Pages choisies; philosophie, art et socialisme, l'éducation de peuple, l'avenir de l'humanité, études et portraits historiques, le socialisme, l'Internationale, la guerre et la paix;

Mode of access: Internet.

Théâtre de M. J. Chénier,

Vol. 3 has title: Théâtre posthume de M. J. Chénier, précédé de Considerations sur la liberté du théâtre en France.

[Pamphlets on the Catholic Church : 1836-1940]

Title supplied by the University of California.

American portraits, 1875-1900,

Mark Twain.--Henry Adams.--Sidney Lainer.--James McNeill Whistler.--James Gellespie Blaine.--Grover Cleveland.--Henry James.--Joseph Jefferson.

Beza's Icones; contemporary portraits of reformers of religion and letters, being facsimile reproductions of the portraits in Beza's "Icones" (1580), and in Goulard's edition (1851), with introduction and biographies

Mode of access: Internet.

Megjegyzések Joseph Stiglitz és Amartya Sen "A gazdasági teljesítmények és a szociális haladás mérése" című jelentéséhez

A jelentés nem jöhetett volna soha jobbkor. A felkérés még 2008 februárjában történik. Akkor, amikor sok szakértő azt nyilatkozza, hogy a válságot Európa meg fogja úszni. Valószínűleg a megbízó, Nicolas Sárközy francia elnök sem előrelátóbb, de ösztönösen ráérez a problémára és a lehetőségre. Vagy okos tanácsadói javasolják. A válság mindenesetre még egyértelműbbé teszi, hogy statisztikai rendszerünk több szempontból is tökéletlen. A bizottság mandátuma eredetileg szerényebb, de az új események fényében tevékenységük felértékelődik. A rangos munkaközösség tagjai Joseph E. Stiglitz (Columbia Egyetem) és Amartya Sen (Harvard Egyetem) Nobel-díjasok, a testület koordinátorának Jean-Paul Fitoussi neves francia professzort kérik fel. Rajtuk kívül még 21 közismert szakértő vesz részt a munkában, főként amerikai és francia egyetemekről. A jelentést 2009. szeptember 14-én mutatják be egész napos konferencia keretében a Sorbonne egyetem aulájában.

Torch relay with last mile runners Michelle Cearcy, Billie Jean King, Peggy Kokernot, and Sylvia Ortiz at International Women's Year conference in Houston

General note: Title and date provided by Bettye Lane.

A woman who had an abortion demonstrates at NYU Law School where Joseph A. Califano is speaking

General note: Title and date provided by Bettye Lane.

Mary Jean Collins-Robson at NOW conference, Houston

General note: Title and date provided by Bettye Lane.

Tennis champion Billie Jean King

General note: Title and date provided by Bettye Lane.

Tennis champion Billie Jean King

General note: Title and date provided by Bettye Lane.

Documenting reproduction and inequality : revisiting Jean Anyon’s “Social class and school knowledge”

Jean Anyon’s (1981) “Social class and school knowledge” was a landmark work in North American educational research. It provided a richly detailed qualitative description of differential, social-class-based constructions of knowledge and epistemological stance. This essay situates Anyon’s work in two parallel traditions of critical educational research: the sociology of the curriculum and classroom interaction and discourse analysis. It argues for the renewed importance of both quantitative and qualitative research on social reproduction and equity in the current policy context.

Joseph A. Schumpeter, capitalism, socialism, and democracy

This is a review of "Capitalism, socialism, and democracy", by Joseph A. Schumpeter, New York, Harper Perennial, 1942 (first Harper Colophon edition published 1975). "The public mind has by now so thoroughly grown out of humor with it as to make condemnation of capitalism and all its works a foregone conclusion – almost a requirement of the etiquette of discussion. Whatever his political preference, every writer or speaker hastens to conform to this code and to emphasize his critical attitude, his freedom from ‘complacency’, his belief in the inadequacies of capitalist achievement, his aversion to capitalist and his sympathy with anti-capitalist interests. Any other attitude is voted not only foolish but anti-social and is looked upon as an indication of immoral servitude." We might easily mistake this for a voice weary of contemplating the implications for neo-liberal nostrums of our current global financial crisis were it not for the rather formal, slightly arch, style and the gender exclusive language. It was in fact penned in the depths of World War II by Harvard economist Joseph Schumpeter, who fell off the map only to re-emerge from the 1970s as oil shocks and stagflation in the west presaged the decline of the Keynesian settlement, as east Asian newly industrialising economies were modelling on his insistence that entrepreneurialism, access to credit and trade were the pillars of economic growth, and as innovation became more of a watchword for post-industrial economies in general. The second coming was perhaps affirmed when his work was dubbed by Forbes in 1983 – on the occasion of the 100th anniversary of the birth of both men – as of greater explanatory import than Keynes’. (And what of our present resurgent Keynesian moment?)...

Wrapped fragments : Drapery, the eighteenth century portrait bust and the male subject

The depiction of drapery (generalised cloth as opposed to clothing) is a well-established convention of Neo-Classical sculpture and is often downplayed by art historians as of purely rhetorical value. It can be argued however that sculpted drapery has served a spectrum of expressive ends, the variety and complexity of which are well illustrated by a study of its use in portrait sculpture. For the Neo-Classical portrait bust, drapery had substantial iconographic and political meaning, signifying the new Enlightenment notions of masculine authority. Within the portrait bust, drapery also served highly strategic aesthetic purposes, alleviating the abruptness of the truncated format and the compromising visual consequences of the “cropped” body. With reference to Joseph Nollekens’ portraits of English statesman Charles James Fox and the author’s own sculptural practice, this paper analyses the Neo-Classical use of drapery to propose that rendered fabric, far from mere stylistic flourish, is a highly charged visual signifier with much scope for exploration in contemporary sculptural practice.