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Over the past half century, opinion has been divided as to the role of Lee Harvey Oswald in the assassination of President John F Kennedy. The rumours began to spread almost immediately that the accused assassin may have been working for or was being manipulated by individuals involved with the United States Intelligence apparatus. The most tantalising piece of evidence came from none other than Congressman Gerald R Ford, who had served as a Warren Commission member in 1964. Ford revealed in his (co-written) 1965 book "Oswald: Portrait of the Assassin" that the FBI had an 'undercover agent' in Dallas at the time of the assassination and that that agent was none other than Lee Harvey Oswald, the alleged assassin of President Kennedy. The two most asked questions in the whole JFK assassination story remain unanswered: Who was Lee Harvey Oswald and what was his role on 22 November 1963? In this book Glenn B Fleming looks at these claims and presents a compelling case that all is not as we have been told about accussed assassin Lee Harvey Oswald.

A bold rethinking of the Civil Rights Movement through the lens of Black theater "Freedom, Now!" This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait-in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards-for their long-deferred liberation. In Black Patience, Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as "Black patience." Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production.

Geopressure drives fluid flow and is important for hydrocarbon exploration, carbon sequestration, and designing safe and economical wells. This concise guide explores the origins of geopressure and presents a step-by-step approach to characterizing and predicting pressure and least principal stress in the subsurface. The book emphasizes how geology, and particularly the role of flow along permeable layers, drives the development and distribution of subsurface pressure and stress. Case studies, such as the Deepwater Horizon blowout, and laboratory experiments, are used throughout to demonstrate methods and applications. It succinctly discusses the role of elastoplastic behaviour, the full stress tensor, and diagenesis in pore pressure generation, and it presents workflows to predict pressure, stress, and hydrocarbon entrapment. It is an essential guide for academics and professional geoscientists and petroleum engineers interested in predicting pressure and stress, and understanding the role of geopressure in geological processes, well design, hydrocarbon entrapment, and carbon sequestration.

A bold rethinking of the Civil Rights Movement through the lens of Black theater "Freedom, Now!" This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait-in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards-for their long-deferred liberation. In Black Patience, Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as "Black patience." Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production.

This book examines the deep and lengthy crisis of legitimacy triggered by the death of Prince Juan of Castile and Aragon in 1497 and the subsequent ascent of Juana I to the throne in 1504. Confined by historiography and myth to the madwoman's attic, Juana emerges here as a key figure at the heart of a period of tremendous upheaval, reaching its peak in the war of the Comunidades, or comunero uprising of 1520-1522. Gillian Fleming traces the conflicts generated by the ambitions of Juana's father, husband and son, and the controversial marginalisation and imprisonment of Isabel of Castile's legitimate heir. Analysing Juana's problems and strategies, failures and successes, Fleming argues that the period cannot be properly understood without taking into account the long shadow that Juana I cast over her kingdoms and over a crucial period of transition for Spain and Europe.

Of all the millions of words written in anger or certainty regarding arguably the greatest murder mystery of all time, the assassination of President John Fitzgerald Kennedy, one testimony remains glaringly absent. The deposition of Lee Harvey Oswald, the alleged assassin, was silenced by Jack Ruby's bullet before he could tell his story to a shocked and grieving world. The Two Faces of Lee Harvey Oswald is a unique work. No other book in the public domain concentrates on Lee Oswald's point of view; a young man caught up by, then hopelessly trapped in, history. From the moment of his return from the Soviet Union, Oswald became tangled in a web of intrigue, deception and murder. And yet, no amount of speculation or rumour mongering can lend history in general and Oswald in particular, his own words. "I'm just a patsy!" Oswald screamed, as he was led along a corridor in the Dallas Police Building, shortly after his arrest that fateful weekend. We will never truly know how innocent, or guilty, Oswald was. But his memory deserves a hearing. The most accurate hearing possible.

This book examines the deep and lengthy crisis of legitimacy triggered by the death of Prince Juan of Castile and Aragon in 1497 and the subsequent ascent of Juana I to the throne in 1504. Confined by historiography and myth to the madwoman's attic, Juana emerges here as a key figure at the heart of a period of tremendous upheaval, reaching its peak in the war of the Comunidades, or comunero uprising of 1520-1522. Gillian Fleming traces the conflicts generated by the ambitions of Juana's father, husband and son, and the controversial marginalisation and imprisonment of Isabel of Castile's legitimate heir. Analysing Juana's problems and strategies, failures and successes, Fleming argues that the period cannot be properly understood without taking into account the long shadow that Juana I cast over her kingdoms and over a crucial period of transition for Spain and Europe.

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This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

In Wesleyan Pneumatology and Evangelical Mission: Renewing the Spark Jody B. Fleming argues that missiology in a Wesleyan context has been heavily influenced by the Western worldview and needs renewal. Spirituality is central to living in many non-western cultures, integrated with the physical world of everyday life. Wesleyan traditions may need to renew and strengthen the pneumatology found in their mission theory and praxis. As the center of Christianity is shifting to the global south, Pentecostal and charismatic expressions of the faith are becoming more prominent. Without forfeiting their solid foundations, what might the Wesleyan traditions learn from their theological cousins about engagement with the Holy Spirit? How might pneumatology be renewed in order to address spiritual beliefs found in other cultures in both global and local settings? Renewal also includes the indigenous voice as essential for understanding cultural dynamics and spirituality. Contextualization is not new to missiology and so mission theory is explored from Latin American scholars as another point for renewal. Partnerships in mission and the role of the Holy Spirit are highlighted in the of field work conducted in Venezuela. In Renewing the Spark the author suggests that a fresh look at pneumatology will more effectively articulate the gospel in holistic and spirit-centered non-western cultures.