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Excerpt from General Alumni Catalogue of Washington and Jefferson College, 1918 Florence lockwood libbey Auditor and Ofice Secretary Administration Building; res. 102 S. Wade Ave., Washington, Pa. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
This textbook introduces students to think and write critically against the backdrop of a broad theoretical and empirical foundation of the concept of international justice. It brings together several global and transnational issues from an interdisciplinary perspective. It exposes students to a wide range of political, economic, social and cultural problems across different world regions, including migration, climate change, mass violence, and pandemics. Thanks to this book, students learn to apply different theoretical frameworks, such as environmentalism or feminism, to analyze and better understand the interconnectedness and the transnational character of these global justice-related problems across societies and cultures.
A comprehensive guide to carrying out Qualitative Secondary Analysis (QSA) that brings together expert advice and professional insight from leading researchers who have developed innovative theories and methods of QSA. Exploring crucial components of research and analysis—such as where to find resources, how to search within a resource, and working with both paper archives and non-textual data—each chapter offers insightful case studies, links to further reading and applied helpful hints and tips to help effectively apply these innovations to further the reader’s own research. A must read for Social Science students, early career researchers and researchers new to the field of QSA, this text will help readers through every aspect of a research process using QSA, from application to implications.
Bonded Leather binding
Dear Black Girls is a letter to all Black girls. Every day poet and educator Shanice Nicole is reminded of how special Black girls are and of how lucky she is to be one. Illustrations by Kezna Dalz support the book's message that no two Black girls are the same but they are all special--that to be a Black girl is a true gift. In this celebratory poem, Kezna and Shanice remind young readers that despite differences, they all deserve to be loved just the way they are.