An examination of the standard reference book for architects as both practical sourcebook and window on changes in the profession. Architectural Graphics Standards by Charles George Ramsey and Harold Reeve Sleeper, first published in 1932 (and now in its eleventh edition), is a definitive technical reference for architects--the one book that every architect needs to own. The authors, one a draftsman and the other an architect, created a graphic compilation of standards that amounted to an index of the combined knowledge of their profession. This first comprehensive history of Ramsey and Sleeper's classic work explores the changing practical uses that this "draftsman's Bible" has served, as well as the ways in which it has registered the shifts within the architectural profession since the first half of the twentieth century. When Architectural Graphics Standards first appeared, architecture was undergoing its transition from vocation to profession--from the draftsman's craft to the architect's academically based knowledge with a concomitant rise in social status. The older "drafting culture" gave way to massive postwar changes in design and building practice. Writing a history of the architectural profession from the bottom up--from the standpoint of the architectural draftsman--George Barnett Johnston clarifies the role and status of the subordinate architectural workers who once made up the base of the profession. Johnston's account of the evolution of Ramsey and Sleeper's book also offers a case study of the social hierarchies embedded within architecture's division of labor. Johnston investigates what became of the draftsman, and what became of drafting culture, and asks--importantly, in today's era of digital formats--what price is exacted from architectural labor as architecture pursues new professional ideals.

Writing Across Cultures invites both new and experienced teachers to examine the ways in which their training has—or has not—prepared them for dealing with issues of race, power, and authority in their writing classrooms. The text is packed with more than twenty activities that enable students to examine issues such as white privilege, common dialects, and the normalization of racism in a society where democracy is increasingly under attack. This book provides an innovative framework that helps teachers create safe spaces for students to write and critically engage in hard discussions. Robert Eddy and Amanda Espinosa-Aguilar offer a new framework for teaching that acknowledges the changing demographics of US college classrooms as the field of writing studies moves toward real equity and expanding diversity. Writing Across Cultures utilizes a streamlined cross-racial and interculturally tested method of introducing students to academic writing via sequenced assignments that are not confined by traditional and static approaches. They focus on helping students become engaged members of a new culture—namely, the rapidly changing collegiate discourse community. The book is based on a multi-racial rhetoric that assumes that writing is inherently a social activity. Students benefit most from seeing composing as an act of engaged communication, and this text uses student samples, not professionally authored ones, to demonstrate this framework in action. Writing Across Cultures will be a significant contribution to the field, aiding teachers, students, and administrators in navigating the real challenges and wonderful opportunities of multi-racial learning spaces.

The aim of this Bill is to ensure the security of the nation's most important cultural property in the event of armed conflict, and further, that the UK takes the obligation under international humanitarian law to respect and safeguard the cultural property of other nations. The Bill is required to enable the UK to ratify the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict (The Hague Convention) and accede to its two protocols (1954 and 1999). The Convention, adopted following the massive destruction which took place during the Second World War, provides a system to protect cultural property from the effects of international and domestic armed conflict. Parties to the Convention are required to respect cultural property situated within the territories of other parties by not attacking it, and respect cultural property within their own territory by not using it for the purposes which are likely to expose it to destruction or damage during armed conflict. The document sets out: a Draft Bill; Explanatory Notes and Regulatory Impact Assessment.

The draft Bill published as Cm. 7298 (ISBN 9780101729826)

These five volumes concern one of the most important institutions in human history, the military, and the interactions of that institution with the greater society. Military systems serve nations; they may also reflect them. Soldiers are enlisted; they may also be said to self-select. Military units have missions; they also have interests. In an older, more traditional military history, while the second reflects a newer approach. Although each statement in the pairs may be said to be true, the former speak from the framework of the military sciences; the latter, from the framework of the social and behavioral sciences. The military systems of our past differ from one another over time, in political origins, size, missions, and technological and tactical fashions, but to a great extent their historical experiences have been more noticeably similar than they were different. When we ask questions about the recruiting, training, or motivating of military systems, or of those systems' interactions with civilian governments and with the greater society, as do the essays in these five volumes of reading on The Military and Society we are struck by the almost timeless patterns of continuity and similarity of experience. In each of these volumes approximately half of the essays selected deal with the experience in the United States; the other half, with the experiences of other states and times, enabling the reader to engage in comparative analysis.

Wherever we look today, popular culture greets us with “texts” that make implicit arguments; this book helps students to think and write critically about these texts. The World Is a Text teaches critical reading, writing, and argument in the context of pop-culture and visual examples, showing students how to “read” everyday objects and visual texts with basic semiotics. The book shows how texts of all kinds, from a painting to a university building to a pair of sneakers, make complex arguments through their use of signs and symbols, and shows students how to make these arguments in their own essays. This new edition is rich with images, real-world examples, writing and discussion prompts, and examples of academic and student writing. The first part of the book is a rhetoric covering argumentation, research, the writing process, and adapting from high-school to college writing, while the second part explores writing about specific cultural topics. Notes, instruction, and advice about research are woven into the text, with research instruction closely tied to the topic being discussed. New to the updated compact edition are chapters on fashion, sports, and nature and the environment.

A. The law part