In the early 1900s, British Columbia embarked on a brief but intense effort to manufacture a modern countryside. The government wished to reward Great War veterans with new lives: settlers would benefit from living in a rural community, considered a more healthy and moral alternative to urban life. But the fundamental reason for the land resettlement project was the rise of progressive or “new liberal” thinking, as reformers advocated an expanded role for the state in guaranteeing the prosperity and economic security of its citizens. James Murton examines how this process unfolded, and demonstrates how the human-environment relationship of the early twentieth century shaped the province as it is today.
The complex relationship between subsistence practices and formal markets should be a growing matter of concern for those uneasy with the stark contrast between commercial and local food systems, especially since self-provisioning has never been limited to the margins. In fact, subsistence occupies a central space in local and global economies and networks. Bringing together essays from diverse disciplines to reflect on the meaning of subsistence in theory and in practice, in historical and contemporary contexts, in Canada and beyond, Subsistence under Capitalism is a collective study of the ways in which local food systems have been relegated to the shadows by the drive to establish and expand capitalist markets. Considering fishing, farming, and other forms of subsistence provisioning, the essays in this volume document the persistence of these practices despite capitalist government policies that actively seek to subsume them. Presenting viable alternatives to capitalist production and exchange, the contributors explain the critical interplay between politics, local provisioning, and the ultimate survival of society. Illuminating new kinds of engagements with nature and community, Subsistence under Capitalism looks behind the scenes of subsistence food provisioning to challenge the dominant economic paradigm of the modern world.
In the early 1900s, British Columbia embarked on a brief but intense effort to manufacture a modern countryside. The government wished to reward Great War veterans with new lives: settlers would benefit from living in a rural community, considered a more healthy and moral alternative to urban life. But the fundamental reason for the land resettlement project was the rise of progressive or “new liberal” thinking, as reformers advocated an expanded role for the state in guaranteeing the prosperity and economic security of its citizens. James Murton examines how this process unfolded, and demonstrates how the human-environment relationship of the early twentieth century shaped the province as it is today.
Soon after film came into existence, the term epic was used to describe productions that were lengthy, spectacular, live with action, and often filmed in exotic locales with large casts and staggering budgets. The effort and extravagance needed to mount an epic film paid off handsomely at the box office, for the genre became an immediate favorite with audiences. Epic films survived the tribulations of two world wars and the Depression and have retained the basic characteristics of size and glamour for more than a hundred years. Length was, and still is, one of the traits of the epic, though monolithic three- to four-hour spectacles like Gone with the Wind (1939) and Lawrence of Arabia (1962) have been replaced today by such franchises as the Harry Potter films and the Lord of the Rings trilogy. Although the form has evolved during many decades of existence, its central elements have been retained, refined, and modernized to suit the tastes of every new generation. The Encyclopedia of Epic Films identifies, describes, and analyzes those films that meet the criteria of the epic—sweeping drama, panoramic landscapes, lengthy adventure sequences, and, in many cases, casts of thousands. This volume looks at the wide variety of epics produced over the last century—from the silent spectacles of D. W. Griffith and biblical melodramas of Cecil B. DeMille to the historical dramas of David Lean and rollercoaster thrillers of Steven Spielberg. Each entry contains: Major personnel behind the camera, including directors and screenwriters Cast and character listings Plot summary Analysis Academy Award wins and nominations DVD and Blu-ray availability Resources for further study This volume also includes appendixes of foreign epics, superhero spectaculars, and epics produced for television, along with a list of all the directors in the book. Despite a lack of overall critical recognition and respect as a genre, the epic remains a favorite of audiences, and this book pays homage to a form of mass entertainment that continues to fill movie theaters. The Encyclopedia of Epic Films will be of interest to academics and scholars, as well as any fan of films made on a grand scale.
James Leo Garrett Jr. has been called "the last of the gentlemen theologians" and "the dean of Southern Baptist theologians." In The Collected Writings of James Leo Garrett Jr., 1950-2015, the reader will find a truly dazzling collection of works that clearly evince the meticulous scholarship, the even-handed treatment, the biblical fidelity, the wide historical breadth, and the honest sincerity that have made the work and person of James Leo Garrett Jr. so esteemed and revered among so many for so long. Volume 7 contains Dr. Garrett's writings on church, state, and religious liberty, writings that arise from his editorship of The Journal of Church and State, from his time as director of the J. M. Dawson Institute of Church-State Studies at Baylor University, and from his many years of academic study of and engagement with these important topics. Spanning sixty-five years and touching on topics from Baptist history, theology, ecclesiology, church history and biography, religious liberty, Roman Catholicism, and the Christian life, The Collected Writings of James Leo Garrett, Jr., 1950-2015 will inform and inspire readers regardless of their religious or denominational affiliations.
Eccentric, ironic and fantastic series like The Avengers and Danger Man, with their professional secret agents, or The Saint and The Persuaders, featuring flamboyant crime-fighters, still inspire mainstream and cult followings. Saints and Avengers explores and celebrates this television genre for the first time. Saints and Avengers uses case studies to look, for example, at the adventure series' representations of national identity and the world of the sixties and seventies. Chapman also proves his central thesis: that this particular type of thriller was a historically and culturally defined generic type, with enduring appeal, as the current vogue for remaking them as big budget films attests.
In this new edition of Licence To Thrill, James Chapman builds upon the success of his classic work, regarded as the definitive scholarly study of the history of the James Bond film series from the first picture, Dr No (1962), to the present. He considers the origins of the films in the spy thrillers of Ian Fleming and examines the production histories of the films in the contexts of the British and international film industries. This edition includes a new introduction and chapters on Quantum of Solace (2008), Skyfall (2012), Spectre (2015) and No Time to Die (2021). Chapman explores how the films have changed over time in response to developments in the wider film culture and society at large. He charts the ever-evolving Bond formula, analysing the films' representations of nationhood, class, and gender in a constantly shifting cinematic and ideological landscape.
James E. Tull's study and critique of the history and teachings of Landmarkism has established itself as a classic treatment of this important movement. This present version of that study is the revised, condensed, and updated edition of Tull's 1960 original. Tull did not finish the revision before he died in 1989, but Morris Ashcraft has now completed that task according to Tull's directions and notes. Ashcraft has also added a helpful preface. With this new edition of Tull's invaluable work on Landmarkism, a new generation of historians, students, and all seeking to understand Baptists have at hand a most helpful teacher: Tull on Landmarkism.
This book examines the American Sixties, and how that period’s socio-political essence was reflected and refracted in certain forms of the period’s music. Its five main chapters bear the names of familiar musical categories: ’Folk,’ ‘Rock,’ ‘Jazz,’ ‘Avant-Garde,’ ‘Classical.’ But the book’s real subject matter—treated at length in the Prologue and the Epilogue but spread throughout all that comes between—is the Sixties’ tangled mess of hopes and frustrations, of hungers as much for self-identity as for self-indulgence, of crises of conscience that bothered Americans of almost all ages and regardless of political persuasion.
Beautiful paintings by a dedicated botanical artist done around 1880. Noted Canadian botanist Jim Cruise writes, “Charlotte Beasley was, without question, an extremely gifted painter. Her flowers are drawn with such accuracy and care as to make identification in most cases positive.” “The reader is in for a treat with these paintings. A little bit art appreciator, a little bit detective, I found myself puzzling over Charlotte’s materials and methods. Some of the pieces are transparent watercolor, like the Convolvulus japonica, showing a delicacy of washes and blending. Others, like the Trillium sp., show an application of watercolor as solid as acrylic paint, with an abstract depiction of the garden floor. What we may lose in scientific precision, we gain in exuberance of color and mass. I appreciate her adventurous compositions, as in “Convolvulus, Purple Wake Robins” in which she pushed the subject off the edge of the page in three directions, and the almost abstract “Indian Pipe,” a stark white plant shown against a winered background. The last nine pages of the portfolio present a special treat. Paintings of butterflies, bees, dragonflies and spiders are carefully rendered and reminiscent of the early sketches by Charlotte’s contemporary, Beatrix Potter. My first impression of the portfolio was that the paintings were somewhat primitive, lacking the sophisticated perspective and technique of other artists. As I looked more carefully, I saw beautiful paintings by a self-trained artist with a genuine appreciation for her subjects. This book is moving tribute to a dedicated botanical artist, and an inspiration to remember why we do this work.”—Susan Rubin, The Botanical Artist
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