Research demonstrates that children of poverty need more than just academic instruction to succeed. Discover a blueprint for turning low-performing schools into Cultures of Hope! The authors draw from their own experiences working with high-poverty, high-achieving schools to illustrate how to support students with an approach that considers social as well as emotional factors in education.

As we approach the new millenium, the moral, intellectual,and spiritual crisis of our time is visible most plainly in the sickness of the arts. The "postmodern" cultural establishment is philosophically empty and esthetically corrupt. But no one has been able to explain this decline or give a satisfying answer to the question of the proper role of the arts in our society. Now, in The Culture of Hope -- a manifesto for a new vision of culture that is both radical and classical -- Frederick Turner goes beyond the stale dichotomies of Left and Right to take the "third side" in the culture war: the side of art itself. Great art can never be politically correct, Turner reminds us, whether the correction comes from Right or Left, because its sources are deeper than politics. The visionary modernists (Picasso, Joyce, Stravinsky) understood this, but their successors today, as well as their conservative opponents, have forgotten. Turner sharply indicts the bankrupt tribe of venal mediocrities who now infest the arts, citing their naive rejection of morality, their ignorant denial of scientific truth, and their lazy dismissal of the Western cultural heritage. On the other hand, conservatives who call for a return to traditional values seek a socially "safe" vision of art that has never existed and never can. In the past, the arts have flowered when they drew their inspiration from new scientific visions of the cosmos. Thus Turner argues that the revolution in cosmology that is occurring today in the frontier fields of scientific thought will powerfully invigorate the artists of the future. A new esthetic synthesis arising from the unexpected convergence of religion, art, and science will restore a hopeful vision of the cosmos as intelligent, creative, and self-ordering and provide the missing ground for the recovery of classical values in the arts, such as beauty, order, harmony, and meaning. Turner points to new developments in chaos theory, neurobiology, evolution, and environmental science, among other fields, to offer us a guide to the emerging art of the "radical center" which he predicts will shape the culture of the future.

Collected essays and talks from one of Britain’s great thinkers, ranging across political and cultural theory Raymond Williams possessed unique authority as Britain’s foremost cultural theorist and public intellectual. Informed by an unparalleled range of reference and the resources of deep personal experience, his life’s work represents a patient, exemplary commitment to the building of a socialist future. This book brings together important early writings including “Culture is Ordinary,” “The British Left,” “Welsh Culture” and “Why Do I Demonstrate?” with major essays and talks of the last decade. It includes work on such central themes as the nature of a democratic culture, the value of community, Green socialism, the nuclear threat, and the relation between the state and the arts. Here too, collected for the first time, are the important later political essays which undertake a thorough revaluation of the principles fundamental to the idea of socialist democracy, and confirm Williams as a shrewd and imaginative political theorist. In a sober yet constructive assessment of the possibilities for socialist advance, Williams—in the face of much recent intellectual fashion—powerfully reasserts his lifelong commitment to “making hope practical, rather than despair convincing.” This valuable collection confirms Raymond Williams as a thinker of rare versatility and one of the outstanding intellectuals of our century.

Presents the story of Plenty Coups, the last great Chief of the Crow Nation. This title contains a philosophical and ethical inquiry into a people faced with the end of their way of life.

Turner indicts both Left and Right for creating a cultural establishment that is philosophically empty and esthetically corrupt.

Culture is a continuing, forward process-the gradual unveiling of truth as life. But often we get ensnarled. We can only imagine culture as a war, a gritty ideological and religious struggle where every arena is bloody with strife: art, philosophy, cuisine, music, literature, science. But at its foundation, culture is about building, not conflict. The time has come for us to beat our swords into plowshares. By realizing the Bible's vision for a cultivated earth, we can build a more comprehensive, radical, holistic culture, resistant to compromise and dedicated to a Trinitarian aesthetic. What does this culture look like? It is the development of the earth into a global fabric of gardens and cities in harmony with nature-a glorious garden-city. Plowing in Hope provides a positive, clear, and colorful introduction to this transformational topic. "David Hegeman's approach is refreshingly different. He maps out a positive theology of culture building rooted in Creation and extending into the New Jerusalem. His wonderful little book, based on sound Biblical exegesis, presents a compelling case for why and how we should build a culture that magnifies God and ennobles men." -David Ayers, Grove City College, Pennsylvania

How did powder and paint, once scorned as immoral, become indispensable to millions of respectable women? How did a "kitchen physic," as homemade cosmetics were once called, become a multibillion-dollar industry? And how did men finally take over that rarest of institutions, a woman's business? In Hope in a Jar, historian Kathy Peiss gives us the first full-scale social history of America's beauty culture, from the buttermilk and rice powder recommended by Victorian recipe books to the mass-produced products of our contemporary consumer age. She shows how women, far from being pawns and victims, used makeup to declare their freedom, identity, and sexual allure as they flocked to enter public life. And she highlights the leading role of white and black women—Helena Rubenstein and Annie Turnbo Malone, Elizabeth Arden and Madame C. J. Walker—in shaping a unique industry that relied less on advertising than on women's customs of visiting and conversation. Replete with the voices and experiences of ordinary women, Hope in a Jar is a richly textured account of the ways women created the cosmetics industry and cosmetics created the modern woman.