The Antelope

https://openspaces.unk.edu/unkantelope/1216/thumbnail.jp

West Coast Antiwar Nonprofit Collaboration

While collaboration among nonprofit organizations is happening in both San Francisco and Los Angeles on issues ranging from breast cancer to saving the whales, and while 75% of Americans are opposed to the war in Afghanistan (CNN, 2010), the antiwar movement on the West Coast has come to a standstill. This paper examines the dynamics of West Coast antiwar nonprofits, whether or not they are collaborating, and the advantages and disadvantages of collaboration. A successful collaboration among several antiwar nonprofits, and the combined use of their resources, might stand a better chance of creating a sustainable antiwar movement on the West Coast. This capstone seeks to explore the pros and cons of collaboration among nonprofits and the issues facing nonprofit collaboration and, therefore, the potential for a sustainable antiwar movement. This paper looks at what the term “collaboration” means to the antiwar nonprofits of the West Coast and uses Social Movement Theory to help shed light on that issue. One single nonprofit organization or coalition does not have the power to bring the war in Afghanistan to a halt. This paper is comprised of interviews with individuals who are heavily involved in the antiwar movement. Their accounts, as well as a wide framework of both antiwar and nonprofit collaboration literature, guide the research. With the antiwar movement steadily on the decline since 2003, does collaboration among antiwar nonprofits pose a potential answer to the vast majority of the public’s quest to end the war in Afghanistan, and allow for a sustainable antiwar movement

What Should Schools Teach? Disciplines, subjects and the pursuit of truth

The design of school curriculums involves deep thought about the nature of knowledge and its value to learners and society. It is a serious responsibility that raises a number of questions. What is knowledge for? What knowledge is important for children to learn? How do we decide what knowledge matters in each school subject? And how far should the knowledge we teach in school be related to academic disciplinary knowledge? These and many other questions are taken up in What Should Schools Teach? The blurring of distinctions between pedagogy and curriculum, and between experience and knowledge, has served up a confusing message for teachers about the part that each plays in the education of children. Schools teach through subjects, but there is little consensus about what constitutes a subject and what they are for. This book aims to dispel confusion through a robust rationale for what schools should teach that offers key understanding to teachers of the relationship between knowledge (what to teach) and their own pedagogy (how to teach), and how both need to be informed by values of intellectual freedom and autonomy. This second edition includes new chapters on Chemistry, Drama, Music and Religious Education, and an updated chapter on Biology. A revised introduction reflects on emerging discourse around decolonizing the curriculum, and on the relationship between the knowledge that children encounter at school and in their homes

What Should Schools Teach?

The design of school curriculums involves deep thought about the nature of knowledge and its value to learners and society. It is a serious responsibility that raises a number of questions. What is knowledge for? What knowledge is important for children to learn? How do we decide what knowledge matters in each school subject? And how far should the knowledge we teach in school be related to academic disciplinary knowledge? These and many other questions are taken up in What Should Schools Teach? The blurring of distinctions between pedagogy and curriculum, and between experience and knowledge, has served up a confusing message for teachers about the part that each plays in the education of children. Schools teach through subjects, but there is little consensus about what constitutes a subject and what they are for. This book aims to dispel confusion through a robust rationale for what schools should teach that offers key understanding to teachers of the relationship between knowledge (what to teach) and their own pedagogy (how to teach), and how both need to be informed by values of intellectual freedom and autonomy. This second edition includes new chapters on Chemistry, Drama, Music and Religious Education, and an updated chapter on Biology. A revised introduction reflects on emerging discourse around decolonizing the curriculum, and on the relationship between the knowledge that children encounter at school and in their homes. Praise for What Should Schools Teach? ‘This book brings profound questions about what children need to know back to the centre of educational enquiry where they belong. The additional chapters in this second edition are excellent. We all need to read it.’ Professor Elizabeth Rata, University of Auckland ‘I am afraid that what we actually teach is so often forgotten in debates about schools. Subjects – the way that most people choose to divide up human knowledge – are too rarely the focus of our interest. Yet the subjects we offer and the syllabus content of each is arguably the most important single element of the school system. This book bucks the trend and should be of great importance to all teachers.’ Barnaby Lenon, University of Buckingha

YOUTH PARTICIPATION IN INDIGENOUS TERRITORIAL GOVERNANCE

Indigenous territories, which cover more than one-fourth of the world’s land surface, overlap with distinct ecological areas and harbour significant cultural and biological diversity. Indigenous Peoples’ stewardship of customary lands can provide critical contributions to ensure livelihood and food security, combat climate change, and promote environmental knowledge. Given their significance, the use and governance of Indigenous territories are important areas of study. Of major concern involves keeping broad and diverse community memberships invested in local territorial governance. Young people are an important community sub-group often underrepresented in governance and decision-making spaces and understudied in the literature on environmental governance and natural resource management. In this thesis, I investigated the experiences and perceptions of Indigenous youth regarding territorial use and governance using a qualitative research approach. This involved a case study of youth from the Indigenous Territory of Lomerío in the Chiquitania region of eastern Bolivia, supplemented by insights from rural development and natural resource practitioners working in Latin America and internationally. I found that Lomerío represents an atypical yet instructive case of how Indigenous (and other rural and remote) communities might find a way for their young people to participate more actively in local territorial governance. A role for youth in the case of Lomerío was underpinned by an enabling socio-cultural environment that is welcoming of young people and open to creating meaningful roles for them within local governance systems and structures. Based on insights from Lomerío and other cases identified in broader literature, this thesis generates recommendations for communities and support organizations, as well as government policymakers, on how youth-community-territory linkages can be enhanced

What Should Schools Teach?

The design of school curriculums involves deep thought about the nature of knowledge and its value to learners and society. It is a serious responsibility that raises a number of questions. What is knowledge for? What knowledge is important for children to learn? How do we decide what knowledge matters in each school subject? And how far should the knowledge we teach in school be related to academic disciplinary knowledge? These and many other questions are taken up in What Should Schools Teach? The blurring of distinctions between pedagogy and curriculum, and between experience and knowledge, has served up a confusing message for teachers about the part that each plays in the education of children. Schools teach through subjects, but there is little consensus about what constitutes a subject and what they are for. This book aims to dispel confusion through a robust rationale for what schools should teach that offers key understanding to teachers of the relationship between knowledge (what to teach) and their own pedagogy (how to teach), and how both need to be informed by values of intellectual freedom and autonomy. This second edition includes new chapters on Chemistry, Drama, Music and Religious Education, and an updated chapter on Biology. A revised introduction reflects on emerging discourse around decolonizing the curriculum, and on the relationship between the knowledge that children encounter at school and in their homes. Praise for What Should Schools Teach? ‘This book brings profound questions about what children need to know back to the centre of educational enquiry where they belong. The additional chapters in this second edition are excellent. We all need to read it.’ Professor Elizabeth Rata, University of Auckland ‘I am afraid that what we actually teach is so often forgotten in debates about schools. Subjects – the way that most people choose to divide up human knowledge – are too rarely the focus of our interest. Yet the subjects we offer and the syllabus content of each is arguably the most important single element of the school system. This book bucks the trend and should be of great importance to all teachers.’ Barnaby Lenon, University of Buckingha

Fundamentos conceptuales y tendencias gráficas en la animación de autor

La animación, gracias a los precursores cinemáticos y con el posterior impulso de Winsor McCay, surge como «una forma de expresión artística en movimiento», que se abren en dos vertientes. En la primera, Walt Disney instituyó una forma de producción sistematizada de animación incorporando nuevas tecnologías que le dieron a la animación un nuevo valor artístico; sin embargo este modelo de animación estaba nublado por intereses comerciales. La segunda vertiente, encabezada por la National Film Board of Canadá y Norman McLaren, rechaza el «modelo Disney» estética y temáticamente; proponiendo a cambio una forma de «animación independiente» basada en la manifestación personal, la experimentación de técnicas y el desarrollo de una temática adulta y contra cultural. Actualmente, éstas devinieron en la animación comercial y la animación independiente respectivamente; y aunque no existe una línea clara que las diferencia, hay ciertos criterios a considerar que van desde los modos de producción (número de artistas, presupuestos, exhibición y metrajes), los intereses artísticos (técnicas, libertad creativa) y enfoques conceptuales (temáticas, estructuras narrativas). La animación de autor tiene sus orígenes en el «cine de autor» pues comparten sus bases conceptuales. Y además, sus autores se definen por su visión personal del mundo, el uso de símbolos, y su amplio espectro artístico. Uno de los aspectos visuales más interesantes es el uso de diversas técnicas artesanales o experimentales, además de las tradicionales. Técnicas de animación a base de materiales como el carboncillo, la tinta china, la acuarela, el óleo, entre otras, los cuales definen el estilo del artista; y cómo la técnica (la forma) complementa el mensaje (el concepto) que cada artista quiere trasmitir, dándole un nuevo significado y valor a la obra de animación. Por otro lado, se estudian los fundamentos narrativos de animación como el guión, el storyboard, el desarrollo de personajes y la música; y cómo la correcta arquitectura de estos fundamentos permitirá crear una animación con una historia coherente, visualmente fluida, personajes con personalidad y una atmosfera que sea coherente con el concepto de la animación. Finalmente, se explora la función de la animación de autor como forma de arte en la sociedad. Su dinamismo le da un gran poder de influencia para trasmitir un mensaje y de ello una gran responsabilidad con el público espectador. El último capítulo analiza a dos autores de animación independiente: Michael Dudok de Wit con Father and Daughter y Bill PIympton con More Sex & Violence. Dudok de Wit se caracteriza por su trazo en tinta y fondos de acuarela la capacidad expresiva de sus personajes, por al liricidad de sus extensos paisajes y por el manejo de metáforas visuales. Y del otro lado, a Bill PIympton lo define el carácter crítico e irónico y sin censura de sus animaciones, el trazo a lápiz, la maleabilidad de sus personajes; y su cuestionamiento, a manera de sátira, de las normas de conductas y la moral de la sociedad.Tesi