Environmental Justice

Author(s):  
Marcia McKenzie ◽  
Jada Renee Koushik ◽  
Randolph Haluza-DeLay ◽  
Belinda Chin ◽  
Jason Corwin

This chapter discusses the importance of environmental justice and issues of equity within urban environmental education. Urban environmental education engages with environmental justice through topics such as disparities in access to nature and ecosystem services and in exposure to industrial pollution and other environmental risks. There are many approaches to addressing injustice, including food sovereignty, political mobilization, and climate justice. The chapter first provides a brief history of the environmental justice movement before presenting three case studies illustrating educational responses to environmental injustice in cities: Green Guerrillas Youth Media Tech Collective and Youth Ministries for Peace and Justice in New York City, and the Equity and Environment Initiative in Seattle, Washington. These initiatives demonstrate the ways in which race, colonization, poverty, and other social issues overlap with access, understandings, benefits, and related considerations of urban place, as well as how urban environmental education is addressing these intersections.

Author(s):  
Philip Silva ◽  
Shelby Gull Laird

This chapter examines opportunities for developing urban environmental education experiences for adults. It first considers the core ideas of three influential adult education scholars—Paulo Freire, Malcolm Knowles, and Jane Vella—before describing two cases of adult environmental education in cities, one in New York City and one in London. It then reviews theory and practice through the binary categories of “emancipatory” versus “instrumental” environmental education, both of which have conceptual roots in the work of Freire, Knowles, and Vella, among others. It also explains how, through the use of andragogic methods such as relationship building, engagement in action, and a focus on the needs of the learner, adult urban environmental education initiatives can help promote environmental literacy and action.


2005 ◽  
Author(s):  
Harold Takooshian ◽  
Wade E. Pickren ◽  
John D. Hogan

2020 ◽  
Vol 73 (3) ◽  
pp. 66-78
Author(s):  
Vince Schleitwiler ◽  
Abby Sun ◽  
Rea Tajiri

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.


2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.


2008 ◽  
Vol 63 (4) ◽  
pp. 769-770
Author(s):  
Csaba Pléh

Danziger, Kurt: Marking the mind. A history of memory . Cambridge University Press, Cambridge, 2008Farkas, Katalin: The subject’s point of view. Oxford University Press, Oxford, 2008MosoninéFriedJudités TolnaiMárton(szerk.): Tudomány és politika. Typotex, Budapest, 2008Iacobini, Marco: Mirroring people. The new science of how we connect with others. Farrar, Straus and Giroux, New York, 2008Changeux, Jean-Pierre. Du vrai, du beau, du bien.Une nouvelle approche neuronale. Odile Jacob, PárizsGazzaniga_n


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