LEADER 02434nam 2200565 a 450 001 9910461563103321 005 20200520144314.0 010 $a1-283-37522-2 010 $a9786613375223 010 $a0-335-24302-9 035 $a(CKB)2670000000133689 035 $a(EBL)863804 035 $a(OCoLC)772398375 035 $a(SSID)ssj0000830272 035 $a(PQKBManifestationID)11966363 035 $a(PQKBTitleCode)TC0000830272 035 $a(PQKBWorkID)10799237 035 $a(PQKB)11652644 035 $a(MiAaPQ)EBC863804 035 $a(Au-PeEL)EBL863804 035 $a(CaPaEBR)ebr10521911 035 $a(CaONFJC)MIL337522 035 $a(EXLCZ)992670000000133689 100 $a20120123d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aOutdoor learning$b[electronic resource] $epast and present /$fRosaleen Joyce 210 $aMaidenhead, England $cOpen University Press$d2012 215 $a1 online resource (146 p.) 300 $aDescription based upon print version of record. 311 $a0-335-24301-0 311 $a0-335-24300-2 320 $aIncludes bibliographical references and index. 327 $aFront cover; Half title; Title; Copyright; Dedication; Contents; List of tables and figures; Acknowledgements; 1 Introduction; 2 Outdoor learning in the historical context of childhood, 1500 to the present; 3 Born to be educated: John Amos Comenius (1592-1670); 4 Born to learn: Johann Heinrich Pestalozzi (1746-1827); 5 Born to do: Friedrich Froebel (1782-1852); 6 Born to breathe: Margaret McMillan (1860-1931); 7 Born to learn in nature: Go?sta Frohm in Sweden (1908-99); 8 Born to be free: Forest Schools in the UK (1950s-present); 9 Conclusion; Bibliography; Index; Advert; Back cover 330 $aThe book breaks new ground by placing 'outdoor learning' in a theoretical, historical and social context of changing understandings of children, childhood and the use of the outdoors. The books approach is based on the premise that ideas phase in and out 606 $aOutdoor education 608 $aElectronic books. 615 0$aOutdoor education. 676 $a372.1384 700 $aJoyce$b Rosaleen$0960199 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910461563103321 996 $aOutdoor learning$92176356 997 $aUNINA LEADER 04037nam 22006254a 450 001 9910777769503321 005 20200520144314.0 010 $a0-292-77487-7 010 $a0-292-79549-1 024 7 $a10.7560/713345 035 $a(CKB)1000000000472962 035 $a(OCoLC)646760692 035 $a(CaPaEBR)ebrary10245719 035 $a(SSID)ssj0000271135 035 $a(PQKBManifestationID)11206378 035 $a(PQKBTitleCode)TC0000271135 035 $a(PQKBWorkID)10293382 035 $a(PQKB)11356322 035 $a(Au-PeEL)EBL3443242 035 $a(CaPaEBR)ebr10245719 035 $a(Au-PeEL)EBL7171715 035 $a(MiAaPQ)EBC3443242 035 $a(MiAaPQ)EBC7171715 035 $a(DE-B1597)587233 035 $a(OCoLC)1286808789 035 $a(DE-B1597)9780292795495 035 $a(EXLCZ)991000000000472962 100 $a20060322d2007 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aWhen writing met art$b[electronic resource] $efrom symbol to story /$fDenise Schmandt-Besserat 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2007 215 $a1 online resource (145 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-71334-7 320 $aIncludes bibliographical references (p. [117]-127) and index. 327 $aIntroduction : Writing and art -- How writing shaped art. -- Pottery painting -- Glyptic --The Uruk vase : sequential narrative -- Wall and floor painting -- How art shaped writing -- Funerary inscriptions -- Votive and dedicatory inscriptions -- The stele of Hammurabi -- Conclusion : the interface between writing and art. 330 $aDenise Schmandt-Besserat opened a major new chapter in the history of literacy when she demonstrated that the cuneiform script invented in the ancient Near East in the late fourth millennium BC?the world's oldest known system of writing?derived from an archaic counting device. Her discovery, which she published in Before Writing: From Counting to Cuneiform and How Writing Came About, was widely reported in professional journals and the popular press. In 1999, American Scientist chose How Writing Came About as one of the "100 or so Books that shaped a Century of Science." In When Writing Met Art, Schmandt-Besserat expands her history of writing into the visual realm of communication. Using examples of ancient Near Eastern writing and masterpieces of art, she shows that between 3500 and 3000 BC the conventions of writing?everything from its linear organization to its semantic use of the form, size, order, and placement of signs?spread to the making of art, resulting in artworks that presented complex visual narratives in place of the repetitive motifs found on preliterate art objects. Schmandt-Besserat then demonstrates art's reciprocal impact on the development of writing. She shows how, beginning in 2700-2600 BC, the inclusion of inscriptions on funerary and votive art objects emancipated writing from its original accounting function. To fulfill its new role, writing evolved to replicate speech; this in turn made it possible to compile, organize, and synthesize unlimited amounts of information; and to preserve and disseminate information across time and space. Schmandt-Besserat's pioneering investigation of the interface between writing and art documents a key turning point in human history, when two of our most fundamental information media reciprocally multiplied their capacities to communicate. 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