In this volume the author focuses on how the work of Derrida has helped rework the themes of tradition, legacy and inheritance in Western philosophy. It includes readings of Derrida's texts that demonstrate the claims he makes cannot be understood without considering the way in which he makes those claims.

“Deeply felt, powerful, devastating and, ultimately, hopeful.” — Nicola Yoon, #1 New York Times bestselling author of Everything, Everything and The Sun Is Also a Star “Powerful and necessary…an important, timely book.” —Amber Smith, New York Times bestselling author of The Way I Used to Be “A story that belongs in every library.” —School Library Journal (starred review) “A thoughtfully crafted argument for feminism and allyship.” —Kirkus Reviews From New York Times bestselling and award-winning author Brendan Kiely, a stunning novel that explores the insidious nature of tradition at a prestigious boarding school. Prestigious. Powerful. Privileged. This is Fullbrook Academy. Jules Devereux just wants to keep her head down, avoid distractions, and get into the right college, so she can leave Fullbrook and its old-boy social codes behind. Jamie Baxter feels like an imposter at Fullbrook, but the hockey scholarship that got him in has given him a chance to escape his past and fulfill the dreams of his parents and coaches, whose mantra rings in his ears: Don’t disappoint us. As Jules and Jamie’s lives intertwine, and the pressures to play by the rules and to keep the school’s toxic secrets, they are faced with a powerful choice: remain silent while others get hurt, or stand together against the ugly, sexist traditions of an institution that believes it can do no wrong.

Josef Pieper's Tradition: Concept and Claim analyzes tradition as an idea and as a living reality in the lives and languages of ordinary people. In the modern world of constant, unrelenting change, tradition, says Pieper, is that which must be preserved unchanged. Drawing on thinkers from Plato to Pascal, Pieper describes the key elements and figures in the act of tradition and what is distinctive about it. Pieper argues that the handing down of tradition is not the same as discussing or teaching, despite its similarities to those activities. It means accepting something as true and valid with the intent of handing it down again, unmixed with alien intrusions and yet kept alive for each new generation via imaginative reformulations. In the beginning, there is sacred tradition, founded on a revelation of God to man, yet secular tradition is important too. Tradition offers liberation from the prison of the present." Understanding what tradition really means makes one free and independent in the face of conservatisms," notes Pieper. At the same time, it links us to the past and is essential for a meaningful future. Book jacket.

WINNER OF THE 2020 PULITZER PRIZE FOR POETRY Finalist for the 2019 National Book Award "100 Notable Books of the Year," The New York Times Book Review One Book, One Philadelphia Citywide Reading Program Selection, 2021 "By some literary magic—no, it's precision, and honesty—Brown manages to bestow upon even the most public of subjects the most intimate and personal stakes."—Craig Morgan Teicher, “'I Reject Walls': A 2019 Poetry Preview” for NPR “A relentless dismantling of identity, a difficult jewel of a poem.“—Rita Dove, in her introduction to Jericho Brown’s “Dark” (featured in the New York Times Magazine in January 2019) “Winner of a Whiting Award and a Guggenheim Fellowship, Brown's hard-won lyricism finds fire (and idyll) in the intersection of politics and love for queer Black men.”—O, The Oprah Magazine Named a Lit Hub “Most Anticipated Book of 2019” One of Buzzfeed’s “66 Books Coming in 2019 You’ll Want to Keep Your Eyes On” The Rumpus poetry pick for “What to Read When 2019 is Just Around the Corner” One of BookRiot’s “50 Must-Read Poetry Collections of 2019” Jericho Brown’s daring new book The Tradition details the normalization of evil and its history at the intersection of the past and the personal. Brown’s poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we’ve become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown’s mastery, and his invention of the duplex—a combination of the sonnet, the ghazal, and the blues—is testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while reveling in a celebration of contradiction.

Sfakians on the island of Crete are known for their distinctive dress and appearance, fierce ruggedness, and devotion to traditional ways. Konstantinos Kalantzis explores how Sfakians live with the burdens and pleasures of maintaining these expectations of exoticism for themselves, for their fellow Greeks, and for tourists. Sfakian performance of masculine tradition has become even more meaningful for Greeks looking to reimagine their nation's global standing in the wake of stringent financial regulation, and for non-Greek tourists yearning for rootedness and escape from the post-industrial north. Through fine-grained ethnography that pays special attention to photography, Tradition in the Frame explores the ambivalence of a society expected to conform to outsiders' perception of the traditional even as it strives to enact its own vision of tradition. From the bodily reenactment of historical photographs to the unpredictable, emotionally-charged uses of postcards and commercial labels, the book unpacks the question of power and asymmetry but also uncovers other political possibilities that are nested in visual culture and experiences of tradition and the past. Kalantzis explores the crossroads of cultural performance and social imagination where the frame is both empowerment and subjection.

Improvisational piecing methods anchored within traditional quilting designs. Improvising Tradition pairs improvisationally pieced elements with more structured, and perhaps more familiar, quilt patterns to create projects that share a fresh, clean, and modern aesthetic. Author Alexandra Ledgerwood introduces readers to three basic improv piecing techniques: strip sets, piecing improvised strata, and slice and insert, then marries them with traditional quilting designs such as log cabins, coin and bar quilts, and even Hawaiian quilts. By using improvised elements within traditional patchwork quilt designs, Alexandra merges new and old quilting styles into projects that will appeal to a wide range of quilters. Eighteen original and modern quilting projects combine the beauty and familiarity of traditional techniques with the fresh, fun spirit of improvised quilting.

In seeking to answer the question Whose Tradition? this book pursues four themes: Place: Whose Nation, Whose City?; People: Whose Indigeneity?; Colonialism: Whose Architecture?; and Time: Whose Identity? Following Nezar AlSayyad’s Prologue, contributors addressing the first theme take examples from Indonesia, Myanmar and Brazil to explore how traditions rooted in a particular place can be claimed by various groups whose purposes may be at odds with one another. With examples from Hong Kong, a Santal village in eastern India and the city of Kuala Lumpur, contributors investigate the concept of indigeneity, the second theme, and its changing meaning in an increasingly globalized milieu from colonial to post-colonial times. Contributors to the third theme examine the lingering effects of colonial rule in altering present-day narratives of architectural identity, taking examples from Guam, Brazil, and Portugal and its former colony, Mozambique. Addressing the final theme, contributors take examples from Africa and the United States to demonstrate how traditions construct identities, and in turn how identities inform the interpretation and manipulation of tradition within contexts of socio-cultural transformation in which such identities are in flux and even threatened. The book ends with two reflective pieces: the first drawing a comparison between a sense of ‘home’ and a sense of tradition; the second emphasizing how the very concept of a tradition is an attempt to pin down something that is inherently in flux.

Infuse thoughtfully furnished rooms with your own personal style, for every part of your home. Drawing on inspiration from his personal style, world travels, and client experience, Grant K. Gibson takes you on a journey to curate your perfect home. This highly instructional design book covers wall-to-wall, floor-to-ceiling, in an engaging and comprehensive look at what makes a home both functional and beautiful. Learn the importance of not just decorating with objects, but infusing your living space with items that have meaning in your own life. Each chapter focuses on a different element of the home: foyer, living room, dining room, kitchen, bedrooms, kids’ rooms, and bathrooms and powder rooms. Discover Grant’s design philosophy—and the questions you should be asking yourself—as it pertains to each respective room. Sidebars with design secrets, decorating tips, and how-tos provide further instruction. Thorough and personable, showcasing photography from Grant’s portfolio, his travels, and vast collection of previously unpublished snapshots taken in the process of his design work, The Curated Home is home décor inspiration at its best. Grant K. Gibson is an interior designer based in San Francisco. His firm works on projects around the country. His work has been featured in many publications including Architectural Digest, The New York Times, Elle Décor, House Beautiful, The Wall Street Journal, Real Simple, and more. He lives in San Francisco.

A new interdisciplinary interest has risen to study interconnections between oral tradition and book culture. In addition to the use and dissemination of printed books, newspapers etc., book culture denotes manuscript media and the circulation of written documents of oral tradition in and through the archive, into published collections. Book culture also intertwines the process of framing and defining oral genres with literary interests and ideologies. The present volume is highly relevant to anyone interested in oral cultures and their relationship to the culture of writing and publishing. The questions discussed include the following: How have printing and book publishing set terms for oral tradition scholarship? How have the practices of reading affected the circulation of oral traditions? Which books and publishing projects have played a key role in this and how? How have the written representations of oral traditions, as well as the roles of editors and publishers, introduced authorship to materials customarily regarded as anonymous and collective?

This book explores examples of this process of invention and addresses the complex interaction of past and present in a fascinating study of ritual and symbolism.