In two sets of intertwined biographical portraits, spanning two generations, Divided Friends dramatizes the theological issues of the modernist crisis, highlighting their personal dimensions and extensively reinterpreting their long-range effects. The four protagonists are Bishop Denis J. O?Connell, Josephite founder John R. Slattery, together with the Paulists William L. Sullivan and Joseph McSorley. Their lives span the decades from the Americanist crisis of the 1890s right up to the eve of Vatican II. In each set, one leaves the church and one stays. The two who leave come to see their former companions as fundamentally dishonest. Divided Friends entails a reinterpretation of the intellectual fallout from the modernist crisis and a reframing of the 20th century debate about Catholic intellectual life.
How FBI surveillance influenced African American writing Few institutions seem more opposed than African American literature and J. Edgar Hoover's white-bread Federal Bureau of Investigation. But behind the scenes the FBI's hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureau’s intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlem’s renaissance and Hoover’s career at the Bureau, secretive FBI "ghostreaders" monitored the latest developments in African American letters. By the time of Hoover’s death in 1972, these ghostreaders knew enough to simulate a sinister black literature of their own. The official aim behind the Bureau’s close reading was to anticipate political unrest. Yet, as William J. Maxwell reveals, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the twentieth century. Taking his title from Richard Wright’s poem "The FB Eye Blues," Maxwell details how the FBI threatened the international travels of African American writers and prepared to jail dozens of them in times of national emergency. All the same, he shows that the Bureau’s paranoid style could prompt insightful criticism from Hoover’s ghostreaders and creative replies from their literary targets. For authors such as Claude McKay, James Baldwin, and Sonia Sanchez, the suspicion that government spy-critics tracked their every word inspired rewarding stylistic experiments as well as disabling self-censorship. Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, F.B. Eyes is a groundbreaking account of a long-hidden dimension of African American literature.
At the end of the 1883 baseball season, things looked rosy--attendance had skyrocketed and the National League and American Association were at peace. A year later, however, the sport was in total disarray. A third major league, the Union Association, had come on the scene and waged a bitter war that rocked the baseball world. By the dawn of the 1885 season, the UA had dissolved in a sea of red ink, the AA had dropped four teams, and the minor leagues were desperately hoping to make it through the season. Amid the chaos of 1884 were some historic moments. Iron-man pitcher Hoss Radbourn won 59 games and led the Providence Grays to victory over the New York Metropolitans in the first World Series. Fleet Walker broke baseball's first color line. There were a record eight no-hitters and a cast of fascinating figures--some famous, some lost to history--like Radbourn, Hustling Horace Phillips, Dan O'Leary, and Edward (The Only) Nolan. This book tells the story of the momentous yet overshadowed 1884 season.
This thoroughly updated classic textbook provides an overview of communication and media law, including the most current legal developments. It explains laws affecting the daily work of writers, broadcasters, public relations practitioners, photographers, bloggers and other public communicators. By outlining statutes and cases in an accessible manner, even to students studying law for the first time, the authors ensure that readers acquire a firm grasp of the legal issues affecting the media. The book examines legal topics such as libel, privacy, intellectual property, obscenity and access to information, considering the development and current standing of relevant laws and important cases. It examines how these laws affect public, political and commercial communication. The 13th edition covers contemporary U.S. Supreme Court cases, including the true threats case Counterman v. Colorado, the Andy Warhol fair use case and the Jack Daniel's trademark parody case. It also presents the Biden administration's revision of policy on the use of subpoenas and search warrants to uncover reporters' confidential sources along with the gag orders imposed by courts handling criminal and civil trials in which Donald Trump is a defendant. Further cases explored include the attacks by legislatures against the LGBTQ community, exemplified by a Tennessee law banning drag performances, and the emerging issues presented by artificial intelligence and the content moderation policies of social media platforms. The Law of Public Communication is an ideal core textbook for undergraduate and graduate courses in communication law and mass media law. A test bank for instructors is available at www.routledge.com/9781032676388
The musical, whether on stage or screen, is undoubtedly one of the most recognizable musical genres, yet one of the most perplexing. What are its defining features? How does it negotiate multiple socio-cultural-economic spaces? Is it a popular tradition? Is it a commercial enterprise? Is it a sophisticated cultural product and signifier? This research guide includes more than 1,400 annotated entries related to the genre as it appears on stage and screen. It includes reference works, monographs, articles, anthologies, and websites related to the musical. Separate sections are devoted to sub-genres (such as operetta and megamusical), non-English language musical genres in the U.S., traditions outside the U.S., individual shows, creators, performers, and performance. The second edition reflects the notable increase in musical theater scholarship since 2000. In addition to printed materials, it includes multimedia and electronic resources.
It is a story of primal politics and of revelations about the use and abuse of power that shaped out times. For instance: How Hoover got John F Kennedy transferred from the hotel rooms of Washington to a PT-boat in the Pacific. How Lyndon Johnson very nearly sent U.S. Marines to "invade" Mississippi"--Page [4] cover.
A comprehensive, non-partisan account of the judicial proceedings spawned by the corruption of the 1919 World Series is badly needed. This book provides it. The narrative of events has been crafted from surviving fragments of the judicial record, contemporaneous newspaper accounts of the proceedings, museum archives and, occasionally, the literature of the Black Sox scandal. Preceding the account of judicial events are a brief overview of the baseball gambling problem, a summary of the 1919 Series, and a discussion of post-Series events that presaged revelations of the Series fix. The grand jury proceedings, the criminal trial, and ensuing civil suits initiated by various of the banned players against the White Sox are then recounted in detail, accompanied by copious source citations. The book concludes with a survey of how Black Sox-related legal proceedings have been treated in scandal literature. The book does not purport to be the definitive account of the Black Sox scandal. Rather, it uniquely presents how the matter played out in court.
In 1993, Donna Palomba was raped by a masked assailant in her own home. Yet, her story is more than a victim’s tale of physical and emotional recovery. It is a story of one woman’s hunt for justice while fending off attacks by institutions designed to defend and protect her—the police department, the local government, and a community clinging to an outrageous claim that Donna had invented the crime to cover up a sexual affair. From the night of the attack, the botched crime scene investigation, and the abuse as authorities attempted to close the case by discrediting her, Donna was left as a victim with no name and no identity. Meanwhile, there was one courageous detective, later to become chief of police, who broke a cops’ code of silence in the name of justice. As they fought on, a legal battle ensued after the Waterbury Police Department—now with media support—refused to let go of its allegations against her and admit wrongdoing. Finally, after eleven years of struggle, Donna learned the identity of her attacker from the chief of police, who explained that the DNA from the rape kit taken a decade ago had turned up a shocking match. In 2007, Donna Palomba was the subject of a special two-hour Dateline episode about her case. Suddenly, she was Jane Doe no more, launching the Jane Doe No More organization and becoming a promoter of the rights of women and victims of sexual assault. With the help of crime investigator and author M. William Phelps, this is her story.
A doctor can damage a patient as much with a misplaced word as with a slip of the scalpel." In this statement, from Lawrence J. Henderson, a famous physician whose name is part of the basic science of medicine, epitomizes the central theme of The Word as Scalpel . If words, the main substance of human relations, are so potent for harm, how equally powerful they can be to help if used with disciplined knowledge and understanding. Nowhere does this simple truth apply more certainly than in the behavior of a physician. Medical Sociology studies the full social context of health and disease, the interpersonal relations, social institutions, and the influence of social factors on the problems of medicine. Throughout its history, medical sociology divides naturally into two parts: the pre-modern, represented by various studies of health and social problems in Europe and the United States until the second World War, and the modern post-war period. The modern period has seen rapid growth and the achievement of the full formal panoply of professionalism. This engaging account documents the development of professional associations, official journals, and programs of financial support, both private and governmental. Written by a distinguished pioneer in medical sociology, The Word as Scalpel is a definitive study of a relatively new, but critically important field.
Since the earliest days of the silent era, American filmmakers have been drawn to the visual spectacle of sports and their compelling narratives of conflict, triumph, and individual achievement. In Contesting Identities Aaron Baker examines how these cinematic representations of sports and athletes have evolved over time--from The Pinch Hitter and Buster Keaton's College to White Men Can't Jump, Jerry Maguire, and Girlfight. He focuses on how identities have been constructed and transcended in American society since the early twentieth century. Whether depicting team or individual sports, these films return to that most American of themes, the master narrative of self-reliance. Baker shows that even as sports films tackle socially constructed identities like class, race, ethnicity, sexuality, and gender, they ultimately underscore transcendence of these identities through self-reliance. Looking at films from almost every sporting genre--with a particular focus on movies about boxing, baseball, basketball, and football--Contesting Identities maps the complex cultural landscape depicted in American sports films and the ways in which stories about "subaltern" groups winning acceptance by the mainstream majority can serve to reinforce the values of that majority. In addition to discussing the genre's recurring dramatic tropes, from the populist prizefighter to the hot-headed rebel to the "manly" female athlete, Baker also looks at the social and cinematic impacts of real-life sports figures from Jackie Robinson and Babe Didrikson Zaharias to Muhammad Ali and Michael Jordan.
Among the many books available on Wright, William Allin Storrer's classic - now fully revised and updated - remains the only authoritative guide to all of Wright's built work.".
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