This is the remarkable story of the American First World War serviceman Arthur Clifford Kimber. When his country entered the Great War in 1917, Kimber left Stanford University to carry the first official American flag to the Western Front. Fired by idealism for the French cause, the young student initially acted as a volunteer ambulance driver, before training as a pilot and taking part in dogfights against ‘the Boche’. His letters home give a vivid picture of what Kimber witnessed on his journey from Palo Alto, California to the front in France: keen-eyed descriptions of New York as it prepared for the forthcoming conflict, the privations of wartime Britain and France, and encounters with former president Theodore Roosevelt and Hollywood actress Lillian Gish. Kimber details his exhilaration, his everyday concerns and his horror as he adapts to an active wartime role. Arthur Clifford Kimber was one of the first Americans on the front line after the entry of the US into the war and, tragically, also one of the last to be buried there – killed in action just a few weeks before the end of the war. Here, his frank letters to his mother and brothers, compiled, edited and put in context by Patrick Gregory and Elizabeth Nurser, are published for the first time.
Covering the five psychological areas considered to have the most influence on athletic performance - motivation, confidence, intensity, focus and emotions - this work provides a comprehensive approach to sport psychology.
In 1962 a lone astronaut orbiting the Earth sighted a small cluster of lights on the dark silhouette of Australia's western coastline - a token of friendship from the people of Perth that prompted the world's media to dub this isolated provincial outpost the "City of Light". This book expands the metaphor by shedding new light on the social history of Perth since the 1950s. Its focus is the city center and the events that unfolded there. After a lively sketch of prewar Perth, Jenny Gregory ventures into the historically uncharted territory of the postwar era. The result is a frank, incisive and richly detailed investigation of the city's growth and transformation over a fifty-year period, from the modernist era of postwar reconstruction to the mid-nineties.
Like a lovingly guided midnight tour, this book covers the seductive shadows of the most fascinating horror films and melodramas from the 1930s and 1940s. From the bloody censorship battles behind 1935's Bride of Frankenstein, to the sexual controversies of 1941's Dr. Jekyll and Mr. Hyde and the gruesome Nazi atrocities of 1943's Women in Bondage, this book delves into newly excavated research to tell the behind-the-scenes sagas of some of Hollywood's most frightening films. Peek behind the scenes, revel in on-the-set anecdotes and get a look at the script notes illuminating characters like WereWolf of London, Richard III, Panther Woman and Rasputin. Included are profiles of the performers and filmmakers who made the nightmares feel all too real in the darkened theaters of yesteryear, and an examination of the factors that have kept these films popular so many decades later.
The book covers unusual and often surprising areas of horror film history: (1) The harrowingly tragic life of Dracula's leading lady, Helen Chandler, as intimately remembered by her sister-in-law. (2) John Barrymore's 1931 horror vehicles Svengali and The Mad Genius, and their rejection by the public. (3) The disastrous shooting of 1933's Murders in the Zoo, perhaps the most racy of all Pre-Code horror films. (4) A candid interview with the son of legendary horror star Lionel Atwill. (5) The censorship battles of One More River, as waged by Frankenstein director James Whale. (6) The adventures (and misadventures) of Boris Karloff as a star at Warner Bros. (7) The stage and screen versions of the horror/comedy Arsenic and Old Lace. (8) Production diaries of the horror noirs Cat People and The Curse of the Cat People. (9) Frankenstein Meets the Wolf Man revisited. (10) Horror propaganda: The production of Hitler's Madman. (11) Horror star John Carradine and the rise and fall of his Shakespearean Repertory Company. (12) The Shock! Theatre television phenomenon. And (13) A Tribute to Carl Laemmle, Jr., producer of the original Universal horror classics, including an interview with his lady friend of almost 40 years.
They had more in common than just a scream, whether they faced Dracula, Frankenstein's Monster, the Mummy, Dr. Jekyll, Mr. Hyde, King Kong, the Wolf Man, or any of the other legendary Hollywood monsters. Some were even monsters themselves, such as Elsa Lanchester as the Bride, and Gloria Holden as Dracula's Daughter. And while evading the Strangler of the Swamp, former Miss America Rosemary La Planche is allowed to rescue her leading man. This book provides details about the lives and careers of 21 of these cinematic leading ladies, femmes fatales, monsters, and misfits, putting into perspective their contributions to the films and folklore of Hollywood terror--and also the sexual harassment, exploitation, and genuine danger they faced on the job. Veteran actress Virginia Christine recalls Universal burying her alive in a backlot swamp in full "mummy" makeup for the resurrection scene in The Mummy's Curse--and how the studio saved that scene for the last day in case she suffocated. Filled with anecdotes and recollections, many of the entries are based on original interviews, and there are numerous old photographs and movie stills.
Thirteen of Hollywood's horror classics in detail: Dr. Jekyll and Mr. Hyde (1931), The Old Dark House(1932), The Mask of Fu Manchu (1932), Mark of the Vampire (1935), Mad Love (1935), The Black Room (1935), The Walking Dead (1936), Cat People (1942), Bluebeard (1944), The Lodger (1944), The Picture of Dorian Gray (1945), Hangover Square (1945) and Bedlam (1946). From original interviews and research, the styles of the various studios (from giant M-G-M to Poverty Row's PRC), along with the performers, directors, and backstage events, are examined.
Permission to Laugh explores the work of three generations of German artists who, beginning in the 1960s, turned to jokes and wit in an effort to confront complex questions regarding German politics and history. Gregory H. Williams highlights six of them—Martin Kippenberger, Isa Genzken, Rosemarie Trockel, Albert Oehlen, Georg Herold, and Werner Büttner—who came of age in the mid-1970s in the art scenes of West Berlin, Cologne, and Hamburg. Williams argues that each employed a distinctive brand of humor that responded to the period of political apathy that followed a decade of intense political ferment in West Germany. Situating these artists between the politically motivated art of 1960s West Germany and the trends that followed German unification in 1990, Williams describes how they no longer heeded calls for a brighter future, turning to jokes, anecdotes, and linguistic play in their work instead of overt political messages. He reveals that behind these practices is a profound loss of faith in the belief that art has the force to promulgate political change, and humor enabled artists to register this changed perspective while still supporting isolated instances of critical social commentary. Providing a much-needed examination of the development of postmodernism in Germany, Permission to Laugh will appeal to scholars, curators, and critics invested in modern and contemporary German art, as well as fans of these internationally renowned artists.
John James Audubon's The Birds of America stands as an unparalleled achievement in American art, a huge book that puts nature dramatically on the page. With that work, Audubon became one of the most adulated artists of his time, and America's first celebrity scientist. In this fresh approach to Audubon's art and science, Gregory Nobles shows us that Audubon's greatest creation was himself. A self-made man incessantly striving to secure his place in American society, Audubon made himself into a skilled painter, a successful entrepreneur, and a prolific writer, whose words went well beyond birds and scientific description. He sought status with the "gentlemen of science" on both sides of the Atlantic, but he also embraced the ornithology of ordinary people. In pursuit of popular acclaim in art and science, Audubon crafted an expressive, audacious, and decidedly masculine identity as the "American Woodsman," a larger-than-life symbol of the new nation, a role he perfected in his quest for transatlantic fame. Audubon didn't just live his life; he performed it. In exploring that performance, Nobles pays special attention to Audubon's stories, some of which—the murky circumstances of his birth, a Kentucky hunting trip with Daniel Boone, an armed encounter with a runaway slave—Audubon embellished with evasions and outright lies. Nobles argues that we cannot take all of Audubon's stories literally, but we must take them seriously. By doing so, we come to terms with the central irony of Audubon's true nature: the man who took so much time and trouble to depict birds so accurately left us a bold but deceptive picture of himself.
In a work that is as much about the present as the past, Brad Gregory identifies the unintended consequences of the Protestant Reformation and traces the way it shaped the modern condition over the course of the following five centuries. A hyperpluralism of religious and secular beliefs, an absence of any substantive common good, the triumph of capitalism and its driver, consumerism—all these, Gregory argues, were long-term effects of a movement that marked the end of more than a millennium during which Christianity provided a framework for shared intellectual, social, and moral life in the West. Before the Protestant Reformation, Western Christianity was an institutionalized worldview laden with expectations of security for earthly societies and hopes of eternal salvation for individuals. The Reformation’s protagonists sought to advance the realization of this vision, not disrupt it. But a complex web of rejections, retentions, and transformations of medieval Christianity gradually replaced the religious fabric that bound societies together in the West. Today, what we are left with are fragments: intellectual disagreements that splinter into ever finer fractals of specialized discourse; a notion that modern science—as the source of all truth—necessarily undermines religious belief; a pervasive resort to a therapeutic vision of religion; a set of smuggled moral values with which we try to fertilize a sterile liberalism; and the institutionalized assumption that only secular universities can pursue knowledge. The Unintended Reformation asks what propelled the West into this trajectory of pluralism and polarization, and finds answers deep in our medieval Christian past.
This book tells the story of habeas corpus from medieval England to modern America, crediting the rocky history to the writ's very nature as a government power. The book weighs in on habeas's historical controversies - addressing the writ's role in the power struggle between the federal government and the states, and the proper scope of federal habeas for state prisoners and for wartime detainees from the Civil War and World War II to the War on Terror.
Two respected Old Testament scholars offer a fresh, comprehensive treatment of the messiah theme throughout the entire Old Testament and examine its relevance for New Testament interpretation. Addressing a topic of perennial interest and foundational significance, this book explores what the Old Testament actually says about the Messiah, divine kingship, and the kingdom of God. It also offers a nuanced understanding of how New Testament authors make use of Old Testament messianic texts in explaining who Jesus is and what he came to do.
Through its Defining Moments theme, the Ruffin/Gregory text provides a historical basis for students to understand the economic theories and policies of today. Defining Moments outline the ideas behind the most important events of economics the Industrial Revolution, the Rise and Fall of Socialism, the Great Depression, Globalization, and the Information Revolution. In addition to thoroughly updated microeconomics coverage, the new edition features a wealth of up-to-date boxed examples and all-new pedagogical features, including Learning Objectives, Chapter Puzzles, and Web Questions.
Explores how the emergence of a new literary marketplace in the mid-nineteenth century affected the study of history in America. In an effort to illuminate the cultural conditions for this boom, this book focuses on the business of book making and book promotion. It analyzes the subscription sales techniques of book agents.
They made fans go crazy and censors apoplectic, spent fortunes faster than they made them, forged Rembrandts and hung them in major museums, went on trial for committing statutory rape with necrophiliac teenage girls, reinterpreted Hamlet as an incestuous mama's boy,and swilled immeasurable quantities of spirits during week-long parties on wobbly yachts. They were "The Bundy Drive Boys," and they made the Rat Pack look like Cub Scouts. Their self-destructiveness was spectacular, the misanthropy profound, but behind the boozy bravado was a devoted mutual affection. The Bundy Drive Boys' un-bowdlerized stories have never been illustrated so well or told so completely as within Hollywood's Hellfire Club. Author Gregory William Mank also wrote It's Alive!: The Classic Cinema Saga of Frankenstein and Hollywood Cauldron.
In 1944, Laird Cregar played Jack the Ripper in The Lodger, giving one of the most haunting performances in Hollywood history. It was the climax of a strange celebrity that saw the young American actor--who stood 6' 3" and weighed more than 300 pounds--earn distinction as a portrayer of psychopaths and villains. Determined to break free of this typecasting, he desperately desired to become "a beautiful man," embarking on an extreme diet that killed him at 31. This first biography of Cregar tells the heartbreaking story of the brilliant but doomed actor. Appendices cover his film, theatre, and radio work. Many never before published photographs are included.
Finding Nothing explores the eruption of avant-garde writing in Vancouver that re-invented the culture of the city in the second half of the twentieth century.
The infusion of digital technology into contemporary society has had significant effects for everyday life and for everyday crimes. Digital Criminology: Crime and Justice in Digital Society is the first interdisciplinary scholarly investigation extending beyond traditional topics of cybercrime, policing and the law to consider the implications of digital society for public engagement with crime and justice movements. This book seeks to connect the disparate fields of criminology, sociology, legal studies, politics, media and cultural studies in the study of crime and justice. Drawing together intersecting conceptual frameworks, Digital Criminology examines conceptual, legal, political and cultural framings of crime, formal justice responses and informal citizen-led justice movements in our increasingly connected global and digital society. Building on case study examples from across Australia, Canada, Europe, China, the UK and the United States, Digital Criminology explores key questions including: What are the implications of an increasingly digital society for crime and justice? What effects will emergent technologies have for how we respond to crime and participate in crime debates? What will be the foundational shifts in criminological research and frameworks for understanding crime and justice in this technologically mediated context? What does it mean to be a ‘just’ digital citizen? How will digital communications and social networks enable new forms of justice and justice movements? Ultimately, the book advances the case for an emerging digital criminology: extending the practical and conceptual analyses of ‘cyber’ or ‘e’ crime beyond a focus foremost on the novelty, pathology and illegality of technology-enabled crimes, to understandings of online crime as inherently social. Twitter: @DigiCrimRMIT
Great Powers and World Order encourages critical thinking about the nature of world order by presenting the historical information and theoretical concepts needed to make projections about the global future. Charles W. Kegley and Gregory Raymond ask students to compare retrospective cases and formulate their own hypotheses about not only the causes of war, but also the consequences of peace settlements. Historical case studies open a window to see what strategies for constructing world order were tried before, why one course of action was chosen over another, and how things turned out. By moving back and forth in each case study between history and theory, rather than treating them as separate topics, the authors hope to situate the assumptions, causal claims, and policy prescriptions of different schools of thought within the temporal domains in which they took root, giving the reader a better sense of why policy makers embraced a particular view of world order instead of an alternative vision.
Crime exists in every society, revealing not only the way in which societies function but also exposing the standards that society holds about what is harmful and punishable. Criminalizing individuals and actions is not the exclusive domain of the state; it emerges from the collective consciousness—the judgments of individuals and groups who represent societal thinking and values. Studying how these individuals and groups construct, represent, perpetrate, and contest crime reveals how their message reinforces and also challenges historical and culturally specific notions of race, class, and gender. Voices of Crime examines these official and unofficial perceptions of deviancy, justice, and social control in modern Latin America. As a collection of essays exploring histories of crime and justice, the book focuses on both cultural and social history and the interactions among state institutions, the press, and a variety of elite and non-elite social groups. Arguing that crime in Latin America is best understood as a product of ongoing negotiation between “top-down” and “bottom up” ideas (not just as the exercise of power from the state), the authors seek to document and illustrate the everyday experiences of crime in particular settings, emphasizing underresearched historical actors such as criminals, victims, and police officers. The book examines how these social groups constructed, contested, navigated, and negotiated notions of crime, criminality, and justice. This reorientation—in contrast to much of the existing historical literature that focuses on elite and state actors—prompts the authors to critically examine the very definition of crime and its perpetrators, suggesting that “not only the actions of the poor and racial others but also the state can be termed as criminal.”
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