The British School of Sculpture, c. 1760-1832 represents the first edited collection exploring one of the most significant moments in British art history, returning to centre stage a wide range of sculpture considered for the first time by some of the most important scholars in the field. Following a historical and historiographical introduction by the editors, situating British sculpture in relation to key events and developments in the period, and the broader scholarship on British art more generally in the period and beyond, the book contains nine wide-ranging case studies that consider the place of antique and modern sculpture in British country houses in the period, monuments to heroes of commerce and the Napoleonic Wars, the key debates fought around ideal sculpture at the Royal Academy, the reception of British sculpture across Europe, the reception of Hindu sculpture deriving from India in Britain, and the relationship of sculpture to emerging industrial markets, both at home and abroad. Challenging characterisations of the period as 'neoclassical', the volume reveals British sculpture to be a much more eclectic and various field of endeavour, both in service of the state and challenging it, and open to sources ranging from the newly arrived Parthenon Frieze to contemporary print culture.

50th Anniversary Expanded 5th edition: "Back in 1971 when this booklet was first published, the principal Weapons of Mass Suppression, or WMS, of Black Caribbean children's educational and life prospects were the ESN school, ESN streams and 'Remedial' classes in regular schools. New versions of WMS appeared over the ensuing decades, as the original model, and each replacement, met with Black Caribbean resistance and even open protest. In each case, the objective of these 'new' iterations was not to concentrate more resources and more experienced and skilled teachers to meet the needs of the children designated as 'in Special Educational Need (SEN)', but rather to assign less of these resources, and less experienced teachers to their care. It was a dustbin solution, not a lifting-the-child-up operation. It was a life sentence, not a life-line to greater opportunities. The last 50 years has taught us not to rely on pleas to or the goodwill of those running the system to effect the changes our children need. Just as we did a half-century ago and since, we have to accept that future progress for our children on all fronts depends on our actions, our initiatives..." - Bernard Coard (Extract from the Preface) This Edition also includes: INTRODUCTION by Paul Mackney, Former General Secretary, University & Colleges Union (UK) FOREWORD by Jeremy Corbyn, MP, former Leader of the Opposition, Britain Parliament PART TWO: Republished article written by the Author in 2004 on "Why I Wrote the 'ESN Book' 30 Years On" - PART THREE: "50 Years On" Essay by Hubert Devonish, Emeritus Professor of Linguistics, The University of The West Indies, Mona, Jamaica Bernard Coard taught at his secondary school in Grenada on leaving at 18 and at Brandeis University's 'Upward Bound' Summer Programme at 20 and 21. He studied at Brandeis University (Massachusetts, USA) and then Sussex University (UK). During the late 1960s and early '70s, Bernard ran youth clubs in Southeast London for children attending seven so-called ESN schools and taught at two others in East London. He subsequently taught at The University of The West Indies and at the Institute of Higher Studies, Netherlands Antilles. For 20 years, Coard set up and ran the Richmond Hill Prison Education Programme, Grenada (basic literacy to London University postgraduate degrees). He continues to teach at university level as a guest lecturer, in person and online.

Reprint of the original, first published in 1871. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

The British School of Sculpture, c. 1760?1832 represents the first edited collection exploring one of the most significant moments in British art history, returning to centre stage a wide range of sculpture considered for the first time by some of the most important scholars in the field. Following a historical and historiographical introduction by the editors, situating British sculpture in relation to key events and developments in the period, and the broader scholarship on British art more generally in the period and beyond, the book contains nine wide-ranging case studies that consider the place of antique and modern sculpture in British country houses in the period, monuments to heroes of commerce and the Napoleonic Wars, the key debates fought around ideal sculpture at the Royal Academy, the reception of British sculpture across Europe, the reception of Hindu sculpture deriving from India in Britain, and the relationship of sculpture to emerging industrial markets, both at home and abroad. Challenging characterisations of the period as 'neoclassical', the volume reveals British sculpture to be a much more eclectic and various field of endeavour, both in service of the state and challenging it, and open to sources ranging from the newly arrived Parthenon Frieze to contemporary print culture.

Through close textual and contextual analysis of British films spanning a century, this book explores how pupils, teachers and secondary education in general have been represented on the British screen. The author addresses a number of topics including the nature of public (fee-paying) and state schooling; the values of special, single-sex and co-education; the role of male and female teachers; and the nature of childhood and adolescence itself. From the silents of Hitchcock to the sorcery of Harry Potter, British cinema’s continued explorations of school life highlights its importance in the nation’s everyday experience and imaginary landscape. Beyond this, the school film, varying in scope from low-budget exploitation to Hollywood-financed blockbusters, serves both as a prism through which one can trace major shifts in the British film industry and as a barometer of the social and cultural concerns of the cinema-going public. This applies especially for gender, race and, in all senses, class.

This history charts how geography rose to popularity on a tide of imperial enthusiasms in Victorian time and made its way into many elementary schools in the latter half of the 19th century. Many geography lessons were not dominated by the rote-learning of "capes and bays" and some of the pioneers of the subject led the way in the use of models, visual aids and "object lessons" in schools. The book explores Scott Keltie's report of 1886 as a catalyst for development. Despite the founding of the Geographical Association in 1893, the subject needed a series of concerted political campaigns in the early 20th centry to establish itself in the secondary sector. The growth of the regional approach, field-work and of sample studies expanded the subject between the world wars, before a major conceptual revolution invigorated and challenged teachers of the subject in the post-war period.