A growing interest in the use of games-based approaches for learning has been tempered in many sectors by budget or time constraints associated with the design and development of detailed digital simulations and other high-end approaches. However, a number of practitioners and small creative groups have used low-cost, traditional approaches to games in learning effectively - involving simple card, board or indoor/outdoor activity games.New Traditional Games for Learning brings together examples of this approach, which span continents (UK, western and eastern Europe, the US, and Australia), sectors (education, training, and business) and learner styles or ages (primary through to adult and work-based learning or training). Together, the chapters provide a wealth of evidence-based ideas for the teacher, tutor, or trainer interested in using games for learning, but turned off by visible high-end examples.
An editors' introduction pulls the collection together, identifying shared themes and drawing on the editors' own research in the use of games for learning. The book concludes with a chapter by a professional board game designer, incorporating themes prevalent in the preceding chapters and reflecting on game design, development and marketing in the commercial sector, providing valuable practical advice for those who want to take their own creations further.
During the Cold War, the West typically represented socialism as a threat to genuine aesthetic achievement. Nonetheless, socialist cultures have produced a rich and varied body of creative works, and socialism continues to be a living force in China and in many regions of the Third World. The essays in this volume begin to reassess the legacy of socialist cultural production in such areas of the world, which were outside the specific scope of influence of either the United States or the Soviet Union during the Cold War era.
The contributors give special attention to the strong anticolonial legacy of socialism and the important role played by socialism in subsequent attempts to build viable postcolonial cultural identities. Included are chapters on creative works from China, Africa, and the Caribbean, as well as the works of multicultural artists from the United States who stand in relation to Third World cultures. The essays show that global socialist cultural production was rich and varied during the twentieth century and continues to be so, despite the tribulations experienced by socialism itself. While some of the chapters address theoretical concerns central to all socialist cultures, the volume focuses primarily on socialist cultures in those parts of the globe that were never fully inside either the Soviet or the American bloc.
"Russell clearly succeeds in erasing historically one-dimensional views of Hamburg's late entry into shaping Germany's larger cultural and intellectual discourse." * German Studies Review "...a valuable scholarly contribution, serving as a useful reminder of the broad spectrum of political views and levels of engagement to be found in the complex confrontations with modernity in later imperial Germany." * The American Historical Review "...a compelling and needed nuance to overly simplified assumptions about Wilhelmine history. [Russell) offers instead a Hamburg that used its public art both to understand its unique history and to embrace a new path for the future...Russell's writing is clear and readable. he is able to add a significant contribution to the scholarship on Hamburg by moving beyond its role as a commercial hub within the empire and adding to its credence as a center of shaping the definition of a Kulturstadt." * H-Net "This scholarly and highly nuanced book will be an invaluable source for art historians as well as those studying twentieth-century Germany and its political, cultural, intellectual and emotional history." * Notable Book Reviews "This is real interdisciplinary work of the highest quality." * Jonathan Steinberg, Walter H. Annenberg Professor of Modern European History, University of Pennsylvania Aby Warburg (1866-1929), founder of the Warburg Institute, was one of the most influential cultural historians of the twentieth century. Focusing on the period 1896-1918, this is the first in-depth, book-length study of his response to German political, social and cultural modernism. It analyses Warburg's response to the effects of these phenomena through a study of his involvement with the creation of some of the most important public artworks in Germany. Using a wide array of archival sources, including many of his unpublished working papers and much of his correspondence, the author demonstrates that Warburg's thinking on contemporary art was the product of two important influences: his engagement with Hamburg's civic affairs and his affinity with influential reform movements seeking a greater role for the middle classes in the political, social and cultural leadership of the nation. Thus a lively picture of Hamburg's cultural life emerges as it responded to artistic modernism, animated by private initiative and public discourse, and charged with debate.
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