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The Wild West gets tamed by love. Three stories showcasing everything you love about Western Romance, and it's not all about cowboys. Starr For The Teacher, Tysche Dwai Fresh out of teaching school, Jayne Kincaid is forced to accept a position in Temptation, Texas. Will feisty Sheriff Prescott claim the teacher's hand? To Tame A Gambler, Nancy Pirri In 1894, college Professor John O'Connell arrives in Bozeman, Montana. He meets seemingly shy Grace Morgan but discovers this 'Penny Dreadful' writer is anything but proper. Winning the Ranger's Heart, Jane Carver Jenny Lincoln keeps one big secret from middle-aged homely rancher Neal Franks. Can he win the Ranger's heart? Maybe, but first he has to rescue her.
The name R C ‘Dick’ Riley will be familiar to several generations of railway enthusiasts. Starting in 1937, Dick Riley captured over 18,000 black and while UK railway images. Even though it has been over 40 years since an album devoted to his work was published, only a handful have ever been seen before. This new book aims to address that omission. “Western Ways” is the first book in a series dedicated to Riley’s railway passion. Dick loved all things railway: locomotives, trains of all sorts, infrastructure and railway people, and that is what you will find inside the book. “Western Ways” showcases some of R C Riley’s best photography with a fantastic selection of images captured during the late Great Western Railway and British Rail periods.
In Western Ways, for the first time, the "foreign schools" in Rome and Athens, institutions dealing primarily with classical archaeology and art history, are discussed in historical terms as vehicles and figureheads of national scholarship. By emphasising the agency and role of individuals in relation to structures and tradition, the book shows how much may be gained by examining science and politics as two sides of the same coin. It sheds light on the scholarly organisation of foreign schools, and through them, on the organisation of classical archaeology and classical studies around the Mediterranean. With its breadth and depth of archival resources, Western Ways offers new perspectives on funding, national prestige and international collaboration in the world of scholarship, and places the foreign schools in a framework of nineteenth and twentieth century Italian and Greek history.
Celluloid Pueblo tells the story of Western Ways Features and its role in the invention of the Southwest of the imagination. The story closely follows the boom and bust arc of this region in the mid-twentieth century and the constantly evolving representations of an exotic--but safe and domesticated--frontier and the landscape, regional development, and diverse cultures of Arizona and the Southwest.
In this seminal new work, Martin Shaw, a leading expert on the sociology of war, argues that the new Western way of war is in crisis. He charts the development of a new warfare, after Vietnam, through the Falklands, the Gulf, Kosovo and Afghanistan. He argues that in the Iraq (mis)adventure (of which he provides a detailed analysis) and the War on Terror, the US has consistently flouted the key rules that enabled Western states to fight these earlier wars successfully. The results are not only political failure and a disaster in Iraq, but also a loss of credibility for the very idea of Western warfare. For Shaw, the new way of war focuses on containing risks to the lives of Western soldiers in order to minimise political and electoral risk to governments. Risk is transferred to innocent civilians, whose killing is explained away as 'accidental'. Yet the idea of managing risk is fundamentally at odds with the brutal, unpredictable nature of war. Ultimately, attempts to manage, govern and rule over the risks of war produce greater risks for those in power. The New Western Way of War is a moral and political statement as well as a major contribution to sociology and international relations. It will make compelling reading not only for students and scholars of these disciplines, but for anyone concerned about Western political and military power, and the future for global justice.
Writing with wit and erudition, Thornton discusses in fascinating detail those areas of Greek life--sexuality and sexual roles; slavery and war; philosophy and politics--that some modern critics have made into Rcontested sites.S He also reclaims the importance of those core ideas the Greeks invented, ideas about human fate and purpose that have shaped the modern world.
The Greeks of the classical age invented not only the central idea of Western politics--that the power of state should be guided by a majority of its citizens--but also the central act of Western warfare, the decisive infantry battle. Instead of ambush, skirmish, maneuver, or combat between individual heroes, the Greeks of the fifth century b.c. devised a ferocious, brief, and destructive head-on clash between armed men of all ages. In this bold, original study, Victor Davis Hanson shows how this brutal enterprise was dedicated to the same outcome as consensual government--an unequivocal, instant resolution to dispute. The Western Way of War draws from an extraordinary range of sources--Greek poetry, drama, and vase painting, as well as historical records--to describe what actually took place on the battlefield. It is the first study to explore the actual mechanics of classical Greek battle from the vantage point of the infantryman--the brutal spear-thrusting, the difficulty of fighting in heavy bronze armor which made it hard to see, hear and move, and the fear. Hanson also discusses the physical condition and age of the men, weaponry, wounds, and morale. This compelling account of what happened on the killing fields of the ancient Greeks ultimately shows that their style of armament and battle was contrived to minimize time and life lost by making the battle experience as decisive and appalling as possible. Linking this new style of fighting to the rise of constitutional government, Hanson raises new issues and questions old assumptions about the history of war.
Why, for centuries, have the West and the world continuously produced China knowledge that deviates from Chinese realities? Why, since the mid-nineteenth century, have Chinese intellectuals oscillated between commendation and condemnation of their own culture, and between fetishization and demonization of all things Western? And why have some of the world’s wisest thinkers expressed opinions on Chinese culture, which are simply wrong? In order to answer these questions, this book explores the process of knowledge production about China and the Chinese civilization and in turn, provides a critique of the ways in which this knowledge is formed. Ming Dong Gu argues that the misperceptions and misinterpretations surrounding China and the Chinese civilisation do not simply come from misinformation, biases, prejudices, or political interference, but follow certain taken-for-granted principles that have evolved into a cultural unconscious. Indeed, Gu argues that the conflicting accounts in China-West studies are the inevitable outcome of this cultural unconscious which constitutes the inner logic of a comprehensive knowledge system which he terms ‘Sinologism’. This book explores Sinologism’s origin, development, characteristics, and inner logic, and critiques its manifestations in the writings of Chinese, Western, and non-Western thinkers and scholars, including Montesquieu, Herder, Hegel, Marx, Weber, Russell, Pound, Wang Guowei, Guo Moruo, Gu Jiegang, Wen Yiduo, and many others in diverse disciplines from arts and humanities to social sciences. In doing so, Gu demonstrates why the existing critical models are inadequate for Chinese materials and makes an attempt to construct an alternative theory to Orientalism and postcolonialism for China-West studies and cross-cultural studies. Sinologism crosses over the subjects of history, thought, literature, language, art, archaeology, religion, aesthetics and cultural theory, and will appeal to students and scholars of East-West studies with a particular focus on China, as well as those interested in cultural theory more broadly.