The basis of the subject matter in this book is necessarily morphological. The author has described the appearance of nearly all the invertebrates. It has been author s earnest behaviour to present all the important aspects of zoology in a well-balanced account. The book will serve to suggest to the imagination of young students the poetic side of animal life and of nature generally. This books is extremely useful to the students of Zoology, Science and Agriculture, Scientists, agriculturists and horticulturists will also find this book helpful and useful.
History films were a highly popular genre in the 1990s, as Hollywood looked back at significant and troubling episodes from World War II, the Cold War era, and the techno-war in the Persian Gulf. As filmmakers attempted to confront and manage intractable elements of the American past, such as the trauma of war and the legacy of racism, Susan Linville argues that a surprising casualty occurred—the erasure of relevant facets of contemporary women's history. In this book, Linville offers a sustained critique of the history film and its reduction of women to figures of ambivalence or absence. Historicizing and adapting Freud's concept of the uncanny and its relationship to the maternal body as the first home, she offers theoretically sophisticated readings of the films Midnight Clear, Saving Private Ryan, The Thin Red Line, Nixon, Courage Under Fire, Lone Star, and Limbo. She also demonstrates that the uncanny is not only a source of anxiety but also potentially a progressive force for eroding nostalgic ideals of nation and gender. Linville concludes with a close reading of a recent 9/11 documentary, showing how the patterns and motifs of 1990s history films informed it and what that means for our future.
German society's inability and/or refusal to come to terms with its Nazi past has been analyzed in many cultural works, including the well-known books Society without the Father and The Inability to Mourn. In this pathfinding study, Susan Linville challenges the accepted wisdom of these books by focusing on a cultural realm in which mourning for the Nazi past and opposing the patriarchal and authoritarian nature of postwar German culture are central concerns—namely, women's feminist auto/biographical films of the 1970s and 1980s. After a broad survey of feminist theory, Linville analyzes five important films that reflect back on the Third Reich through the experiences of women of different ages—Marianne Rosenbaum's Peppermint Peace, Helma Sanders-Brahms's Germany, Pale Mother, Jutta Brückner's Hunger Years, Margarethe von Trotta's Marianne and Juliane, and Jeanine Meerapfel's Malou. By juxtaposing these films with the accepted theories on German culture, Linville offers a fresh appraisal not only of the films' importance but especially of their challenge to misogynist interpretations of the German failure to grieve for the horrors of its Nazi past.
Linville argues that a new approach to the book of Kings is needed because of the failings of the usual historical-critical methods. He adopts a holistic approach which sees the book as a Persian-era text intended to articulate politically and religiously significant symbols within the book's monarchic history. These express the producer's reactions to important issues of Jewish identity in the continuing Diaspora and in Jerusalem. In the story of the schisms and apostacies of Israel's defunct monarchies both the Diaspora and cultural pluralism are legitimized. Rival versions of Israelite heritage are reconciled under an overarching sense of a greater Israelite history and identity.
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