As early as 1892, Moncure Conway, the author of the first scholarly Paine biography, noted that whilst Paine's life up to 1809 was certainly fascinating, his subsequent life - that is, his afterlife - was even more thrilling. Vilified by Theodore Roosevelt as a "filthy little atheist," yet employed by Ronald Reagan in his campaign to make America "great again," Paine's words and ideas have been both celebrated and dismissed by generations of politicians and presidents. An Englishman by birth, an American by adoption, and a Frenchman by decree, Paine has been invoked and appropriated by groups and individuals across the transatlantic political spectrum. This was particularly apparent following the bicentennial of Paine's death in 2009, an event that prompted new scholarship examining troublesome Tom's ideas and ideals, whilst in Thetford, Lewes and New Rochelle - his three transatlantic "homes" - he was feted and commemorated. Yet despite all this interest, the precise forms and function of Paine's post-mortem presence have still not received the attention they deserve. With essays authored by experts on both sides of the Atlantic (and beyond), this book examines the transatlantic afterlife of Thomas Paine, offering new insights into the ways in which he has been used and abused, remembered and represented, in the two hundred years since his death.

Amidst the ruins of postwar Europe, and just as the Cold War dawned, many new memorials were dedicated to those Americans who had fought and fallen for freedom. Some of these monuments, plaques, stained-glass windows and other commemorative signposts were established by agents of the US government, partly in the service of transatlantic diplomacy; some were built by American veterans' groups mourning lost comrades; and some were provided by grateful and grieving European communities. As the war receded, Europe also became the site for other forms of American commemoration: from the sombre and solemn battlefield pilgrimages of veterans, to the political theatre of Presidents, to the production and consumption of commemorative souvenirs. With a specific focus on processes and practices in two distinct regions of Europe - Normandy and East Anglia - Sam Edwards tells a story of postwar Euro-American cultural contact, and of the acts of transatlantic commemoration that this bequeathed.

Double bill of two popular animated adventures. 'Bambi' (1942) follows young male deer Bambi from his birth and woodland childhood with friends Thumper the rabbit and Flower the skunk, through to his ascendancy into tall, antlered adulthood. Along the way he tragically loses his mother to hunters and finds love with the beautiful Faline.

In 'Bambi 2 - The Great Prince of the Forest' (2005) Bambi (voice of Alexander Gould) reunites with his father, The Great Prince (Patrick Stewart), who must now raise the young fawn and teach him the way of the forest. But, in the adventure of a lifetime, the proud parent discovers that there is much more he can learn from his spirited young son.

As early as 1892, Moncure Conway, the author of the first scholarly Paine biography, noted that whilst Paine's life up to 1809 was certainly fascinating, his subsequent life - that is, his afterlife - was even more thrilling. Vilified by Theodore Roosevelt as a "filthy little atheist," yet employed by Ronald Reagan in his campaign to make America "great again," Paine's words and ideas have been both celebrated and dismissed by generations of politicians and presidents. An Englishman by birth, an American by adoption, and a Frenchman by decree, Paine has been invoked and appropriated by groups and individuals across the transatlantic political spectrum. This was particularly apparent following the bicentennial of Paine's death in 2009, an event that prompted new scholarship examining troublesome Tom's ideas and ideals, whilst in Thetford, Lewes and New Rochelle - his three transatlantic "homes" - he was feted and commemorated. Yet despite all this interest, the precise forms and function of Paine's post-mortem presence have still not received the attention they deserve. With essays authored by experts on both sides of the Atlantic (and beyond), this book examines the transatlantic afterlife of Thomas Paine, offering new insights into the ways in which he has been used and abused, remembered and represented, in the two hundred years since his death.

Paul Adrien Maurice Dirac, one of the greatest physicists of the twentieth century, died in 1984. Dirac's college, St John's of Cambridge, generously endowed annual lectures to be held at Cambridge University in his memory. This volume contains a much expanded version of the 1994 Dirac Lecture by Nobel Laureate Pierre Gilles de Gennes. The book presents an impressionistic tour of the physics of soft interfaces. Full of insight and interesting asides, it not only provides an accessible introduction to this topic, but also lays down many markers and signposts for interesting new research possibilities. The text begins with a brief discussion of wetting and dewetting and then goes on to consider the dynamics of different types of interface before considering adhesion and polymer/polymer welding.

This volume contains twenty in-depth studies of prominent New Zealand directors, producers, actors, and cinematographers. ""New Zealand Filmmakers"" outlines and examines three major constituent groups who are responsible for the industry as it appears today: those involved in pioneering film in New Zealand, those associated with the New Wave of the 1970s and 1980s, and those post - mid-1980s visionaries and fantasists who have produced striking individual productions. A comprehensive introduction situates the New Zealand film industry in cultural, historical, and ideological contexts.The book displays the diversity of filmmaking in New Zealand and highlights the specific industrial, aesthetic, and cultural concerns that have created a film culture of international significance. With the majority of the contributions in the book containing analysis developed through dialogue with the filmmakers, ""New Zealand Filmmakers"" is an authoritative study of the film industry in New Zealand. Each essay also includes a thorough and definitive filmography, detailing the full nature of the work produced by each individual, with key titles highlighted.Filmmakers covered in this volume include Barry Barclay, David Blyth, Jane Campion, Roger Donaldson, Rudall Hayward, Peter Jackson, John Laing, Bruno Lawrence, Len Lye, Alison Maclean, Merata Mita, Ian Mune, Geoff Murphy, Leon Narbey, John O'Shea, Gaylene Preston, John Reid, Vincent Ward, Jennifer Ward-Lealand, and Peter Wells. This collection is illustrated with 50 film prints, many of which have never before been published. With the New Zealand film industry poised to become a center of film production and already a major topic of critical interest, this volume will find many interested readers among film scholars and educators.

Hey, we all love seafood, there is many different variety and ways it can be fixed. Well here's my version with a twist in "Eight Seafood Dishes With Sam Tumblin."

Story full of mystery and intrigue in a far away place

Ever had that strange neighbor you ever wondered about? Well here is mines in the Mystery of the Disappearing Cat

This book has attempted to analyze the perception of employee towards automation in educational institutions. As more students aim to study in reputed institution, the demand for these institutions to retain these students increases making the use of information management systems crucial. Nowadays, because of the fast growing IT scenario women are willing to get married only after 27 years. Hence, the percentage of employees married in the age group of 31 - 45 is higher. It has been found that most employees hold a minimum graduation degree and hence providing them an opportunity to utilize their skills will give them better job satisfaction.It is evident that people are ready to accept the change in MIS with prior training in spite of their qualification. This study has been limited to only educational institutions.

The Last Days of the Empire is the witness, and confession, of a citizen in the 1960s, who failed to take the actions the times required. What else could you expect from the product of bad blood? Sam Edwards' great, great, great grandfather, before his election as the ninth president of the U.S., vowed to annihilate the great Iroquois Chief, Tecumseh. He kept his promise. Sam's uncle, working for the CIA, was engaged in domestic spying decades before it was fashionable. He also administered the CIA-sponsored attempt by the Mafia to assassinate Fidel Castro with poisoned cigars. Sam himself tested the Constitution by his consistent lack of foresight. He was on the winning side in a landmark case that was attempting to keep the underground press, filled with "obscene content," off the newsstands. And he was a hell of a bartender for being young and callow. He listened well and he put it all down for us to remember the times.

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.

Amidst the ruins of postwar Europe, and just as the Cold War dawned, many new memorials were dedicated to those Americans who had fought and fallen for freedom. Some of these monuments, plaques, stained-glass windows and other commemorative signposts were established by agents of the US government, partly in the service of transatlantic diplomacy; some were built by American veterans' groups mourning lost comrades; and some were provided by grateful and grieving European communities. As the war receded, Europe also became the site for other forms of American commemoration: from the sombre and solemn battlefield pilgrimages of veterans, to the political theatre of Presidents, to the production and consumption of commemorative souvenirs. With a specific focus on processes and practices in two distinct regions of Europe - Normandy and East Anglia - Sam Edwards tells a story of postwar Euro-American cultural contact, and of the acts of transatlantic commemoration that this bequeathed.

Presidents and Place: America's Favorite Sons highlights the interrelationship between America's leading political icons and various facets of space and place, including places of birth and death as well as regional allegiances, among others. Chapters examine the legacy of relationships between presidents and place in a variety of social and cultural forms, ranging from famous political campaigns to television series to developments in tourism. Beginning with the political iconography of New York's Federal Hall in early eighteenth-century America and ending with a focus on the Republican Party's electoral relationship with the South, the interdisciplinary and methodologically diverse nature of the chapters reveals that place has more than a biographical significance in relation to US presidents.

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.

Over the past seventy years, the Allied invasion of Northwestern France in June 1944 has come to stand as something more than a major battle in an increasingly distant war. The assault itself formed a vital component of Allied victory in the Second World War. D-Day, as the initial landing is traditionally termed, has developed into a sign and symbol; as a word it carries with it a series of ideas and associations that have come to symbolize different things to different people and nations. As such, the commemorative activities linked to the battle offer a window for viewing the various belligerents in their postwar years. From high statesmen down to everyday individuals, people have spent the post-war period interpreting and drawing upon D-Day for a variety of reasons. As with all instances of collective memory, there is a politics at play, for the past serves to help make sense of the ever-changing present.
This book examines the commonalities and differences in national collective memories of D-Day. Chapters cover the main forces on the day of battle, including the United States, Great Britain, Canada, France and Germany. In addition, a chapter on Russian memory of the invasion explores other views of the battle. The overall thrust of the book shows that memories of the past vary over time, link to present-day needs, and, despite the impact of transnational globalization, such memories also still have a clear national and cultural specificity. Simply put, memories of D-Day have diverged according to time, place, and national culture.
These memories arise in a multitude of locations such as film, books, monuments, anniversary celebrations, and news media representations. Rather than simply drawing on a series of "facts" about the past, the attribution of specific meanings and themes to this battle show how individuals, groups, and even nations draw on the past to validate the present and chart a course for the future. As with most expressions of cultural power, though, contests over these meanings abound, and the struggles, changes, and even continuities in memory over time all offer profound insights into these various societies in the decades since the battle itself concluded.