What you do in the past can come back to haunt you and as he becomes deeper and deeper intertwined in this sadistic game of cat and mouse , Detective Hector Cruize will find out that sometimes the consequences of our actions can have deadly implications.
What you do in the past can come back to haunt you and as he becomes deeper and deeper intertwined in this sadistic game of cat and mouse , Detective Hector Cruize will find out that sometimes the consequences of our actions can have deadly implications.
This collection profiles understudied figures in the book and print trades of the seventeenth century. With an equal balance between women and men, it intervenes in the history of the trades, emphasising the broad range of material, cultural, and ideological work these people undertook. It offers a biographical introduction to each figure, placing them in their social, professional, and institutional settings. The collection considers varied print trade roles including that of the printer, publisher, paper-maker, and bookseller, as well as several specific trade networks and numerous textual forms. The biographies draw on extensive new archival research, with details of key sources for further study on each figure. Chronologically organised, this Element offers a primer both on numerous individual figures, and on the tribulations and innovations of the print trade in the century of revolution.
An oral history of musical genres from the Palmetto State musicians who helped define the sounds From Jabbo Smith, Dizzy Gillespie, and Drink Small to Johnny Helms, Dick Goodwin, and Chris Potter, South Carolina has been home to an impressive number of regionally, nationally, and internationally known jazz and blues musicians. Through richly detailed interviews with nineteen South Carolina musicians, jazz historian and radio host Benjamin Franklin V presents an oral history of the tradition and influence of jazz and the blues in the Palmetto State. Franklin takes as his subjects a range of musicians born between 1905 and 1971, representing every decade in between, to trace the progression of these musical genres from Tommy Benford's and Jabbo Smith's first recording sessions in the summer of 1926 to the present day. Diverse not only in age but also in race, gender, instruments, and style, these musicians exemplify the breadth of South Carolina's jazz and blues performers. In their own colorful words, the musicians recall love affairs with the distinctive sounds of jazz and blues, indoctrinations into the musical world, early gigs, fans, drugs, military service, amateur night at the Apollo Theater, and influential friendships with other well-known musicians. As the story of the South Carolina musical scene is tightly interwoven with that of the nation, these narratives also include appearances by Tony Bennett, Miles Davis, Count Basie, Helen Merrill, Pharoah Sanders, Sister Rosetta Tharpe, and other significant musicians. These interviews also document the lasting value of music education. In particular they stress the importance of the famed Jenkins Orphanage in Charleston and of South Carolina State University in Orangeburg in nurturing young musicians' talent. Arranged in chronological order by the subjects' birth years, these interviews are augmented by photographs of the musicians, collectively serving as a unique record of representative jazz and blues musicians who have called South Carolina home.
Résumé éditeur : This book tells two intertwined stories, centered on twentieth-century moral philosophers Elizabeth Anscombe, Mary Midgley, Philippa Foot, and Iris Murdoch. The first is the story of four friends who came up to Oxford together just before WWII. It is the story of their lives, loves, and intellectual preoccupations; it is a story about women trying to find a place in a man's world of academic philosophy. The second story is about these friends' shared philosophical project and their unintentional creation of a school of thought that challenged the dominant way of doing ethics. That dominant school of thought envisioned the world as empty, value-free matter, on which humans impose meaning. This outlook treated statements such as “this is good” as mere expressions of feeling or preference, reflecting no objective standards. It emphasized human freedom and demanded an unflinching recognition of the value-free world. The four friends diagnosed this moral philosophy as an impoverishing intellectual fad. This style of thought, they believed, obscured the realities of human nature and left people without the resources to make difficult moral choices or to confront evil. As an alternative, the women proposed a naturalistic ethics, reviving a line of thought running through Plato, Aristotle, and Aquinas, and enriched by modern biologists like Jane Goodall and Charles Darwin. The women proposed that there are, in fact, moral truths, based in facts about the distinctive nature of the human animal and what that animal needs to thrive.
This timely and important new work takes a critical look at government in the American states and illustrates the disconnect between state government institutions and their constituents. The text illuminates three basic political problems of state governments: weak constitutional and institutional foundations; a lack of civic engagement; and long histories of unchecked public corruption. In addition, the book explains why some states did and others did not respond promptly to the COVID-19 pandemic and examines America's long-standing problem of police and prosecutorial misconduct–providing a context for understanding the demonstrations and protests that rocked American cities in the summer of 2020. For students and citizens of state politics, the book concludes with a proposal aimed at civic literacy and action
Experimental poetry responded to historical change in the decades after World War II, with an attitude of such casual and reckless originality that its insights have often been overlooked. However, as Benjamin Lee argues, to ignore the scenes of self and the historical occasions captured by experimental poets during the 1950s and 1960s is to overlook a rich and instructive resource for our own complicated transition into the twenty-first century. Frank O’Hara and fellow experimental poets like Amiri Baraka, Diane di Prima, and Allen Ginsberg offer us a set of perceptive responses to Cold War culture, lyric meditations on consequential changes in U.S. social life and politics, including the decline of the Old Left, the rise of white-collar workers, and the emergence of vernacular practices like hipsterism and camp. At the same time, they offer us opportunities to anatomize our own desire for historical significance and belonging, a desire we may well see reflected and reconfigured in the work of these poets.
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