Search results for ""author walt"

This book is a richly detailed exploration of the complex and cosmopolitan urban culture inhabited by the Presbyterian elite of late-Georgian Belfast, which will prove to be of interest to a wide range of scholars working on the political, cultural and intellectual histories of both Ireland and Britain during the age of reform. Employing both biographical and thematic approaches, the book begins by examining the story of the Tennents, one of the most prominent Presbyterian families in early-nineteenth-century Belfast, before turning to reconstruct their milieu. Challenging existing narratives, the study provides a major re-assessment of the political life of late-Georgian Belfast, highlighting the activities of a close-knit group of advanced reformer – the ‘natural leaders’ of the books title – who sought to promote the cause of reform and engage with British and European political events. In addition, the book contains the first serious scholarly examination of the cultural and intellectual life of the town in the early-nineteenth century, and the first major treatment of the middle classes’ philanthropic activities. The interplay of politics and culture is discussed, as is the accuracy of Belfast’s reputation as the ‘Athens of the North’ and the religious underpinnings of the town’s charitable societies. In examining these areas, attention is paid to the influence of trends such as romanticism and evangelicalism and of writers such as Lord Byron, Walter Scott, Robert Owen and Thomas Chalmers, and it is argued that, both culturally and politically, the Presbyterian middle classes of Belfast inhabited a British world.

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The HIV epidemic has spawned a scientific effort unprecedented in the history of infectious disease research. This effort has merged aspects of clinical research, basic molecular biology, immunology, cell biology, epidemiology, and mathematical biology in ways that have not been seen before. In The Evolution of HIV Keith A. Crandall brings together researchers from these disciplines to present perspectives on both the molecular biology and molecular evolution of HIV. The book is organized into three sections: "Introduction to HIV" explores the fundamentals of the virus's molecular biology and its global diversity. "Molecular Methods for Studying HIV Diversity" looks at such topics as HIV phylogenetics, modeling the molecular evolution of HIV sequences, the use of phylogenetic inference to test an HIV transmission hypothesis, and coalescent approaches to HIV population genetics. The third section,"Case Studies of HIV Evolution" examines the levels of diversity within and among host individuals, the phylogenetics of known transmission histories, and HIV evolution and disease progression via longitudinal studies. The book will be of interest to researchers and clinicians working on HIV, as well as scientists studying molecular evolution, population genetics, and evolutionary biology. Contributors are John M. Coffin, Keith A. Crandall, Joseph Felsenstein, Walter M. Fitch, Brian Foley, Esther Guzman, Paul H. Harvey, David M. Hillis, Edward C. Holmes, Marcia L. Kalish, Bette T. M. Korber, Julia Krushkal, Carla L. Kuiken, Gerald H. Learn, Thomas Leitner, Wen-Hsiung Li, Francine E. McCutchan, Spencer V. Muse, Oliver G. Pylons, Allen G. Rodrigo, Raj Shankarappa, Richard W. Steketee, Alan R. Templeton, Donald M. Thea, Raphael P. Viscidi, Steven M. Wolinsky.

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Examines the history of musical self-quotation, and reveals and explores a previously unidentified case of Schubert quoting one of his own songs in a major instrumental work. Enthusiasts and experts have long relished Schubert's quotations of his own music. This study centers on a previously unidentified pairing: "Ave Maria," one of his most beloved songs, and the Piano Trio no. 2, a masterpiece that holds a unique position in his career. Messing's Self-Quotation in Schubert interrogates the concept of self-quotation from the standpoints of terminology and authorial intent, and it demonstrates, for the first time, how Schubert's practice of self-quotation relates to prevailing practices in the late eighteenth and early nineteenth centuries. Messing goes on to analyze in detail the musical relationships between the two works and to investigate thecircumstances that led Schubert to compose each of them. "Ave Maria" is one of the few Schubert songs for which we have documentation of some early private performances, and the trio stood at the heart of Schubert's only public concert devoted to his works. Messing establishes that Schubert sought to convey an associative meaning with this self-quotation, trusting in his contemporaries' familiarity with the original melody and with Walter Scott's poem, a text that carried profound resonances in Catholic Vienna. Scrutinizing this evidence yields the symbolic purpose behind Schubert's allusion to "Ave Maria" in the piano trio: honoring the recently deceased Beethoven andvalidating Schubert as his legatee. SCOTT MESSING is Charles A. Dana Professor of Music Emeritus at Alma College.

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Scarred by the Second World War, divided during the Cold War, and turned into a massive construction site in the early postwall years, Berlin has dramatically reinvented itself in the new millennium. Film has served a neglected but important function in this transformation.In Berlin Replayed, Brigitta B. Wagner shows how old and new films set in Berlin created a collective urban nostalgia for the city’s best, most inclusive, and most conciliatory pasts in the face of its renewed purpose as the all-German capital. Exploring films such as Walter Ruttmann’s Berlin: Symphony of a Great City, Wim Wenders’s Wings of Desire, Tom Tykwer’s Run Lola Run, and Wolfgang Becker’s Good Bye, Lenin!, the book establishes that these films don’t merely feature the city but actively construct how viewers come to know different Berlins of the past and present. To illustrate how film has repeatedly remade the image of the city, Berlin Replayed focuses on four key periods: the golden 1920s, when the city was a major filmmaking center; the prewall 1950s, when Berlin had two ideologically opposed film industries; the politically transformative late 1980s and early 1990s; and the hyped start of the twenty-first century.By showing how films have helped revive memories of the “good” Berlin and, by extension, the “good” Germany, Berlin Replayed reveals the underappreciated but powerful role film has played in the process of unifying Germany’s historical experience and bridging its physical and political divisions.

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WINNER OF THE 2014 SEYMOUR MEDAL sponsored by the Society for American Baseball Research and finalist for 2014 SABR Larry Ritter AwardThough his pitching career lasted only a few seasons, Howard Ellsworth “Smoky Joe” Wood was one of the most dominating figures in baseball history—a man many consider the best baseball player who is not in the Hall of Fame. About his fastball, Hall of Fame pitcher Walter Johnson once said: “Listen, mister, no man alive can throw harder than Smoky Joe Wood.” Smoky Joe Wood chronicles the singular life befitting such a baseball legend. Wood got his start impersonating a female on the National Bloomer Girls team. A natural athlete, he pitched for the Boston Red Sox at eighteen, won twenty-one games and threw a no-hitter at twenty-one, and had a 34-5 record plus three wins in the 1912 World Series, for a 1.91 ERA, when he was just twenty-two. Then in 1913 Wood suffered devastating injuries to his right hand and shoulder that forced him to pitch in pain for two more years. After sitting out the 1916 season, he came back as a converted outfielder and played another five years for the Cleveland Indians before retiring to coach the Yale University baseball team. With details culled from interviews and family archives, this biography, the first of this rugged player of the Deadball Era, brings to life one of the genuine characters of baseball history.

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During his sojourn in England during the 1870s, a young Cavafy found himself enthralled by the aesthetic movement of cosmopolitan London. It was during these years that he encountered the canvases and personalities of Pre-Raphaelite painters, including Burne-Jones and Whistler, as well as works of aesthetic writers who were effecting a revolution in British literary culture and channeling influences from France that would gradually coalesce into an international decadent movement. In Reframing Decadence, Peter Jeffreys returns us to this critical period of Cavafy’s life, showing the poet’s creative indebtedness to British and French avant-garde aesthetes whose collective impact on his poetry proved to be profound. In the process, Jeffreys offers a critical reappraisal of Cavafy’s relation to Victorian aestheticism and French literary decadence. Foremost among the tropes of decadence that captivated Cavafy were the decline of imperial Rome, the rise of Christianity, and the lingering twilight of Byzantium. The influence of Walter Pater on Cavafy’s view of classical and late-antique history was immense, inflected as it was with an unapologetic homoerotic aesthetic that Cavafy would adopt as his own, making Pater’s imaginary portraits an important touchstone for his own historicizing poetry. Cavafy would move beyond Pater to explore a more openly homoerotic sensuality but he never quite abandoned this rich Victorian legacy, one that contributed greatly to his emergence as a global poet. Jeffreys concludes by considering Cavafy’s current popularity as a gay poet and his curious relation to kitsch as manifest in his ongoing popularity via translation and visual media.

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We live in a time when we are overwhelmed with talk and images of violence. Whether on television, the internet, films or the video screen, we can’t escape representations of actual or fictional violence - another murder, another killing spree in a high school or movie theatre, another action movie filled with images of violence. Our age could well be called “The Age of Violence” because representations of real or imagined violence, sometimes fused together, are pervasive. But what do we mean by violence? What can violence achieve? Are there limits to violence and, if so, what are they? In this new book Richard Bernstein seeks to answer these questions by examining the work of five figures who have thought deeply about violence - Carl Schmitt, Walter Benjamin, Hannah Arendt, Frantz Fanon, and Jan Assmann. He shows that we have much to learn from their work about the meaning of violence in our times. Through the critical examination of their writings he also brings out the limits of violence. There are compelling reasons to commit ourselves to non-violence, and yet at the same time we have to acknowledge that there are exceptional circumstances in which violence can be justified. Bernstein argues that there can be no general criteria for determining when violence is justified. The only plausible way of dealing with this issue is to cultivate publics in which there is free and open discussion and in which individuals are committed to listen to one other: when public debate withers, there is nothing to prevent the triumph of murderous violence.

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A single-volume edition of William J. Bennett's bestselling series, thoroughly revised and updated."The role of history is to inform, inspire, and sometimes provoke us, which is why Bill Bennett's wonderfully readable book is so important." --Walter IsaacsonA decade ago, William J. Bennett published a magisterial three-volume account of our nation's history. Now, Bennett returns to that bestselling trilogy, revising and condensing his epic tale into one volume, a page-turning narrative of our exceptional nation. In Bennett's signature gripping prose, Washington, Franklin, Lincoln, Roosevelt, Reagan, and others reemerge not as marble icons or dust-dry names in a textbook, but as full-blooded, heroic pioneers whose far-reaching vision forged a nation that attracted and still attracts millions yearning to breathe free.In this riveting volume, Bennett covers America’s greatest moments in breath-taking detail: from the heroism of the Revolution to the dire hours of the Civil War, from the progressive reforms of the early 1900s to the civil rights reforms of the 1960s, from the high drama of the Space Race to the gut-wrenching tension of the Cold War, from the fall of the Berlin Wall and the collapse of global Communism to the attacks of 9-11 and the war on terror. William J. Bennett captures the players, personalities, and pivotal moments of American history with piercing insight and unrelenting optimism. In this gripping tale of a nation, the story of what Lincoln referred to as "the last best hope of earth" comes alive in all its drama and personality.

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A biography of Washington's most famous apartment complex -- the buildings with a thousand stories of the notables who have lived there From the day The Watergate officially opened in October 1965, living there meant being at the epicenter of politics and international intrigue. Virtually every major Washington figure in the 1960’s and 1970’s -- from J. Edgar Hoover to John and Martha Mitchell to Carl Bernstein and Bob Woodward-had a connection to the the building. In The Watergate, writer and political consultant Joseph Rodota skillfully weaves the stories of such insiders into a riveting narrative history of a building that was a central hub of Washington for more than a decade. Along the way, Rodota introduces us to the Watergate’s secret movers and shakers who made the Beltway tick. There’s Anna Chenault, who dated Tommy Corcoran, Washington’s first “super lobbyist,” and was known as Washington’s “Tiger Hostess” for the lavish dinners and cocktail parties she hosted in her Watergate penthouse. Walter Pforzheimer, one of the “founding fathers” of the CIA, kept two apartments at the Watergate, one for his collection of literature on spying, and the other to sleep in. He chose the building because its cement-and-steel construction meant the floor was strong enough to hold his safe, and was a ubiquitous, if enigmatic, presence at the complex. And during the Nixon-Watergate scandal, the irrepressible Martha Mitchell was actually living there! During the Clinton years, it was almost known as "little Little Rock." Through the stories of both Washington royalty, and these lesser-known yet fascinating residents, Rodota achieves a history of Washington through the chronicle of its best-known residential building.

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Robin Hood is England's greatest folk hero. Everyone knows the story of the outlaw who robbed from the rich and gave to the poor. Nick Rennison's highly entertaining book begins with the search for the historical Robin. Was there ever a real Robin Hood? Rennison looks at the candidates who have been proposed over the years, from petty thieves to Knights Templar, before moving on to examine the many ways in which Robin Hood has been portrayed in literature and on the screen. He began as the hero of dozens and dozens of late medieval ballads. He appeared in plays by contemporaries of Shakespeare. In the Romantic era Robin was reinvented by Walter Scott as a Saxon champion in the struggle against the Normans. During the nineteenth century, he emerged as a hero in children's literature. More recently he has been portrayed as everything from proto-socialist man of the people to anarchist thug. In the cinema he put in an appearance as early as 1908 and Douglas Fairbanks and then Errol Flynn turned him into the typical hero of Hollywood swashbucklers. In the last twenty years, Kevin Costner and Russell Crowe have provided their own very different interpretations of the character. On the small screen, Robin has been the hero of half-a-dozen TV shows from the 1950s series starring Richard Greene, which used many writers blacklisted by Hollywood, via the well-remembered Robin of Sherwood in the 1980s to the recent BBC series. As the twenty-first century marches through its second decade, Robin Hood is still very much with us. He is the subject of graphic novels and computer games. New films are in the offing. Robin is an archetypal hero who, it seems, can never die. This engaging book charts his life so far.

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Disco Cube Cocktails is a '70s-inspired cocktail book based on the magical properties of ice. With 100+ recipes for artful ice and the drinks that go with them, home bartenders can learn new icy creations to elevate any classic drink, infuse new flavor into a sipper as the ice melts, or impress friends at a party with a frosty punch bowl. While traveling as a DJ, Leslie Kirchhoff fell in love with the art of craft cocktails, but noticed one thing was missing: inventive ice. Taking it upon herself to create something truly unique, she started Disco Cubes as a passion project to explore the art of ice. Now you can do the same at home with recipes that offer more than just a classic cube. In this not-so-classic cocktail book, there are one-ingredient cubes to elevate any drink, infused ice to add flavor to simple cocktails, and perfect pairings where ice and drink come together to make a concoction that you (and your guests) won't forget. Plus, you'll find playlists at the beginning of each chapter, to set the mood for any occasion. Recipes include innovative sips such as: • Rose Cubes in a White Negroni • Jalapeño ice for an evolving margarita • A Golden Bloody Mary that shifts from sweet to savory as the ice melts • The Walter Gibbons with a Red Onion Raft • White peach spheres for a cool take on a classic Bellini A great gift for cocktail and bartending enthusiasts, home cocktail makers and entertainers, drink-nerds who love cocktail history, and anyone who enjoys experimentation. The perfect companion for those who loved Shake: A New Perspective on Cocktails by Eric Prum, The Ultimate Bar Book by Mittie Hellmich, and Death & Co: Modern Classic Cocktails by David Kaplan

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Hook up with the fly-fishing guide that’s a keeper Some say successful fly fishing requires supreme athleticism, a surgeon’s delicate touch, and the serene spirit of a Zen master. But forget the hype: The updated edition of Fly Fishing for Dummies shows that all you need to get the hang of this enjoyable sport are the right tools, a disciplined technique, and a positive attitude. Whether you’re an old salt or dipping your toes in for the first time, you’ll find everything you need to learn, improve, and keep your casting sharp and fresh! Longtime fishing writer Peter Kaminsky wades right in, taking you from choosing a rod and tying flies all the way through to staying dry with the right wardrobe and cooking up a delicious catch. You’ll also find out how you can get by with just 20 flies, a half dozen casts, and three knots. And, if you want to plunge deeper into the sport, he suggests some bucket-list destination rivers and streams to keep you agreeably hooked and learning for life—proving that the father of fishing writers Izaak Walton was right when, three centuries ago, he said: “No life is so pleasant and happy as that of a well-governed angler.” Study your quarry—from rainbow trout to fashionable “glamour” fish Get the best rod, reel, and gear for success—including the smartest tech Know where to fish (land or sea) and how to read the water Follow visual examples to sharpen your casting Whatever your fly-fishing aims or skill level, the proven advice and 150+ illustrations in this friendly guide are your path to a lifetime of happy and productive trips: Don’t let it be the one that got away!

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One of the most prolific and respected directors of Japanese cinema, Naruse Mikio (1905–69) made eighty-nine films between 1930 and 1967. Little, however, has been written about Naruse in English, and much of the writing about him in Japanese has not been translated into English. With The Cinema of Naruse Mikio, Catherine Russell brings deserved critical attention to this under-appreciated director. Besides illuminating Naruse’s contributions to Japanese and world cinema, Russell’s in-depth study of the director sheds new light on the Japanese film industry between the 1930s and the 1960s.Naruse was a studio-based director, a company man renowned for bringing films in on budget and on time. During his long career, he directed movies in different styles of melodrama while displaying a remarkable continuity of tone. His films were based on a variety of Japanese literary sources and original scripts; almost all of them were set in contemporary Japan. Many were “women’s films.” They had female protagonists, and they depicted women’s passions, disappointments, routines, and living conditions. While neither Naruse or his audiences identified themselves as “feminist,” his films repeatedly foreground, if not challenge, the rigid gender norms of Japanese society. Given the complex historical and critical issues surrounding Naruse’s cinema, a comprehensive study of the director demands an innovative and interdisciplinary approach. Russell draws on the critical reception of Naruse in Japan in addition to the cultural theories of Harry Harootunian, Miriam Hansen, and Walter Benjamin. She shows that Naruse’s movies were key texts of Japanese modernity, both in the ways that they portrayed the changing roles of Japanese women in the public sphere and in their depiction of an urban, industrialized, mass-media-saturated society.

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The Italian philosopher Giorgio Agamben is having an increasingly significant impact on Anglo-American political theory. His most prominent intervention to date is the powerful reassessment of sovereignty and the politics of life and death laid out in his multivolume Homo Sacer project. Agamben argues that in both the modern world and the ancient, politics inevitably involves a sovereign decision that bans some individuals from the political and human communities. For Agamben, the Nazi concentration camps—in which some inmates are reduced to a form of living death—are not a political aberration but instead the place where this essential political decision about life most clearly reveals itself. Engaging specifically with Homo Sacer, the essays in this collection draw out and contend with the wide-ranging implications of Agamben’s radical and controversial interpretation of modern political life.The contributors analyze Agamben’s thought from the perspectives of political theory, philosophy, jurisprudence, and the history of law. They consider his work not only in relation to that of his major interlocutors—Hannah Arendt, Michel Foucault, Carl Schmitt, Walter Benjamin, and Martin Heidegger—but also in relation to the thought of Plato, Pindar, Heraclitus, Descartes, Kafka, Bataille, and Derrida. The essayists’ approaches are varied, as are their ultimate evaluations of the cogency and accuracy of Agamben’s arguments. This volume also includes an original essay by Agamben in which he considers the relation of Benjamin’s “Critique of Violence” to Schmitt’s Political Theology. Politics, Metaphysics, and Death is a necessary, multifaceted exposition and evaluation of the thought of one of today’s most important political theorists.Contributors: Giorgio Agamben, Andrew Benjamin, Peter Fitzpatrick, Anselm Haverkamp, Paul Hegarty, Andreas Kalyvas, Rainer Maria Kiesow , Catherine Mills, Andrew Norris, Adam Thurschwell, Erik Vogt, Thomas Carl Wall

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The 3rd SS Panzer Regiment was part of the Totenkopf Division—one of the 38 Waffen-SS divisions active during World War II. Notorious for its brutality, most notably a mass execution of British prisoners in the battle of France, “Totenkopf” had a fearsome reputation. The 3rd SS Panzer Regiment was formed in France in late 1942, and transferred to the Eastern Front in early 1943 where it fought for the rest of the war.The regiment participated in a number of battles, and would be reduced and rebuilt a number of times. The panzers of 3rd SS Panzer Regiment fought at Kharkov, took part in Operation Citadel, fought in the battle of Krivoi Rog, and the relief of the Korsun Pocket. The regiment then retreated over the Dniester. They fought in Poland against the Russian advance, before being moved to Hungary where they participated in the attempt to relieve Budapest. They eventually surrendered in Czechoslovakia to the 11th US Armored Division.This Casemate Illustrated tells the story of the 3rd SS Panzer Regiment through the words of the veterans themselves, illustrated with a wealth of contemporary photographs, original documents and artifacts. Among the veterans whose accounts are included are Walter Weber, a member of a tank crew in 5. Kompanie who recounts their optimism and high spirits at the start of Operation Citadel as the Germans made initial advances, followed by retreat as winter set in and the Russians began to push them back. Unterscharführer Stettner recalls the fierce tank battles and the difficulties advancing across minefields and evading an often well-concealed foe. Corporal Fritz Edelmann records the attempts to relieve Budapest in 1945 that Totenkopf took part in, which ended in encirclement, defeat and surrender to the Americans on May 9, 1945.

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In EVERY DAY IS A GIFT, Tammy Duckworth takes readers through the amazing -- and amazingly true -- stories from her incomparable life. In November of 2004, an Iraqi RPG blew through the cockpit of Tammy Duckworth's U.S. Army Black Hawk helicopter. The explosion, which destroyed her legs and mangled her right arm, was a turning point in her life. But as Duckworth shows in EVERY DAY IS A GIFT, that moment was just one in a lifetime of extraordinary turns. The biracial daughter of an American father and a Thai-Chinese mother, Duckworth faced discrimination, poverty, and the horrors of war -- all before the age of 16. As a child, she dodged bullets as her family fled war-torn Phnom Penh. As a teenager, she sold roses by the side of the road to save her family from hunger and homelessness in Hawaii. Through these experiences, she developed a fierce resilience that would prove invaluable in the years to come. Duckworth joined the Army, becoming one of a handful of female helicopter pilots at the start of Operation Iraqi Freedom. She served eight months in Iraq before the attack that took her legs, and nearly her life. She spent thirteen months recovering at Walter Reed, learning to walk again on prosthetic legs and planning her return to the cockpit. But she found a new mission after meeting her state's senators, Barack Obama and Dick Durbin. After winning two terms as a U.S. Representative, she won election to the U.S. Senate in 2016. And she and her husband Bryan fulfilled another dream when Duckworth gave birth to two daughters, becoming the first sitting senator to give birth. From childhood to motherhood and beyond, EVERY DAY IS A GIFT is the remarkable story of one of America's most dedicated public servants.

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The long-awaited memoir by movie and theatre legend, Brian Cox.A Guardian, Times, Sunday Times and Independent Book of the Year*Featuring a foreword by the executive producer of Succession, Frank Rich*From Titus Andronicus with the RSC to media magnate Logan Roy in HBO's Succession, Brian Cox has made his name as an actor of unparalleled distinction and versatility. We know him on screen, but few know of his extraordinary life story.Growing up in Dundee, Scotland, Cox lost his father when he was just eight years old and was brought up by his three elder sisters in the aftermath of his mother's nervous breakdowns and ultimate hospitalization. After joining the Dundee Repertory Theatre at the age of fifteen, you could say the rest is history - but that is to overlook the enormous graft that has gone into the making of the legend we know today. This is a rags-to-riches life story like no other - a seminal autobiography that both captures Cox's distinctive voice and his very soul.'One of the best showbiz memoirs ever written... it's as funny as it is furious... Brian Cox has done everything and with this book he leaves everyone else standing' Mail on Sunday'Absolute heaven' Sunday Times'A hugely readable memoir from a giant of stage and screen' Mark Kermode'A life well lived and a story well told. From first page to last Brian Cox the great actor is Brian Cox the great storyteller, and nobody is spared his sharp eye and his caustic wit, himself and some big Hollywood names included' Alastair Campbell'Laced with his characteristic generosity, self-deprecation and cut-the-crap wisdom' Harriet Walter'Mesmerizing' Peter Biskind'Blisteringly brilliant' Bryony Gordon'Funny and irreverent' The Times

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Text in English & German. If laziness is the mother of all inventions, then the car is its masterpiece. The earliest means of locomotion was walking, followed by riding on horses or camels; finally, with the invention of the wheel, came the ability to use carriages, which not only made locomotion far more comfortable but also brought the transportation of goods to a whole new level. However, it then took millennia for carriages to go from being propelled by horses or oxen to engines, initially steam-driven, then propelled by internal combustion engines and early experiments with electric propulsion. Cars were initially the result of pure craftsmanship, and as passenger cars were based on the concept of the carriage. The assembly line had not entirely abandoned the carriage look, but already showed a typical automobile profile: equal-sized wheels, engine bonnet, passenger compartment. The predominant body colour of cars manufactured between 1910 and 1930 was black, while all makes of car had an almost uniform appearance. As manufacturers moved away from metal-panelled wooden frames to an all-steel design, they hesitantly ventured to adopt new forms. Improved undercarriages and higher engine performance were initially limited by air resistance, which above a speed of 60 kilometres per hour is the strongest of all driving resistances. This led to the development of new body shapes that offer less resistance to the airstream. Engineers still determined the form of the car, sometimes even achieving formal elegance. It was only rarely that members of other professions, such as the architects Le Corbusier or Walter Gropius, were commissioned to design a car. Between the two World Wars North America had the worlds largest fleet of cars; this also meant that their design became an increasingly important sales factor. Professsional automobile design was established. As they continued to develop technically, cars in the 1950s moved further and further away from the physically logical form of a moving body. One of the last and most outstanding examples of a form with optimum resistance to the airstream is the Citroën ID/DS of 1955. Others, indeed almost all, opted for the pure symbolism of speed and power, whose most important ingredients were tail fins and chrome. Today, with a global annual production of close to 100 million passenger cars, automotive style has come to be represented by a wide range of almost every imaginable form. Architect Hans-Ulrich von Mende has worked with partners in an independent practice since 1990. For 50 years his writings and drawings on automotive design have appeared in books, trade journals (mot, autobild) and the daily press (Frankfurter Allgemeine Zeitung, Süddeutsche Zeitung).

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In 1957 Horace Stoneham took his Giants of New York baseball team and headed west, starting a gold rush with bats and balls rather than pans and mines. But San Francisco already had a team, the Seals of the Pacific Coast League, and West Coast fans had to learn to embrace the newcomers. Starting with the franchise’s earliest days and following the team up to recent World Series glory, Home Team chronicles the story of the Giants and their often topsy-turvy relationship with the city of San Francisco. Robert F. Garratt shines light on those who worked behind the scenes in the story of West Coast baseball: the politicians, businessmen, and owners who were instrumental in the club’s history.Home Team presents Stoneham, often left in the shadow of Dodgers owner Walter O’Malley, as a true baseball pioneer in his willingness to sign black and Latino players and his recruitment of the first Japanese player in the Major Leagues, making the Giants one of the most integrated teams in baseball in the early 1960s. Garratt also records the turbulent times, poor results, declining attendance, two near-moves away from California, and the role of post-Stoneham owners Bob Lurie and Peter Magowan in the Giants’ eventual reemergence as a baseball powerhouse. Garratt’s superb history of this great ball club makes the Giants’ story one of the most compelling of all Major League franchises.

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The emergence of "male-centered serials" such as The Shield, Rescue Me, and Sons Of Anarchy and the challenges these characters face in negotiating modern masculinities. From the meth-dealing but devoted family man Walter White of AMC’s Breaking Bad, to the part-time basketball coach, part-time gigolo Ray Drecker of HBO’s Hung, depictions of male characters perplexed by societal expectations of men and anxious about changing American masculinity have become standard across the television landscape. Engaging with a wide variety of shows, including The League, Dexter, and Nip/Tuck, among many others, Amanda D. Lotz identifies the gradual incorporation of second-wave feminism into prevailing gender norms as the catalyst for the contested masculinities on display in contemporary cable dramas. Examining the emergence of “male-centered serials” such as The Shield, Rescue Me, and Sons of Anarchy and the challenges these characters face in negotiating modern masculinities, Lotz analyzes how these shows combine feminist approaches to fatherhood and marriage with more traditional constructions of masculine identity that emphasize men’s role as providers. She explores the dynamics of close male friendships both in groups, as in Entourage and Men of a Certain Age, wherein characters test the boundaries between the homosocial and homosexual in their relationships with each other, and in the dyadic intimacy depicted in Boston Legal and Scrubs. Cable Guys provides a much needed look into the under-considered subject of how constructions of masculinity continue to evolve on television.

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The emergence of "male-centered serials" such as The Shield, Rescue Me, and Sons Of Anarchy and the challenges these characters face in negotiating modern masculinities. From the meth-dealing but devoted family man Walter White of AMC’s Breaking Bad, to the part-time basketball coach, part-time gigolo Ray Drecker of HBO’s Hung, depictions of male characters perplexed by societal expectations of men and anxious about changing American masculinity have become standard across the television landscape. Engaging with a wide variety of shows, including The League, Dexter, and Nip/Tuck, among many others, Amanda D. Lotz identifies the gradual incorporation of second-wave feminism into prevailing gender norms as the catalyst for the contested masculinities on display in contemporary cable dramas. Examining the emergence of “male-centered serials” such as The Shield, Rescue Me, and Sons of Anarchy and the challenges these characters face in negotiating modern masculinities, Lotz analyzes how these shows combine feminist approaches to fatherhood and marriage with more traditional constructions of masculine identity that emphasize men’s role as providers. She explores the dynamics of close male friendships both in groups, as in Entourage and Men of a Certain Age, wherein characters test the boundaries between the homosocial and homosexual in their relationships with each other, and in the dyadic intimacy depicted in Boston Legal and Scrubs. Cable Guys provides a much needed look into the under-considered subject of how constructions of masculinity continue to evolve on television.

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In Benjamin’s Library, Jane O. Newman offers, for the first time in any language, a reading of Walter Benjamin’s notoriously opaque work, Origin of the German Tragic Drama that systematically attends to its place in discussions of the Baroque in Benjamin’s day. Taking into account the literary and cultural contexts of Benjamin’s work, Newman recovers Benjamin’s relationship to the ideologically loaded readings of the literature and political theory of the seventeenth-century Baroque that abounded in Germany during the political and economic crises of the Weimar years. To date, the significance of the Baroque for Origin of the German Tragic Drama has been glossed over by students of Benjamin, most of whom have neither read it in this context nor engaged with the often incongruous debates about the period that filled both academic and popular texts in the years leading up to and following World War I. Armed with extraordinary historical, bibliographical, philological, and orthographic research, Newman shows the extent to which Benjamin participated in these debates by reconstructing the literal and figurative history of sixteenth- and seventeenth-century books that Benjamin analyzes and the literary, art historical and art theoretical, and political theological discussions of the Baroque with which he was familiar. In so doing, she challenges the exceptionalist, even hagiographic, approaches that have become common in Benjamin studies. The result is a deeply learned book that will infuse much-needed life into the study of one of the most influential thinkers of the twentieth century.

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"Hickman['s] . . . style of pragmatism provides us with flexible, philosophical 'tools' which can be used to analyze and penetrate various technology and technological cultural problems of the present. He, himself, uses this toolkit to make his analyses and succeeds very well indeed." —Don IhdeA practical and comprehensive appraisal of the value of philosophy in today's technological culture.Philosophical Tools for Technological Culture contends that technology—a defining mark of contemporary culture—should be a legitimate concern of philosophers. Larry A. Hickman contests the perception that philosophy is little more than a narrow academic discipline and that philosophical discourse is merely redescription of the ancient past. Drawing inspiration from John Dewey, one of America's greatest public philosophers, Hickman validates the role of philosophers as cultural critics and reformers in the broadest sense. Hickman situates Dewey's critique of technological culture within the debates of 20th-century Western philosophy by engaging the work of Richard Rorty, Albert Borgmann, Jacques Ellul, Walter Benjamin, Jürgen Habermas, and Martin Heidegger, among others. Pushing beyond their philosophical concerns, Hickman designs and assembles a set of philosophical tools to cope with technological culture in a new century. His pragmatic treatment of current themes—such as technology and its relationship to the arts, technosciences and technocrats, the role of the media in education, and the meaning of democracy and community life in an age dominated by technology—reveals that philosophy possesses powerful tools for cultural renewal. This original, timely, and accessible work will be of interest to readers seeking a deeper understanding of the meanings and consequences of technology in today's world.

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Much of modernist architecture was inspired by the emergence of internationalism: the ethics and politics of world peace, justice and unity through global collaboration. Mark Crinson here shows how the ideals represented by the Tower of Babel - built, so the story goes, by people united by one language - were effectively adapted by internationalist architecture, its styles and practices, in the modern period. Focusing particularly on the points of convergence between modernist and internationalist trends in the 1920s, and again in the immediate post-war years, he underlines how such architecture utilised the themes of a cooperative community of builders and a common language of forms.The 'International Style' was one manifestation of this new way of thinking, but Crinson shows how the aims of modernist architecture frequently engaged with the substance of an internationalist mindset in addition to sharing surface similarities. Bringing together the visionaries of internationalist projects - including Le Corbusier, Bruno Taut, Berthold Lubetkin, Walter Gropius and Mies van der Rohe - Crinson interweaves ideas of evolution, ecology, utopia, regionalism, socialism, free trade, and anti-colonialism to reveal the possibilities heralded by modernist architecture. Furthermore, he re-connects pivotal figures in architecture with a cast of polymath internationalists such as Patrick Geddes, Lewis Mumford, Julian Huxley, Rabindranath Tagore and H. G. Wells, to provide a richly detailed socio-cultural framework. This is a book crafted for students and scholars of architecture and art theory, as well as for those interested in the history of twentieth-century optimism about the world and its architecture.

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A tale of political paranoia, dangerous liaisons and defiant compassion, The Quiet Twin is an unforgettable journey into a cityscape of totalitarian dread and deception ‘The Quiet Twin reveals Vyleta to be a magical storyteller, a master of the macabre and a writer who illuminates the noir with a new darkness ... Vyleta creates a vivid Viennese waltz that explores the darkness of his chosen period in a way that both thrills and disturbs' David Park Vienna, 1939. Professor Speckstein's dog has been brutally killed and he wants to know why. But these are uncharitable times and one must be careful where one probes... When an unexpected house call leads Doctor Beer to Speckstein's apartment, he finds himself in the bedroom of Zuzka, the professor's niece. Wide-eyed, flirtatious, and not detectably ill, Zuzka leads the young doctor to her window and opens up a view of their apartment block that Beer has never known. Across the shared courtyard there is nine-year-old Anneliese, the lonely daughter of an alcoholic. Five windows to the left lives a secretive mime who comes home late at night and keeps something - or someone - precious hidden from view. From the garret drifts the mournful sound of an Oriental's trumpet, and a basement door swings closed behind the building's inscrutable janitor. Does one of these enigmatic neighbours have blood on their hands? Doctor Beer, who has his own reasons for keeping his private life hidden from public scrutiny, reluctantly becomes embroiled in an enquiry that forces him to face the dark realities of Nazi rule.

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How is it that American intellectuals, who had for 150 years worried about the deleterious effects of affluence, more recently began to emphasize pleasure, playfulness, and symbolic exchange as the essence of a vibrant consumer culture? The New York intellectuals of the 1930s rejected any serious or analytical discussion, let alone appreciation, of popular culture, which they viewed as morally questionable. Beginning in the 1950s, however, new perspectives emerged outside and within the United States that challenged this dominant thinking. Consuming Pleasures reveals how a group of writers shifted attention from condemnation to critical appreciation, critiqued cultural hierarchies and moralistic approaches, and explored the symbolic processes by which individuals and groups communicate. Historian Daniel Horowitz traces the emergence of these new perspectives through a series of intellectual biographies. With writers and readers from the United States at the center, the story begins in Western Europe in the early 1950s and ends in the early 1970s, when American intellectuals increasingly appreciated the rich inventiveness of popular culture. Drawing on sources both familiar and newly discovered, this transnational intellectual history plays familiar works off each other in fresh ways. Among those whose work is featured are Jürgen Habermas, Roland Barthes, Umberto Eco, Walter Benjamin, C. L. R. James, David Riesman and Marshall McLuhan, Richard Hoggart, members of London's Independent Group, Stuart Hall, Paddy Whannel, Tom Wolfe, Herbert Gans, Susan Sontag, Reyner Banham, and Robert Venturi and Denise Scott Brown.

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There is no more contentious and perennial issue in the history of modern Western thought than the vexed relationship between the genesis of an idea and its claim to validity beyond it. Can ideas or values transcend their temporal origins and overcome the sin of their original context, and in so doing earn abiding respect for their intrinsic merit? Or do they inevitably reflect them in ways that undermine their universal aspirations? Are discrete contexts so incommensurable and unique that the smooth passage of ideas from one to the other is impossible? Are we always trapped by the limits of our own cultural standpoints and partial perspectives, or can we somehow escape their constraints and enter into a fruitful dialogue with others? These persistent questions are at the heart of the discipline known as intellectual history, which deals not only with ideas, but also with the men and women who generate, disseminate, and criticize them. The essays in this collection, by one of the most recognized figures in the field, address them through engagement with leading intellectual historians—Hans Blumenberg, Quentin Skinner, Hayden White, Isaiah Berlin, Frank Ankersmit—as well other giants of modern thought—Max Weber, Emile Durkheim, Georg Simmel, Walter Benjamin, Theodor Adorno, and Georg Lukács. They touch on a wide variety of related topics, ranging from the heroism of modern life to the ability of photographs to lie. In addition, they explore the fraught connections between philosophy and theory, the truth of history and the truthfulness of historians, and the weaponization of free speech for other purposes.

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In 1939, Vogue magazine invited commercial designer Raymond Loewy and eight of his contemporaries—including Walter Dorwin Teague, Egmont Arens, and Henry Dreyfuss—to design a dress for the "Woman of the Future" as part of its special issue promoting the New York World's Fair and its theme, "The World of Tomorrow." While focusing primarily on her clothing and accessories, many commented as well on the future woman's physique, predicting that her body and mind would be perfected through the implementation of eugenics. Industrial designers' fascination with eugenics—especially that of Norman Bel Geddes—began during the previous decade, and its principles permeated their theories of the modern design style known as "streamlining." In Eugenic Design, Christina Cogdell charts new territory in the history of industrial design, popular science, and American culture in the 1930s by uncovering the links between streamline design and eugenics, the pseudoscientific belief that the best human traits could—and should—be cultivated through selective breeding. Streamline designers approached products the same way eugenicists approached bodies. Both considered themselves to be reformers advancing evolutionary progress through increased efficiency, hygiene and the creation of a utopian "ideal type." Cogdell reconsiders the popular streamline style in U.S. industrial design and proposes that in theory, rhetoric, and context the style served as a material embodiment of eugenic ideology. With careful analysis and abundant illustrations, Eugenic Design is an ambitious reinterpretation of one of America's most significant and popular design forms, ultimately grappling with the question of how ideology influences design.

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Fans of The Kennedy Debutante and Next Year in Havana will love Georgie Blalock’s new novel of a world on the cusp of change...set on the eve of World War II in the glittering world of English society and one of the last debutante seasons. They danced the night away, knowing their world was about to change forever. They were the debutantes of 1939, laughing on the outside, but knowing tragedy— and a war—was just around the corner. When Valerie de Vere Cole, the niece of Prime Minister Neville Chamberlain, makes her deep curtsey to the King and Queen of England, she knows she’s part of a world about to end. The daughter of a debt-ridden father and a neglectful mother, Valerie sees firsthand that war is imminent.Nevertheless, Valerie reinvents herself as a carefree and glittering young society woman, befriending other debutantes from England’s aristocracy as well as the vivacious Eunice Kennedy, daughter of the U.S. Ambassador. Despite her social success, the world’s troubles and Valerie’s fear of loss and loneliness prove impossible to ignore.How will she navigate her new life when everything in her past has taught her that happiness and stability are as fragile as peace in our time? For the moment she will forget her cares in too much champagne and waltzes. Because very soon, Valerie knows that she must find the inner strength to stand strong and carry on through the challenges of life and love and war.

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This engrossing anthology gathers together a remarkable collection of writings on the use of strategy in war. Gerard Chaliand has ranged over the whole of human history in assembling this collection - the result is an integration of the annals of military thought that provides a learned framework for understanding global political history. Included are writings from ancient and modern Europe, China, Byzantium, the Arab world, Persia, and the Ottoman Empire. Alongside well-known militarists such as Julius Caesar, Napoleon, Walter Raleigh, Rommel, and many others are 'irregulars' such as Cortes, Lawrence of Arabia, and even Gandhi. Contrary to standard interpretations stressing competition between land and sea powers, or among rival Christian societies, Chaliand shows the great importance of the struggles between nomadic and sedentary people, and of the conflicts between Christianity and Islam. With the invention of firepower, a relatively recent occurrence in the history of warfare, modes of organization and strategic concepts - elements reflecting the nature of a society - have been key to how war is waged. Unparalleled in its breadth, this anthology will become the standard work for understanding a fundamental part of human history - the conduct of war. 'This anthology is not only an unparalleled corpus of information and an aid to failing memory; it is also and above all a reliable and liberating guide for research...Ranging 'from the origins to the nuclear age', it compels us to widen our narrow perspectives on conflicts and strategic action and open ourselves up to the universal' - from the Foreword.

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Reporting on China has long been one of the most challenging and crucial of journalistic assignments. Foreign correspondents have confronted war, revolution, isolation, internal upheaval, and onerous government restrictions as well as barriers of language, culture, and politics. Nonetheless, American media coverage of China has profoundly influenced U.S. government policy and shaped public opinion not only domestically but also, given the clout and reach of U.S. news organizations, around the world.This book tells the story of how American journalists have covered China—from the civil war of the 1940s through the COVID-19 pandemic—in their own words. Mike Chinoy assembles a remarkable collection of personal accounts from eminent journalists, including Stanley Karnow, Seymour Topping, Barbara Walters, Dan Rather, Melinda Liu, Nicholas Kristof, Joseph Kahn, Evan Osnos, David Barboza, Amy Qin, and Megha Rajagopalan, among dozens of others. They share behind-the-scenes stories of reporting on historic moments such as Richard Nixon’s groundbreaking visit in 1972, China’s opening up to the outside world and its emergence as a global superpower, and the crackdowns in Tiananmen Square and Xinjiang. Journalists detail the challenges of covering a complex and secretive society and offer insight into eight decades of tumultuous political, economic, and social change.At a time of crisis in Sino-American relations, understanding the people who have covered China for the American media and how they have done so is crucial to understanding the news. Through the personal accounts of multiple generations of China correspondents, Assignment China provides that understanding.

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Gareth Jones (1905-1934), the young Welsh investigative journalist, is revered in Ukraine as a national hero and is now rightly recognised as the first reporter to reveal the horror of the Holodomor, the Soviet Government-induced famine of the early 1930s, which killed millions of Ukrainians. Gareth Jones - Eyewitness to the Holodomor is a meticulous study of the efforts made by the the Aberystwyth and Cambridge-educated journalist, a fluent Russian-speaker, to investigate the Soviet Government’s denials, that its Five Year Plan had led to mass starvation, by visiting Ukraine in 1933 and reporting what he saw and witnessed: `I walked along through villages and twelve collective farms. Everywhere was the cry, “There is no bread. We are dying”’. Determined to alert the world to the suffering in Ukraine and to expose Stalin’s policies and prejudices towards the Ukrainian people, Jones published numerous articles in the UK (The Times, Daily Express and Western Mail) and the USA (New York Evening News and Chicago Daily News) with headlines such as `Famine Grips Russia. Millions Dying’, but soon saw his credibility and integrity attacked and denigrated by Soviet sympathizers, most famously by Moscow-based Walter Duranty of the New York Times. Gareth Jones was killed by bandits the following year, on the eve of his 30th birthday, whilst travelling in Japanese-controlled China. There remain strong suspicions that Jones’ murder was arranged by the Soviets in revenge for his eyewitness reporting which brought global attention to the Holodomor.

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WINNER OF THE WALTER SCOTT PRIZE FOR HISTORICAL FICTION'To tell the story of a country or a continent is surely a great and complex undertaking; but the story of a quiet, unnoticed place where there are few people, fewer memories and almost no reliable records - a place such as Glen Conach - may actually be harder to piece together. The hazier everything becomes, the more whatever facts there are become entangled with myth and legend. . .'Deep in the mountains of north-east Scotland lies Glen Conach, a place of secrets and memories, fable and history. In particular, it holds the stories of three different eras, separated by centuries yet linked by location, by an ancient manuscript and by echoes that travel across time.In ancient Pictland, the Christian hermit Conach contemplates God and nature, performs miracles and prepares himself for sacrifice. Long after his death, legends about him are set down by an unknown hand in the Book of Conach.Generations later, in the early nineteenth century, self-promoting antiquarian Charles Kirkliston Gibb is drawn to the Glen, and into the big house at the heart of its fragile community.In the present day, young Lachie whispers to Maja of a ghost he thinks he has seen. Reflecting on her long life, Maja believes him, for she is haunted by ghosts of her own.News of the Dead is a captivating exploration of refuge, retreat and the reception of strangers. It measures the space between the stories people tell of themselves - what they forget and what they invent - and the stories through which they may, or may not, be remembered.

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David King Gleason provides a grand tour of Virginia's distinctive plantation homes. As the architectural historian Calder Loth states in his prefatory note, ""Gleason's elegant photographs provide a seductive image of life in 'Old Virginia.' He presents one inviting house after another, complete with handsome interiors, and spacious grounds dotted with boxwoods and venerable trees.""Unlike those in the Deep South, most of Virginia's plantation homes were built before the antebellum period and mainly reflect colonial, English Georgian, and Jeffersonian styles of architecture. Gleason has photographed the homes in all seasons, framing some in the pink blossoms of springtime dogwoods, showing others surrounded by the golden hues of autumn, and presenting still others blanketed in January snows. Many of the photographs provide aerial perspectives that encompass not only the homes themselves but outbuildings and dependencies, great lawns and terraced gardens.The book begins with homes in the Tidewater region, where Bacon's Castle, built in 1665 on the south bank of the James River, still stands. It is the oldest surviving house not only in Virginia but in all of English-settled North America. Other houses from the Tidewater region include Westover, considered one of the most beautiful Georgian residences in the United States; Brandon, at one time the home of Benjamin Harrison; Appomattox Manor, where Ulysses S. Grant headquartered for a period during the Civil War; and Carter's Grove, near Williamsburg. In northern Virginia and the Shenandoah valley are Gunston Hall, near Alexandria; Woodlawn, in Fairfax County; Washington's Mount Vernon; and Melrose, a castellated manor inspired by the romantic literature of Sir Walter Scott. In the Piedmont, Gleason photographed such houses as Ash Lawn, the home of James Monroe; Edgemont, an exquisitely proportioned house showing Thomas Jefferson's influence; and Estouteville, whose great center hall opens onto identical Tuscan porticos framing magnificent views of the Virginia countryside. Gleason's photographs of a mist-shrouded Monticello are among the most beautiful in the book. In all, Gleason has photographed more than eighty of Virginia's finest plantation homes. Extensive captions provide concise histories of each house, including its original builder and subsequent owners, and its occupants, either friendly or hostile, during the Revolutionary or Civil wars.

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Astonishingly, The Hagley Wood Murder is the first book solely on the subject (other than a selection of privately printed/self published offerings) ever written on this murder, which too place eighty years ago. In April 1943, four teenaged boys discovered a corpse stuffed into the bole of a wych elm in a wood in the industrial Midlands. The body was merely bones and had been in the tree for up to two years. The pathologist determined that she was female, probably in her thirties, had given birth and was just under five feet tall. The cause of death was probably suffocation. Six months after the discovery, mysterious messages began to appear on walls in the area, variants of Who Put Bella Down the Wych Elm - Hagley Wood'. And the name Bella has stuck ever since. Local newspapers, then the national press, took up the story and ran with it, but not until 1968 was there a book on the case - Donald McCormick's Murder by Witchcraft - and that, like others that followed, tied Bella in with another supposedly occult murder, that of Charles Walton on Meon Hill in 1945. Any unsolved murder brings out the oddballs - the police files, only recently released, are full of them - and the nonsense still continues. The online versions are woeful - inaccuracy piled on supposition, laced with fiction. It did not help that a professional occultist, Dr Margaret Murray, expressed her belief, as early as 1953, that witchcraft was involved in Bella's murder. And ill-informed nonsense has been cobbled together to prove' that Dr Murray was right. McCormick's own involvement was in espionage and his book, slavishly copied by later privately printed efforts, have followed this tack too. It was wartime, so the anonymous woman in the wych elm had to be a spy, parachuted in by the Abwehr, the Nazi secret service. The Hagley Wood Murder is the first book to unravel the fiction of McCormick and others. It names Bella and her probable murderer. And if the conclusion is less over-the-top than the fabrications referred to above, it is still an intriguing tale of the world's oldest profession and the world's oldest crime!

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Jack's Journey is the moving and extraordinary story of an unknown ANZAC action at Gallipoli during the period of the Landing on 1 and 2 May, 1915. Kit Cullen began tracing Jack Collyer's story using his three diaries and his service record. The diaries cover the voyage from Australia to training in Egypt and Lemnos and, finally, landing at Anzac. Unfortunately, the last diary ended as Jack entered the firing line on Bolton's Ridge at dusk on 25 April. He was wounded a week later. Where was Jack and what was he doing when he was wounded? What Kit discovered over ten years of painstaking research is extraordinary. On 1 May Jack and about fifty other members of No. 15 Platoon 4th Battalion were ordered to go to the aid of about 60 Royal Marines who had been trapped for two and a half days in an isolated trench. The Marines were running out of ammunition and water and needed support. Before dawn Jack and his mates entered the valley, which they christened Death Trap Valley, before dawn and positioned themselves in Loutit's Post overlooking the Marines for most of the day under heavy enemy fire. The 4th Battalion's rescue mission was undertaken at the height of the third Turkish counter attack. At 3 o'clock in the afternoon the ANZACs were ordered to resupply the Marines with ammunition and water and to reinforce their line. To do so meant running the gauntlet of the death trap - an exposed fifty metre long track, marked by the Turks as a killing ground. As the platoon braved the death trap, one by one, most of them were killed or wounded, including Jack. Snowy Robson carried ammunition and water to the beleaguered garrison without being hit. An hour later he also guided and took charge of No.3 Platoon 4th Battalion which was ordered into the valley to reinforce the isolated trench. In all, Snowy diced the death trap six times - five in daylight - without being hit. The position and the Marines were saved. Five Allied gallantry medals were awarded for the action, including the first Victoria Cross at Anzac. Walter Parker, a Royal Marine stretcher bearer, was the recipient. Snowy Robson was awarded a Distinguished Conduct Medal for his feats. The other extraordinary aspect of the 4th Battalion's participation in the action was the corruption of the historical record by Charles Bean. Bean omitted any reference to the 4th Battalion in his telling of the story in the Official History, despite knowing what happened. Instead, he gave the credit for saving the Marines to his brother's unit, the 3rd Battalion, which played a part on 2 May in relieving the Marines and the remnants of the two 4th Battalion parties. Bean misused a letter from the Royal Marine hierarchy specifically praising the 4th Battalion's sacrifice and courage, claiming its sentiments for the 3rd Battalion. The tragic heroism of Jack and his mates, and Bean's historiographical skulduggery would have remained hidden if Kit Cullen hadn't stumbled on them in the course of his research.

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Portfolio: Beginning Pen & Ink will teach you everything you need to know about the fundamentals of drawing with pen and ink. From the beloved and best-selling Portfolio art series by Walter Foster Publishing comes Portfolio: Beginning Pen & Ink, a book that invites you to explore this classic art medium in new and refreshing ways. This comprehensive guide is packed with valuable resources for artists of all skill levels, starting with the basics and ending with intricate, original step-by-step projects that are sure to impress—and inspire. Portfolio: Beginning Pen & Ink introduces drawing basics, including stippling, hatching, and crosshatching; how to master the fundamentals of mark-making and line work; and helpful exercises for contour drawing, gesture drawing, perspective, and more. Chapters on value, tone, mood, light and shadow, and texture follow, ensuring that artists gain the drawing knowledge they need before working on the step-by-step projects featured in the book. Artists can even learn to add color to their black-and-white art using watercolor for a fresh, modern take on an age-old art form. Whether you're a new artist looking to try a celebrated art technique, a pen-and-ink enthusiast, a mixed-media master, or a graphite-pencil fan looking to branch out to new mediums, Portfolio: Beginning Pen & Ink will teach you everything you need to know. The Portfolio series covers essential art techniques, core concepts, and media with an approach and format that’s perfect for aspiring, beginning, and intermediate artists.Also available from the series: Beginning Acrylic, Beginning Drawing, Beginning Watercolor, Beginning Pastel, Beginning Colored Pencil, Beginning Color Mixing, Expressive Painting, Beginning Color Mixing, and Beginning Composition.

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There are many Stevensons behind the initials RLS, but the one that has endeared him to readers for so long is surely the fighter, battling to stay alive. Jorge Luis Borges described his brief life as courageous and heroic. In Philip Callow’s absorbing new biography, one can see why. Doctors, called repeatedly to what should have been his deathbed, would find a scarecrow, twitching and alive. A sickly child, Louis became in turn a bohemian dandy, a literary gypsy traipsing through the mountains of France with a donkey, and at twenty-eight the lover of an American woman ten years his senior, the fabulous Fanny. He escaped his Scottish town, his family, his friends who had mapped out a literary career for him in London, and instead went chaotically across the Atlantic and overland to California in poverty and despair to reach his beloved, whereupon he escaped into marriage and committed himself to being a nomad. He sailed the Pacific and dreamed of being an explorer; his restlessness was Victorian. With the power of a novelist and the grace of a poet (of which he is both), Philip Callow captures this great writer and his many contradictions. He was a born exile longing for home; a northerner who thrived on tropic sunshine; a near atheist who organized Sunday services for his Samoan workers. He has been called Scotland's finest writer of English prose, a more economical Walter Scott. As an essayist he equaled Hazlitt. In emotional crises he wept openly, to the embarrassment of his wife. “His feelings are always his reasons,” said Henry James, and caught in a sentence the secret of Stevenson’s popularity as one of the last of the classic storytellers. Louis brings him alive. With 8 pages of black-and-white photographs.

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Following World War I, political commentator Walter Lippmann worried that citizens increasingly held inaccurate and misinformed beliefs because of the way information was produced, circulated, and received in a mass-mediated society. Lippmann dubbed this manipulative opinion-making process "the manufacture of consent." A more familiar term for such large-scale persuasion would be propaganda. In Weapons of Democracy, Jonathan Auerbach explores how Lippmann's stark critique gave voice to a set of misgivings that had troubled American social reformers since the late nineteenth century. Progressives, social scientists, and muckrakers initially drew on mass persuasion as part of the effort to mobilize sentiment for their own cherished reforms, including regulating monopolies, protecting consumers, and promoting disinterested, efficient government. "Propaganda" was associated with public education and consciousness raising for the good of the whole. By the second decade of the twentieth century, the need to muster support for American involvement in the Great War produced the Committee on Public Information, which zealously spread the gospel of American democracy abroad and worked to stifle dissent at home. After the war, public relations firms-which treated publicity as an end in itself-proliferated. Weapons of Democracy traces the fate of American public opinion in theory and practice from 1884 to 1934 and explains how propaganda continues to shape today's public sphere. The book closely analyzes the work of prominent political leaders, journalists, intellectuals, novelists, and corporate publicists, including Woodrow Wilson, Theodore Roosevelt, Mark Twain, George Creel, John Dewey, Julia Lathrop, Ivy Lee, and Edward Bernays. Truly interdisciplinary in both scope and method, this book will appeal to students and scholars in American studies, history, political theory, media and communications, and rhetoric and literary studies.

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One of the most prolific and respected directors of Japanese cinema, Naruse Mikio (1905–69) made eighty-nine films between 1930 and 1967. Little, however, has been written about Naruse in English, and much of the writing about him in Japanese has not been translated into English. With The Cinema of Naruse Mikio, Catherine Russell brings deserved critical attention to this under-appreciated director. Besides illuminating Naruse’s contributions to Japanese and world cinema, Russell’s in-depth study of the director sheds new light on the Japanese film industry between the 1930s and the 1960s.Naruse was a studio-based director, a company man renowned for bringing films in on budget and on time. During his long career, he directed movies in different styles of melodrama while displaying a remarkable continuity of tone. His films were based on a variety of Japanese literary sources and original scripts; almost all of them were set in contemporary Japan. Many were “women’s films.” They had female protagonists, and they depicted women’s passions, disappointments, routines, and living conditions. While neither Naruse or his audiences identified themselves as “feminist,” his films repeatedly foreground, if not challenge, the rigid gender norms of Japanese society. Given the complex historical and critical issues surrounding Naruse’s cinema, a comprehensive study of the director demands an innovative and interdisciplinary approach. Russell draws on the critical reception of Naruse in Japan in addition to the cultural theories of Harry Harootunian, Miriam Hansen, and Walter Benjamin. She shows that Naruse’s movies were key texts of Japanese modernity, both in the ways that they portrayed the changing roles of Japanese women in the public sphere and in their depiction of an urban, industrialized, mass-media-saturated society.

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For decades the high walls of Manchester's Strangeways Prison have contained some of England's most infamous criminals. Until hanging was abolished in the 1960s it was also the main centre of execution for convicted murderers from all parts of the north west. The history of execution at Manchester began with the hanging of a young Salford man, convicted of murdering a barman on Boxing Day 1868: he was the first of 100 murderers to pay the ultimate penalty here.Over the next ninety-five years many infamous criminals took the short walk to the gallows. They included Dr Buck Ruxton, who butchered his wife and maid; John Jackson, who escaped from Strangeways after murdering a prison warder; Walter Rowland, hanged for the murder of a prostitute and the only man to occupy the condemned cell at Strangeways twice; Chung Yi Miao, who strangled his wife on their honeymoon; and Oldham teenager Ernie Kelly, whose execution almost caused a riot outside the prison. Also included are the stories behind scores of lesser-known criminals: poisoners, spurned lovers, cut-throat killers, and many more.Steve Fielding has fully researched all these cases, and they are collected together here in one volume for the first time. Infamous executioners also played their part in the gaol's history: Calcraft, Marwood, Binns and Berry all officiated here, as did many local men: Bolton hangman James Billington and his sons, Rochdale barber John Ellis, and Manchester publicans Albert Pierrepoint and Harry Allen. Fully illustrated with rare photographs, documents and news-cuttings, Hanged at Manchester is bound to appeal to anyone interested in the darker side of the north west of England's history.

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Candace Slater takes us on a journey into the Amazon that will forever change our ideas about one of the most written-about, filmed, and fought-over areas in the world. In this book she deftly traces a rich and marvelous legacy of stories and images of the Amazon that reflects the influence of widely different groups of people--conquistadors, corporate executives, subsistence farmers --over the centuries. A careful, passionate consideration of one of the most powerful environmental icons of our time, Entangled Edens makes clear that we cannot defend the Amazon's dazzling array of plants and animals without comprehending its equally astonishing human and cultural diversity. Early explorers describe encounters with fearsome warrior women and tell of golden cities complete with twenty-four-carat kings. Contemporary miners talk about a living, breathing gold. TV documentaries decry deforestation and mercury poisoning. How do these disparate visions of the Amazon relate to one another? As she fits the pieces of the puzzle together, Slater shows how today's widespread portrayal of the region as a fragile rain forest on the brink of annihilation is every bit as likely as earlier depictions to obscure important aspects of this immense and complicated region. In this book, Slater draws on her fifteen years of experience collecting stories and oral histories among many different groups of people in the Amazon. Throughout Entangled Edens, the voices of contemporary Amazonians mingle with the analyses of such writers as Claude Levi-Strauss, Theodore Roosevelt, and nineteenth-century naturalist Henry Walter Bates. Slater convinces us that these stories and ideas, together with an understanding of their origins and ongoing impact, are as critical as scientific analyses in the fight to preserve the rain forest.

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As WWI drew to a close, change reverberated through the halls of England's country homes. As the sun set slowly on the British Empire, the shadows lengthened on the lawns of a thousand stately homes. In The Long Weekend, historian Adrian Tinniswood introduces us to the tumultuous, scandalous and glamourous history of English country houses during the years between World Wars. As estate taxes and other challenges forced many of these venerable houses onto the market, new sectors of British and American society were seduced by the dream of owning a home in the English countryside. Drawing on thousands of memoirs, letters, and diaries, as well as the eye-witness testimonies of belted earls and bibulous butlers, Tinniswood brings the stately homes of England to life as never before, opening the door to a world by turns opulent and ordinary, noble and vicious, and forever wrapped in myth. We are drawn into the intrigues of legendary families such as the Astors, the Churchills and the Devonshires as they hosted hunting parties and balls that attracted the likes of Charlie Chaplin, T.E. Lawrence, and royals such as Edward VIII and Wallis Simpson. We waltz through aristocratic soirees, and watch as the upper crust struggle to fend off rising taxes and underbred outsiders, property speculators and poultry farmers. We gain insight into the guilt and the gingerbread, and see how the image of the country house was carefully protected by its occupants above and below stairs. Through the glitz of estate parties, the social tensions between old money and new, the hunting parties, illicit trysts, and grand feasts, Tinniswood offers a glimpse behind the veil of these great estates--and reveals a reality much more riveting than the dream.

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Conceptions of evil have changed dramatically over time, and though humans continue to commit acts of cruelty against one another, today we possess a clearer, more moral way of analyzing them. In Narrating Evil, Maria Pia Lara explores what has changed in our understanding of evil, why the transformation matters, and how we can learn from this specific historical development. Drawing on Immanuel Kant's and Hannah Arendt's ideas about reflective judgment, Lara argues that narrative plays a key role in helping societies acknowledge their pasts. Particular stories haunt our consciousness and lead to a kind of examination and dialogue that shape notions of morality. A powerful description of a crime can act as a filter, helping us to draw conclusions about what constitutes a moral wrong, and public debates over these narratives allow us to construct a more accurate picture of historical truth, leading to a better understanding of why such actions are possible. In building her argument, Lara considers Greek tragedies, Shakespeare's depictions of evil, Joseph Conrad's literary metaphors, and movies that portray human cruelty. Turning to such philosophers and writers as Jurgen Habermas, Walter Benjamin, Primo Levi, Giorgio Agamben, and Ariel Dorfman, Lara defines a reflexive relationship between an event, the narrative of the event, and the public reception of the narrative, and she proves that the stories of perpetrators and sufferers are always intertwined. The process of disclosure, debate, and the public fashioning of collective judgment are vital methods through which we make sense not only of new forms of cruelty but of past crimes as well. Narrating Evil describes the steps of this process and why they are a crucial part of our attempt to build a different, more just world.

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WINNER OF THE 2023 COMPTON CROOK AWARDSHORTLISTED FOR THE 2023 WORLD FANTASY AWARD FOR BEST NOVELSHORTLISTED FOR THE LOCUS AWARD FOR BEST FIRST NOVEL'Wild, witty, and profound. . . a cosmic storm of talent' Victor LaVallePut on your dancing shoes and step into New Orleans as you've never seen it before in this vibrant and imaginative debut.Nola is a city of wonders. An alternate New Orleans made of music and magic, where spirits dance the night away and Wise Women help keep the order. To those from Away, Nola might seem strange. To failed magician Perilous Graves, it's simply home. Then the rhythm of the city stutters. Nine songs of power have escaped from the magical piano that maintains the city's beat, and without them, Nola will fail. Unwilling to watch his home be destroyed, Perry will sacrifice everything to save it. But a storm is brewing and even if they capture the songs, Nola's time might be coming to an end. Praise for The Ballad of Perilous Graves: 'A hallucinatory wonder of a debut' Walter Mosley'Gripping and inventive fantasy' Guardian'An enchanting, energetic, wild ride of a story set to a staccato melody. The electric prose leaps off the page in a riot of colours and sounds' Leslye Penelope'A wild, dark and joyful love song to New Orleans, the power of stories, and hope in the face of destruction' H. G. Parry 'I ached to live in their world. A stunning debut that is sure to become a classic' Elizabeth Hand 'Alex Jennings writes with an energy and a profusion of imagination and vividness that carries you off. Brilliant!' Katherine Addison 'A beautiful song full of magic and rhythm, darkness and delight. A profoundly gorgeous debut' Christina Henry

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*** FOR FANS OF RICHARD OSMAN AND JANICE HALLETT, WE INVITE YOU TO MEET A NEW LITERARY SLEUTH – JANE AUSTEN . . . ***'Richly imagined and wonderfully plotted - a great read' S.J. BENNETT'Sharp and energetic whilst simultaneously warm and heartfelt. This is a delicious treat for fans of Austen's novels and delightfully compelling mysteries' B. P . WALTER'Exceptional - the Austen whodunnit I feel like I've been waiting my whole life for! I loved it' SOPHIE IRWINIt is a truth universally acknowledged, that every good mystery is in need of a brilliant sleuth . . .Welcome to Hampshire, 1795, where a young Jane Austen has her sights set on securing a marriage proposal from the dashing Tom Lefroy at a local ball.But when a shocking discovery is made - a milliner's lifeless body tucked away in a linen closet - Jane finds herself embroiled in an unexpected murder mystery.As she races against the clock to clear her beloved brother Georgy's name, Jane uses her sharp wits to navigate the treacherous waters of society, unmasking secrets and unearthing hidden motives along the way. With every twist and turn, Jane's determination to solve the case deepens. And if she fails, her brother will face the ultimate punishment - the hangman's noose . . .Join Jane on her quest for justice as she faces down danger, deceit, and scandal amidst her own friends and neighbours. Will she uncover the truth in time, or will the real killer go free? One thing's for certain - in Hampshire, nothing is as it seems . . .*** BETWEEN THE MATCH-MAKING AND MATRIMONY LIES MURDER . . . . ***Why readers LOVE Miss Austen Investigates!'Delightful and entertaining' 5***** reader review'Jane Austen makes a perfect detective!' 5***** reader review 'This book is such a joy!' 5***** reader review'A very clever whodunnit!' 5***** reader review'Kept me entertained throughout' 5***** reader review

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In this startling, intensively researched book, bestselling historian Paul Kengor shines light on a deeply troubling aspect of American history: the prominent role of the “dupe.” From the Bolshevik Revolution through the Cold War and right up to the present, many progressives have unwittingly aided some of America’s most dangerous opponents.Based on never-before-published FBI files, Soviet archives, and other primary sources, Dupes exposes the legions of liberals who have furthered the objectives of America’s adversaries. Kengor shows not only how such dupes contributed to history’s most destructive ideology—Communism, which claimed at least 100 million lives—but also why they are so relevant to today’s politics.Dupes reveals: Shocking reports on how Senator Ted Kennedy secretly approached the Soviet leadership to undermine not one but two American presidents. Stunning new evidence that Frank Marshall Davis—mentor to a young Barack Obama—had extensive Communist ties and demonized Democrats. Jimmy Carter’s woeful record dealing with America’s two chief foes of the past century, Communism and Islamism. Today’s dupes, including the congressmen whose overseas anti-American propaganda trip was allegedly financed by foreign intelligence. How ’60s Marxist radicals—Tom Hayden, Mark Rudd, Jane Fonda, Jeff Jones, Bill Ayers, and more—have suddenly reemerged as “progressives for Obama.'' How Franklin Roosevelt was duped by “Uncle Joe” Stalin—and by a top adviser who may have been a Soviet agent—despite clear warnings from fellow Democrats. How John Kerry’s accusations that American soldiers committed war crimes in Vietnam may have been the product of Soviet disinformation. The many Hollywood stars who were duped, including Humphrey Bogart, Lauren Bacall, Katharine Hepburn, Gene Kelly—and even Ronald Reagan. Soviet records that demonstrate beyond doubt the Communists’ expansionist aims and their targeting of American liberals, especially academics and the Religious Left. How liberals still defend the same Communists who trashed Democratic icons like Woodrow Wilson, FDR, Harry Truman, and JFK—and still attack the anti-Communists who tried to spare them from manipulation. Details on many other dupes (and dupers), including Arthur Miller, Dr. Benjamin Spock, John Dewey, H. G. Wells, George Bernard Shaw, Lillian Hellman, Howard Zinn, Walter Cronkite, and Helen Thomas. Packed with stunning revelations, Dupes shows in frightening detail how U.S. adversaries exploit the American home front.

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Spies have made an extraordinary impact on the history of the 20th Century, but fourteen in particular can be said to have been demonstrably important. As one might expect, few are household names, and it is only with the benefit of recently declassified files that we can now fully appreciate the nature of their contribution. The criteria for selection have been the degree to which each can now be seen to have had a very definite influence on a specific course of events, either directly, by passing vital classified material, or indirectly, by organizing or managing a group of spies. Those selected were active in the First World War, the inter-war period, the Second World War, the Cold War and even the post-Cold War era. These include Walther Dew who formed a spy ring in German-occupied Belgium during the First World War. This train-watching network, known as White Lady', reported on German troop deployments and possible weaknesses in the German defences. Extending its operations into northern France, the ring provided 75 per cent of the information received by GHQ, British Expeditionary Force. By the time of the Armistice in 1918, Dew 's group had a staggering 1,300 members. Olga Gray, the 27-year-old daughter of a Daily Mail journalist, was employed as a secretary by the Communist Party of Great Britain. In 1931 she undertook a mission for MI5 to penetrate the organization and discover its secret channel of communication with Moscow. Gray learned that the Party's cipher was based on Treasure Island and this breakthrough enabled the Party's messages to be read by Whitehall cryptographers. Renato Levi, an Italian playboy, was the longest-serving British agent of the Second World War and is credited with creating the concept of strategic deception. While operating in Cairo as a double agent working for the Abwehr and the British he was instrumental in misleading the Axis about Allied strength across the Middle East and helped Montgomery achieve his victory over Rommel's Afrika Korps at El Alamein. So successful was Levi in this and other deceptions, he was employed to persuade the Germans that the D-Day landings in Normandy were a diversionary feint, in anticipation of an invasion in the Pas-de-Calais. These, and other surprising stories, are revealed in this fascinating insight into a secret world inhabited by mysterious and shadowy characters, all of whom, though larger than life, really did exist.

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