John McGreal's three new books – It’s Abstraction, Concretely, It’s Figuration, Groundly and It’s Representation, Really – continue the ‘It’ Series published by Matador since 2010. They constitute another stage in an artistic journey exploring the visual and audial dialectic of mark, word and image that began over 25 years ago. Emerging out of the first books on the Bibliograph published in 2016, initiated with It’s Nothing, Seriously, these new texts retain some of the same structural features. The Bibliographs contain the same focus on repetition and variation in meaning of their dominant motifs of representation, abstraction and figuration which have framed philosophical discourse on epistemology and ontology in aesthetics; their chance placement in each Bibliograph interspersed with one another displaying and enhancing similarities and differences. At the same time these works constitute a development in the aesthetic form of the Bibliograph. In earlier works on Nothing, Absence and Silence, it was just a question of finding and transferring given textual references from their source to construct their Bibliographs, with the focus being on the strategic position of the latter within each book. In these new works, the concern has been with working on the line and shape of the references themselves, with their enhanced spacial form as well as that of each Bibliograph as a whole. In shaping and spacing the referential images, the place of words and letters became as important as their semantic & syntactical role. Expansion and contraction of whole words was used to enhance this process. Under such detailed attention their breakdown into particles of language, into part-words and single letters was a result. The recombination of elements produced new words in a process of restrangement with new sequences of letters having visual rather than semantic value. The play on prefixes of dominant motifs yielded new words as did tmesis. This concern with the form of referential images does not preclude an equal commitment to their content. The aleatory character of textual entries in each Bibliograph encourage the reader to let his or her mind go; to read in a new way on diverse contemporary issues across conventional boundaries in the arts and sciences at several levels of physical, psychical and social reproduction.

Challenging current definitions of trauma, this brief but comprehensive volume features significant new research and case studies looking at how regular exposure to subtle social discrimination in the form of microaggressions can, over time, elicit similar symptoms to severe trauma.

Interviews with young Muslims in Chicago explore the complexity of identities formed at the crossroads of Islam and hip hop This groundbreaking study of race, religion and popular culture in the 21st century United States focuses on a new concept, “Muslim Cool.” Muslim Cool is a way of being an American Muslim—displayed in ideas, dress, social activism in the ’hood, and in complex relationships to state power. Constructed through hip hop and the performance of Blackness, Muslim Cool is a way of engaging with the Black American experience by both Black and non-Black young Muslims that challenges racist norms in the U.S. as well as dominant ethnic and religious structures within American Muslim communities. Drawing on over two years of ethnographic research, Su'ad Abdul Khabeer illuminates the ways in which young and multiethnic US Muslims draw on Blackness to construct their identities as Muslims. This is a form of critical Muslim self-making that builds on interconnections and intersections, rather than divisions between “Black” and “Muslim.” Thus, by countering the notion that Blackness and the Muslim experience are fundamentally different, Muslim Cool poses a critical challenge to dominant ideas that Muslims are “foreign” to the United States and puts Blackness at the center of the study of American Islam. Yet Muslim Cool also demonstrates that connections to Blackness made through hip hop are critical and contested—critical because they push back against the pervasive phenomenon of anti-Blackness and contested because questions of race, class, gender, and nationality continue to complicate self-making in the United States.

The untold story of the root cause of America's education crisis--and the seemingly endless cycle of multigenerational poverty. It was only after years within the education reform movement that Natalie Wexler stumbled across a hidden explanation for our country's frustrating lack of progress when it comes to providing every child with a quality education. The problem wasn't one of the usual scapegoats: lazy teachers, shoddy facilities, lack of accountability. It was something no one was talking about: the elementary school curriculum's intense focus on decontextualized reading comprehension "skills" at the expense of actual knowledge. In the tradition of Dale Russakoff's The Prize and Dana Goldstein's The Teacher Wars, Wexler brings together history, research, and compelling characters to pull back the curtain on this fundamental flaw in our education system--one that fellow reformers, journalists, and policymakers have long overlooked, and of which the general public, including many parents, remains unaware. But The Knowledge Gap isn't just a story of what schools have gotten so wrong--it also follows innovative educators who are in the process of shedding their deeply ingrained habits, and describes the rewards that have come along: students who are not only excited to learn but are also acquiring the knowledge and vocabulary that will enable them to succeed. If we truly want to fix our education system and unlock the potential of our neediest children, we have no choice but to pay attention.

Structured around the Equality Act and written collaboratively, Diverse Educators: A Manifesto aims to capture the collective voice of the teaching community and to showcase the diverse lived experiences of educators.

It’s a platitude – which only a philosopher would dream of denying – that whereas words are connected to what they represent merely by arbitrary conventions, pictures are connected to what they represent by resemblance. The most important difference between my portrait and my name, for example, is that whereas my portrait and I are connected by my portrait’s resemblance to me, my name and I are connected merely by an arbitrary convention. The first aim of this book is to defend this platitude from the apparently compelling objections raised against it, by analysing depiction in a way which reveals how it is mediated by resemblance. It’s natural to contrast the platitude that depiction is mediated by resemblance, which emphasises the differences between depictive and descriptive representation, with an extremely close analogy between depiction and description, which emphasises the similarities between depictive and descriptive representation. Whereas the platitude emphasises that the connection between my portrait and me is natural in a way the connection between my name and me is not, the analogy emphasises the contingency of the connection between my portrait and me. Nevertheless, the second aim of this book is to defend an extremely close analogy between depiction and description. The strategy of the book is to argue that the apparently compelling objections raised against the platitude that depiction is mediated by resemblance are manifestations of more general problems, which are familiar from the philosophy of language. These problems, it argues, can be resolved by answers analogous to their counterparts in the philosophy of language, without rejecting the platitude. So the combination of the platitude that depiction is mediated by resemblance with a close analogy between depiction and description turns out to be a compelling theory of depiction, which combines the virtues of common sense with the insights of its detractors.

A NEW YORK TIMES BESTSELLER Lovable ne'er-do-well Delilah Dirk is an adventurer for the 19th century. She has traveled to Japan, Indonesia, France, and even the New World. Using the skills she's picked up on the way, Delilah's adventures continue as she plots to rob a rich and corrupt Sultan in Constantinople. With the aid of her flying boat and her newfound friend, Selim, she evades the Sultan's guards, leaves angry pirates in the dust, and fights her way through the countryside. For Delilah, one adventure leads to the next in this thrilling and funny installment in her exciting life. Tony Cliff's Delilah Dirk and the Turkish Lieutenant is a great pick for any reader looking for a smart and foolhardy heroine...and globetrotting adventures. A Publishers Weekly Best Children's Book of 2013 A Kirkus Reviews Best Teen Book of 2013

When free-spirited Jamie arrives at a new preschool, all the children learn that gender expression doesn't determine which toys to play with. There are so many fun things to play with at Jamie’s new preschool—baby dolls to care for, toy cars to drive—and Jamie wants to play with them all! But the other children are confused by Jamie’s gender expression . . . is Jamie a boy or a girl? Some toys are just for girls and others are just for boys, aren’t they? Not according to Jamie! Join Jamie’s new friends as they learn the importance of cooperation, creativity, and empathy. Jamie Is Jamie is a great way to start a conversation with children about gender expression by: challenging gender stereotypes showing readers that playing is fundamental to learning reinforcing the idea that all children need the freedom to play unencumbered A special section for teachers, parents, and caregivers provides tips on how to make children’s playtime learning time. Don’t miss out on more of Jamie’s adventures in Jamie and Bubbie, available now! The Jamie Is Jamie Series The Jamie Is Jamie series invites young children to join Jamie as they build confidence through imaginative free play, break down gender stereotypes, respect pronouns and gender identity, and learn self-advocacy skills. Each book includes a section for adults to help them reinforce the books' messages.

The Images of Time presents a philosophical investigation of the nature of time and the mind's ways of representing it. Robin Le Poidevin examines how we perceive time and change, the means by which memory links us with the past, the attempt to represent change and movement in art, and the nature of fictional time. These apparently disparate questions all concern the ways in which we represent aspects of time, in thought, experience, art and fiction. They also raisefundamental problems for our philosophical understanding, both of mental representation, and of the nature of time itself.Le Poidevin brings together issues in philosophy, psychology, aesthetics, and literary theory in examining the mechanisms underlying our representation of time in various media, and brings these to bear on metaphysical debates over the real nature of time. These debates concern which aspects of time are genuinely part of time's intrinsic nature, and which, in some sense, are mind-dependent.Arguably, the most important debate concerns time's passage: does time pass in reality, or is the division of events into past, present, and future simply a reflection of our temporal perspective - a result of the interaction between a 'static' world and minds capable of representing it? Le Poidevin argues that, contrary to what perception and memory lead us to suppose, time does not really pass, and this surprising conclusion can be reconciled with the characteristic features of temporalexperience.

An argument that activity provides a useful template for thinking about representation and that deeds are themselves representational: our representing of the world consists, in part, in certain sorts of deeds that we perform in the world. In Body Language, Mark Rowlands argues that the problem of representation—how it is possible for one item to represent another—has been exacerbated by the assimilation of representation to the category of the word. That is, the problem is traditionally understood as one of relating inner to outer—relating an inner representing item to something extrinsic or exterior to it. Rowlands argues that at least some cases of representation need to be understood not in terms of the word but of the deed. Activity, he claims, is a useful template for thinking about representation; our representing the world consists, in part, in certain sorts of actions that we perform in that world. This is not to say simply that these forms of acting can facilitate representation but that they are themselves representational. These sorts of actions—which Rowlands calls deeds—do not merely express or re-present prior intentional states. They have an independent representational status. After introducing the notion of the deed as a "preintentional act," Rowlands argues that deeds can satisfy informational, teleological, combinatorial, misrepresentational, and decouplability constraints—and so qualify as representational. He puts these principles of representation into practice by examining the deeds involved in visual perception. Representing, Rowlands argues, is something we do in the world as much as in the head. Representing does not stop at the skin, at the border between the representing subject and the world; representing is representational "all the way out."