as a critical tool in shedding new light on the literary oeuvre of non-French writers who worked both within and against a surrealist framework. The minor surrealist genre of prose literature is considered herein, rather than surrealism's mainstay, poetry, with the intention of fracturing preconceptions regarding the medium of surrealist expression. The aim is to explore whether International surrealism can begin to be more fully explained by an occluded strain of 'dissident' surrealist thought that searches outside the self through the affects of ekstasis. Bretonian surrealism is widely discussed in the field of surrealist studies, and there is a need to consider what is left out of surrealist practice when analysed through this Bretonian lens. The Collège de Sociologie and Georges Bataille's theories provide a model of such elements of 'dissident' surrealism, which is used to analyse surrealist or surrealist influenced prose by Alejo Carpentier, Leonora Carrington and Gellu Naum respectively representing postcolonial, feminist and Balkan locutions. The Collège and Bataille's 'dissident' surrealism diverges significantly from the concerns and approach towards the subject explored by surrealism. Using the concept of ekstasis to organise Bataille's theoretical ideas of excess and 'inner experience' and the Collège's thoughts on the sacred it is possible to propose a new way of reading types of International surrealist literature, many of which do not come to the forefront of the surrealist literary oeuvre.
An interrogation of the notion of space in Surrealist theory and philosophy, this study analyzes the manifestations of space in the paintings and writings done in the framework of the Surrealist Movement. Haim Finkelstein introduces the 'screen' as an important spatial paradigm that clarifies and extends the understanding of Surrealism as it unfolds in the 1920s, exploring the screen and layered depth as fundamental structuring principles associated with the representation of the mental space and of the internal processes that eventually came to be linked with the Surrealist concept of psychic automatism. Extending the discussion of the concepts at stake for Surrealist visual art into the context of film, literature and criticism, this study sheds new light on the way 'film thinking' permeates Surrealist thought and aesthetics. In early chapters, Finkelstein looks at the concept of the screen as emblematic of a strand of spatial apprehension that informs the work of young writers in the 1920s, such as Robert Desnos and Louis Aragon. He goes on to explore the way the spatial character of the serial films of Louis Feuillade intimated to the Surrealists a related mode of vision, associated with perception of the mystery and the Marvelous lurking behind the surfaces of quotidian reality. The dialectics informing Surrealist thought with regard to the surfaces of the real (with walls, doors and windows as controlling images), are shown to be at the basis of Andr?reton's notion of the picture as a window. Contrary to the traditional sense of this metaphor, Breton's 'window' is informed by the screen paradigm, with its surface serving as a locus of a dialectics of transparency and opacity, permeability and reflectivity. The main aesthetic and conceptual issues that come up in the consideration of Breton's window metaphor lay the groundwork for an analysis of the work of Giorgio de Chirico, Ren?agritte, Max Ernst, Andr?asson, and Joan Mir?he concluding chapter consi
Major league baseball has a long, rich history in Brooklyn. From the time Brooklyn started play in 1884 until their move west to Los Angeles following the 1957 season, the Dodgers and their predecessors were the emotional center of the borough's diverse population. But Brooklyn would be without a professional team until June of 2001, when the Cyclones took the field in Coney Island as the Mets' affiliate for the New York-Penn League. This work follows the rookie-level club from its formation through it first season. Brooklyn Dodgers Carl Erskine, Duke Snider, Clem Labine, Johnny Podres, Ralph Branca, Joe Pignatano and Clyde King comment on their own minor league days, and their days in Brooklyn. Also included are interviews of Cyclones players and fans of both teams.
The innovative, wide-ranging study deftly traverses fields of art, politics, philosophy, psychology, and literature. Reimagining Life redefines Surrealism's place in modern intellectual history and offers a new vision of how Surrealist discourse can be connected to contemporary debates in cultural, critical, and theoretical studies.