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Library of Small Catastrophes, Alison Rollins’ ambitious debut collection, interrogates the body and nation as storehouses of countless tragedies. Drawing from Jorge Luis Borges’ fascination with the library, Rollins uses the concept of the archive to offer a lyric history of the ways in which we process loss. “Memory is about the future, not the past,” she writes, and rather than shying away from the anger, anxiety, and mourning of her narrators, Rollins’ poetry seeks to challenge the status quo, engaging in a diverse, boundary-defying dialogue with an ever-present reminder of the ways race, sexuality, spirituality, violence, and American culture collide.
A “wide-ranging and sophisticated anthology” comparing theaters of war to wars in the movie theater (Dennis Showalter, author of Patton and Rommel). Why We Fought makes a powerful case that film can be as valuable a tool as primary documents for improving our understanding of the causes and consequences of war. A comprehensive look at war films, from depictions of the American Revolution to portrayals of September 11 and its aftermath, this volume contrasts recognized history and historical fiction with the versions appearing on the big screen. The text considers a selection of the pivotal war films of all time, including All Quiet on the Western Front, Sands of Iwo Jima, Apocalypse Now, Platoon, and Saving Private Ryan—revealing how film depictions of the country’s wars have shaped our values, politics, and culture, and offering a unique lens through which to view American history. Named as a Choice Outstanding Academic Title
How, as historians, should we 'read' a film? Histories on Screen answers this and other questions in a crucial volume for any history student keen to master source use. The book begins with a theoretical 'Thinking about Film' section that explores the ways in which films can be analyzed and interrogated as either primary sources, secondary sources or indeed as both. The much larger 'Using Film' segment of the book then offers engaging case studies which put this theory into practice. Topics including gender, class, race, war, propaganda, national identity and memory all receive good coverage in what is an eclectic multi-contributor volume. Documentaries, films and television from Britain and the United States are examined and there is a jargon-free emphasis on the skills and methods needed to analyze films in historical study featuring prominently throughout the text. Histories on Screen is a vital resource for all history students as it enables them to understand film as a source and empowers them with the analytical tools needed to use that knowledge in their own work.
“A commendably comprehensive analysis of the issue of Hollywood’s ability to shape our minds . . . invigorating reading.” ?Booklist Film has exerted a pervasive influence on the American mind, and in eras of economic instability and international conflict, the industry has not hesitated to use motion pictures for propaganda purposes. During less troubled times, citizens’ ability to deal with political and social issues may be enhanced or thwarted by images absorbed in theaters. Tracking the interaction of Americans with important movie productions, this book considers such topics as racial and sexual stereotyping; censorship of films; comedy as a tool for social criticism; the influence of “great men” and their screen images; and the use of film to interpret history. Hollywood As Historian benefits from a variety of approaches. Literary and historical influences are carefully related to The Birth of a Nation and Apocalypse Now, two highly tendentious epics of war and cultural change. How political beliefs of filmmakers affected cinematic styles is illuminated in a short survey of documentary films made during the Great Depression. Historical distance has helped analysts decode messages unintended by filmmakers in the study of The Snake Pit and Dr. Strangelove. Hollywood As Historian offers a versatile, thought-provoking text for students of popular culture, American studies, film history, or film as history. Films considered include: The Birth of a Nation (1915), The Plow that Broke the Plains (1936), The River (1937), March of Time (1935-1953), City Lights (1931), Modern Times (1936), The Great Dictator (1940), The Grapes of Wrath (1940), Native Land (1942), Wilson (1944), The Negro Soldier (1944), The Snake Pit (1948), On the Waterfront (1954), Dr. Strangelove (1964), Who’s Afraid of Virginia Woolf? (1966), and Apocalypse Now (1979). “Recommended reading for anyone concerned with the influence of popular culture on the public perception of history.” ?American Journalism
Exposing ethical dilemmas of neuroscientific research on violence, this book warns against a dystopian future in which behavior is narrowly defined in relation to our biological makeup. Biological explanations for violence have existed for centuries, as has criticism of this kind of deterministic science, haunted by a long history of horrific abuse. Yet, this program has endured because of, and not despite, its notorious legacy. Today's scientists are well beyond the nature versus nurture debate. Instead, they contend that scientific progress has led to a nature and nurture, biological and social, stance that allows it to avoid the pitfalls of the past. In Conviction Oliver Rollins cautions against this optimism, arguing that the way these categories are imagined belies a dangerous continuity between past and present. The late 1980s ushered in a wave of techno-scientific advancements in the genetic and brain sciences. Rollins focuses on an often-ignored strand of research, the neuroscience of violence, which he argues became a key player in the larger conversation about the biological origins of criminal, violent behavior. Using powerful technologies, neuroscientists have rationalized an idea of the violent brain—or a brain that bears the marks of predisposition toward "dangerousness." Drawing on extensive analysis of neurobiological research, interviews with neuroscientists, and participant observation, Rollins finds that this construct of the brain is ill-equipped to deal with the complexities and contradictions of the social world, much less the ethical implications of informing treatment based on such simplified definitions. Rollins warns of the potentially devastating effects of a science that promises to "predict" criminals before the crime is committed, in a world that already understands violence largely through a politic of inequality.
Whatever else one might say about Emergence Christianity, says Phyllis Tickle, one must agree it is shifting and re-configuring itself in such a prodigious way as to defy any final assessments or absolute pronouncements. Yet the insightful and well-read Tickle offers us a dispatch from the field to keep us informed of where Emergence Christianity now stands, where it may be going, and how it is aligning itself with other parts of God's church. Through her careful study and culture-watching, Tickle invites readers to join this investigation and conversation as open-minded explorers rather than fearful opponents. As readers join Tickle down the winding stream of Emergence Christianity, they will discover fascinating insights into concerns, organizational patterns, theology, and most pressing questions. Anyone involved in an emergence church or a traditional one will find here a thorough and well-written account of where things are--and where they are going.