In A Short History of Photography Criticism; or, Why Do Photography Critics Hate Photography?, Susie Linfield contends that by looking at images of political violence and learning to see the people in them, we engage in an ethically and politically necessary act that connects us to our modern history of violence. For many years, Linfield’s acute analysis of photographs—from events as wide-ranging as the Holocaust, the Chinese Cultural Revolution, and recent acts of terrorism—has explored a complex connection between the practices of photojournalism and the rise of human rights ideals. By asking how photography should respond to the darker shadows of modern life, Linfield insists on the continuing moral relevance of photojournalism, while urging us not to avert our eyes from what James Agee once labeled “the cruel radiance of what is.”

In Nancy Bauer’s view, most feminist philosophers are content to work within theoretical frameworks that are false to human beings’ everyday experiences. Here she models a new way to write about pornography, women’s self-objectification, hook-up culture, and other contemporary phenomena, and in doing so she raises basic questions about philosophy.

This study provides a historical analysis of Freudenthal’s didactic ideas and his didactic career. It is partly biographical, but also contributes to the historiography of mathematics education and addresses closely related questions such as: what is mathematics and where does it start? Which role does mathematics play in society and what influence does it have on the prevailing views concerning its accompanying didactics?. Hans Freudenthal (1905–1990), professor in mathematics, scientist, literator, but above all mathematics-educator, was inextricably linked to the changes which took place in mathematics education and didactics during the second half of the last century. His diversity as a scientist and his inexhaustible efforts to establish the didactics of mathematics as a seriously pursued science, made Freudenthal's influence in this area considerable. He foresaw an essential, practical role for mathematics in everyone’s life, encouraging students to discover and create mathematics themselves, instead of imposing a ready-made mathematical system. The theory of mathematics education thus developed in the Netherlands would gain world fame in the following decades. Today, in the light of the discussions about mathematics education, in which the call for `genuine’ mathematics instead of the so-called 'kindergarten'-mathematics can be heard, Freudenthal's approach seems to be passé. However, the outcome of this study (which is mainly based on documents from Freudenthal’s vast personal archive) shows a more refined picture. The direct identification of 'kindergarten'-mathematics with Freudenthal’s view on mathematics education is not justified. 'Realistic mathematics' as advocated by Freudenthal includes more than just a practical introductory and should, among other things, always aim at teaching 'genuine' mathematics in the end.

Magical realism has become almost synonymous with Latin American fiction, but this way of representing the layered and often contradictory reality of the topsy-turvy, late-capitalist, globalizing world finds equally vivid expression in U.S. multiethnic and British postcolonial literature and film. Writers and filmmakers such as Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie have made brilliant use of magical realism to articulate the trauma of dislocation and the legacies of colonialism that people of color experience in the postcolonial, multiethnic world. This book seeks to redeem and refine the theory of magical realism in U.S. multiethnic and British postcolonial literature and film. Frederick Aldama engages in theoretically sophisticated readings of Ana Castillo's So Far from God, Oscar "Zeta" Acosta's Autobiography of a Brown Buffalo, Salman Rushdie's Midnight's Children, Shame, The Satanic Verses, and The Moor's Last Sigh, Julie Dash's Daughters of the Dust, and Stephen Frears and Hanif Kureishi's Sammy and Rosie Get Laid. Coining the term "magicorealism" to characterize these works, Aldama not only creates a postethnic critical methodology for enlarging the contact zone between the genres of novel, film, and autobiography, but also shatters the interpretive lens that traditionally confuses the transcription of the real world, where truth and falsity apply, with narrative modes governed by other criteria.

Media Criticism in a Digital Age introduces readers to a variety of critical approaches to audio and video discourse on radio, television and the Internet. It is intended for those preparing for electronic media careers as well as for anyone seeking to enhance their media literacy. This book takes the unequivocal view that the material heard and seen over digital media is worthy of serious consideration. Media Criticism in a Digital Age applies key aesthetic, sociological, philosophical, psychological, structural and economic principles to arrive at a comprehensive evaluation of programming and advertising content. It offers a rich blend of insights from both industry and academic authorities. These insights range from the observations of Plato and Aristotle to the research that motivates twenty-first century marketing and advertising. Key features of the book are comprised of: multiple video examples including commercials, cartoons and custom graphics to illustrate core critical concepts; chapters reflecting today’s media world, including coverage of broadband and social media issues; fifty perceptive critiques penned by a variety of widely respected media observers and; a supplementary website for professors that provides suggested exercises to accompany each chapter (www.routledge .com/cw/orlik) Media Criticism in a Digital Age equips emerging media professionals as well as perceptive consumers with the evaluative tools to maximize their media understanding and enjoyment.

Shows how criticism can enhance one's performance, discusses negative effects of criticism, and tells how to handle criticism from friends and family members