Marginal At The Center

A self-proclaimed guerrilla fighter for ideas, Baruch Kimmerling was an outspoken critic, a prolific writer, and a “public” sociologist. While he lived at the center of the Israeli society in which he was involved as both a scientist and a concerned citizen, he nevertheless felt marginal because of his unconventional worldview, his empathy for the oppressed, and his exceptional sense of universal justice, which were at odds with prevailing views. In this autobiography, the author, who was born in Transylvania in 1939 with cerebral palsy, describes how he and his family escaped the Nazis and the circumstances that brought them to Israel, the development of his understanding of Israeli and Palestinian histories, of the narratives each society tells itself, and of the implacable “situation”—along with predictions of some of the most disturbing developments that are taking place right now as well as solutions he hoped were still possible. Kimmerling’s deep concern for Israel's well-being, peace, and success also reveals that he was in effect a devoted Zionist, contrary to the claims of his detractors. He dreamed of a genuinely democratic Israel, a country able to embrace all of its citizens without discrimination and to adopt peace as its most important objective. It is to this dream that this posthumous translation from Hebrew has been dedicated.

When Feminist Theory: From Margin to Center was first published in 1984, it was welcomed and praised by feminist thinkers who wanted a new vision. Even so, individual readers frequently found the theory "unsettling" or "provocative." Today, the blueprint for feminist movement presented in the book remains as provocative and relevant as ever. Written in hooks's characteristic direct style, Feminist Theory embodies the hope that feminists can find a common language to spread the word and create a mass, global feminist movement.

This is the first book-length study of installation art. JulieReiss concentrates on some of the central figures in its emergence,including artists, critics, and curators.

Diversity among Architects presents a series of essays questioning the homogeneity of architecture practitioners, who remain overwhelmingly male and Caucasian, to help you create a field more representative of the population you serve. The book is the collected work of author Craig L. Wilkins, an African American scholar and practitioner, and discusses music, education, urban geography, social justice, community design centers, race-space identity, shared landscape, and many more topics.

Center or Margin: Revisions of the English Renaissance in Honor of Leeds Barroll includes essays by Catherine Belsey, Harry Berger, Jr., Philippa Berry, Raphael Falco, Jean E. Howard, Lena Cowen Orlin, Patricia Parker, Phyllis Rackin, Bruce R. Smith, Barbara Maria Stafford, Peter Stallybrass, and Susanne Woods. With sections on England at the Margins, Researching the Renaissance, The Human Figure on the Stage, and Artificial Persons, the collection makes interventions in historiography as well as history, literary interpretation, and also literary criticism. Some of the issues are England's marginal status in the sixteenth- and seventeenth- century world; the re-centering strategies of the Renaissance public theater in both time and space; mutually reinforcing fallacies engendered by common practices of canon formation and historical narrative; the central meanings of marginal characters in Shakespeare and Milton;

How can we tutor our campus communities, administrators, faculty, and students toward the most effective use of writing center resources? more productive and successful work, this volume includes scholarship that provides historical, theoretical, and practical guidance for both writing centers and their campus communities. This collection focuses on helping the academy understand writing centers and, more importantly, articulates how writing centers move beyond remediation and become centers of learning and teaching through fostering productive working relationships.

'The Centre as Margin. Eccentric Perspectives on Art' is a multi-authored volume of collected essays that answer the challenge of thinking Art History, and the Arts in a broader sense, from a liminal point of view. Its main goal is thus to discuss the margin from the centre - drawing on its concomitance within study themes and subjects, ontological and epistemological positions, or research methodologies themselves. Marginality, eccentricity, liminality, and superfluity are all part of a dynamic relationship between centre and margin(s) that will be approached and discussed, from the point of view of disciplines as different and as close as art history, philosophy, literature and design, from medieval to contemporary art. Resulting from recent research developed from the privileged viewpoint offered by the margin, this volume brings together the contributions of young researchers along with the work of career scholars. Likewise, it does not obey a traditional or a rigid diachronic structure, being rather organized in three major parts that organically articulate the different essays. Within each of these parts in which the book is divided, papers are sometimes organized according to their timeframes, providing the reader with an encompassing (though not encyclopedic) overview of the common ground over which the various artistic disciplines build their methodological, theoretical, and thematic centers and margins. The intended eccentricity of this volume – and the original essays herein presented – should provide researchers, scholars, students, artists, curators, and the general reader interested in art with a refreshing approach to its various scientific strands.