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Pearson has collected William Shockley's writings about his theories of hereditary human intelligence and his belief that the less intelligent were overproducing and the more intelligent, underproducing. Shockley urged that studies be made of heredity, intellectual and demographic trends in order to ensure high intelligence levels.

Pearson has collected William Shockley's writings about his theories of hereditary human intelligence and his belief that the less intelligent were overproducing and the more intelligent, underproducing. Shockley urged that studies be made of heredity, intellectual and demographic trends in order to ensure high intelligence levels.

Buy with confidence! Book is in new, never-used condition 0.83

Buy with confidence! Book is in new, never-used condition 1.06

Unread book in perfect condition.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.83

This is the first biography of William Shockley, founding father of Silicon Valley - one of the most significant and reviled scientists of the 20th century. Drawing upon unique access to the private Shockley archives, veteran technology historian and journalist Joel Shurkin gives an unflinching account of how such promise ended in such ignominy.

This is the first biography of William Shockley, founding father of Silicon Valley - one of the most significant and reviled scientists of the 20th century. Drawing upon unique access to the private Shockley archives, veteran technology historian and journalist Joel Shurkin gives an unflinching account of how such promise ended in such ignominy.

This is the first biography of William Shockley, founding father of Silicon Valley - one of the most significant and reviled scientists of the 20th century. Drawing upon unique access to the private Shockley archives, veteran technology historian and journalist Joel Shurkin gives an unflinching account of how such promise ended in such ignominy.

This is the first biography of William Shockley, founding father of Silicon Valley - one of the most significant and reviled scientists of the 20th century. Drawing upon unique access to the private Shockley archives, veteran technology historian and journalist Joel Shurkin gives an unflinching account of how such promise ended in such ignominy.

Black Religious Experience is an examination of the role Christian education has played in the African American community, as seen in the work of one of its greatest interpreters, Grant Shockley. In 1903, W. E. B. DuBois coined the term "double consciousness" to refer to the fact that African Americans always view the world through two lenses. First, they see it from their own perspectives as members of an oppressed community, living out the consequences of a particular history. Second, they perceive life from the point of view of a dominant culture that seeks to impose on African Americans its own false understanding of their status and worth. Christian educators working in the African American community have often drawn on this idea as they seek to apply the gospel to the spiritual formation of members of that community. The heart of the work of Grant Shockley, the preeminent African American religious educator of the twentieth century, was combating the negative attitudes and perspectives that the larger society would dictate to African Americans, while providing positive and powerful images of their self-worth drawn from the Christian story. Charles R. Foster and Fred Smith, friends and colleagues of Shockley, seek in this book to interpret the significance of his work for Christian education, both in the African American community and beyond it, for the twenty-first century. They draw on personal encounters as well as Shockley's written and published materials to indicate how this seminal thinker continues to speak to the need for faith formation in Christian congregations today.

During World War II, factories across America retooled for wartime production, and unprecedented labor opportunities opened up for women and minorities. In We, Too, Are Americans, Megan Taylor Shockley examines the experiences of the African American women who worked in two capitols of industry--Detroit, Michigan, and Richmond, Virginia--during the war and the decade that followed it, making a compelling case for viewing World War II as the crucible of the civil rights movement.   As demands on them intensified, the women working to provide American troops with clothing, medical supplies, and other services became increasingly aware of their key role in the war effort. A considerable number of the African Americans among them began to use their indispensability to leverage demands for equal employment, welfare and citizenship benefits, fair treatment, good working conditions, and other considerations previously denied them.   Shockley shows that as these women strove to redefine citizenship, backing up their claims to equality with lawsuits, sit-ins, and other forms of activism, they were forging tools that civil rights activists would continue to use in the years to come.  

"Poetry by Evie Shockley, critiquing daily life as well as responding to race- and gender-based violence"--

Valuable anthology includes Paula Gunn Allen, Ann Allen Shockley, Adrienne Rich, Maida Tilchen and many other lesbian and feminist writers.

 Beginning with a deceptively simple question—What do we mean when we designate behaviors, values, or forms of expression as “black”?—Evie Shockley’s Renegade Poetics separates what we think we know about black aesthetics from the more complex and nuanced possibilities the concept has long encompassed. The study reminds us, first, that even among the radicalized young poets and theorists who associated themselves with the Black Arts Movement that began in the mid-1960s, the contours of black aesthetics were deeply contested and, second, that debates about the relationship between aesthetics and politics for African American artists continue into the twenty-first century. Shockley argues that a rigid notion of black aesthetics commonly circulates that is little more than a caricature of the concept. She sees the Black Aesthetic as influencing not only African American poets and their poetic production, but also, through its shaping of criteria and values, the reception of their work. Taking as its starting point the young BAM artists’ and activists’ insistence upon the interconnectedness of culture and politics, this study delineates how African American poets—in particular, Gwendolyn Brooks, Sonia Sanchez, Harryette Mullen, Anne Spencer, Ed Roberson, and Will Alexander—generate formally innovative responses to their various historical and cultural contexts.   Out of her readings, Shockley eloquently builds a case for redefining black aesthetics descriptively, to account for nearly a century of efforts by African American poets and critics to name and tackle issues of racial identity and self-determination. In the process, she resituates innovative poetry that has been dismissed, marginalized, or misread because its experiments were not “recognizably black”—or, in relation to the avant-garde tradition, because they were. 

 Beginning with a deceptively simple question—What do we mean when we designate behaviors, values, or forms of expression as “black”?—Evie Shockley’s Renegade Poetics separates what we think we know about black aesthetics from the more complex and nuanced possibilities the concept has long encompassed. The study reminds us, first, that even among the radicalized young poets and theorists who associated themselves with the Black Arts Movement that began in the mid-1960s, the contours of black aesthetics were deeply contested and, second, that debates about the relationship between aesthetics and politics for African American artists continue into the twenty-first century. Shockley argues that a rigid notion of black aesthetics commonly circulates that is little more than a caricature of the concept. She sees the Black Aesthetic as influencing not only African American poets and their poetic production, but also, through its shaping of criteria and values, the reception of their work. Taking as its starting point the young BAM artists’ and activists’ insistence upon the interconnectedness of culture and politics, this study delineates how African American poets—in particular, Gwendolyn Brooks, Sonia Sanchez, Harryette Mullen, Anne Spencer, Ed Roberson, and Will Alexander—generate formally innovative responses to their various historical and cultural contexts.   Out of her readings, Shockley eloquently builds a case for redefining black aesthetics descriptively, to account for nearly a century of efforts by African American poets and critics to name and tackle issues of racial identity and self-determination. In the process, she resituates innovative poetry that has been dismissed, marginalized, or misread because its experiments were not “recognizably black”—or, in relation to the avant-garde tradition, because they were. 

With Contemporary Piano: A Performer and Composer’s Guide to Techniques and Resources, Alan Shockley provides a comprehensive resource for composers writing music that uses extended techniques for the piano, and for pianists interested in playing repertoire that makes use of techniques and/or implements unfamiliar to them. Shockley explains dozens of ways to prepare a piano without damaging the instrument, how to notate every standard technique and many, many obscure ones, and the specific geographies of every common concert hall piano. This will be the standard reference for pianists touring and playing inside-the-piano repertoire, and for composers at all levels of familiarity with the piano hoping to understand the mechanical miracle that is the modern piano.

Winner of the Hurston/Wright Legacy Award (2012)Smart, grounded, and lyrical, Evie Shockley's the new black integrates powerful ideas about "blackness," past and present, through the medium of beautifully crafted verse. the new black sees our racial past inevitably shaping our contemporary moment, but struggles to remember and reckon with the impact of generational shifts: what seemed impossible to people not many years ago―for example, the election of an African American president―will have always been a part of the world of children born in the new millennium. All of the poems here, whether sonnet, mesostic, or deconstructed blues, exhibit a formal flair. They speak to the changes we have experienced as a society in the last few decades―changes that often challenge our past strategies for resisting racism and, for African Americans, ways of relating to one another. The poems embrace a formal ambiguity that echoes the uncertainty these shifts produce, while reveling in language play that enables readers to "laugh to keep from crying." They move through nostalgia, even as they insist on being alive to the present and point longingly towards possible futures. Check for the online reader's companion at http://http://thenewblack.site.wesleyan.edu.

During World War II, factories across America retooled for wartime production, and unprecedented labor opportunities opened up for women and minorities. In We, Too, Are Americans, Megan Taylor Shockley examines the experiences of the African American women who worked in two capitols of industry--Detroit, Michigan, and Richmond, Virginia--during the war and the decade that followed it, making a compelling case for viewing World War II as the crucible of the civil rights movement.   As demands on them intensified, the women working to provide American troops with clothing, medical supplies, and other services became increasingly aware of their key role in the war effort. A considerable number of the African Americans among them began to use their indispensability to leverage demands for equal employment, welfare and citizenship benefits, fair treatment, good working conditions, and other considerations previously denied them.   Shockley shows that as these women strove to redefine citizenship, backing up their claims to equality with lawsuits, sit-ins, and other forms of activism, they were forging tools that civil rights activists would continue to use in the years to come.  

With Contemporary Piano: A Performer and Composer’s Guide to Techniques and Resources, Alan Shockley provides a comprehensive resource for composers writing music that uses extended techniques for the piano, and for pianists interested in playing repertoire that makes use of techniques and/or implements unfamiliar to them. Shockley explains dozens of ways to prepare a piano without damaging the instrument, how to notate every standard technique and many, many obscure ones, and the specific geographies of every common concert hall piano. This will be the standard reference for pianists touring and playing inside-the-piano repertoire, and for composers at all levels of familiarity with the piano hoping to understand the mechanical miracle that is the modern piano.