Much of the criticism on Stephenie Meyer's immensely popular 'Twilight' novels has underrated or even disparaged the books while belittling the questionable taste of an audience that many believe is being inculcated with anti-feminist values. Avoiding a repetition of such reductive critiques of the series's purported shortcomings with respect to literary merit and political correctness, this volume adopts a cultural studies framework to explore the range of scholarly concerns awakened by the 'Twilight novels and their filmic adaptations. Contributors examine 'Twilight's debts to its predecessors in young adult, vampire, and romance literature; the problems of cinematic adaptation; issues in fan and critical reception in the United States and Korea; and the relationship between the series and contemporary conceptualizations of feminism, particularly girl culture. Placing the series within a broad tradition of literary history, reception studies, and filmic adaptation, the collection offers scholars the opportunity to engage with the books' importance for studies of popular culture, gender, and young adult literature.

Much of the criticism on Stephenie Meyer's immensely popular 'Twilight' novels has underrated or even disparaged the books while belittling the questionable taste of an audience that many believe is being inculcated with anti-feminist values. Avoiding a repetition of such reductive critiques of the series's purported shortcomings with respect to literary merit and political correctness, this volume adopts a cultural studies framework to explore the range of scholarly concerns awakened by the 'Twilight novels and their filmic adaptations. Contributors examine 'Twilight's debts to its predecessors in young adult, vampire, and romance literature; the problems of cinematic adaptation; issues in fan and critical reception in the United States and Korea; and the relationship between the series and contemporary conceptualizations of feminism, particularly girl culture. Placing the series within a broad tradition of literary history, reception studies, and filmic adaptation, the collection offers scholars the opportunity to engage with the books' importance for studies of popular culture, gender, and young adult literature.

A 50-year collection of favorite recipes-shared with the author by relatives, friends, neighbors, and other army wives. There are even two or three recipes for deli salads the author's father made and sold in the grocery store he owned many years ago. Contains 128 recipes, all MSG-free, including appetizers, breads, candy, casseroles, cookies, desserts, meats, poultry, seafood, salads, salad dressings, soups, sauces, and vegetables. Barbara Anne Morey, a native of Kansas, has worked as a corporate writer/editor and is a former army wife and an avid cook. She is happily married and lives in Florida with her husband and two Siamese cats.

In memory of Dr. Anne Morey (May 16, 1948-June 3, 2012) Dr. Robert A. Morey's wife, Anne, passed away unexpectedly on Sunday, June 3, 2012, while they were in Florida celebrating their 40th wedding anniversary. They were lifelong friends and partners in faith who met in high school in New York City when she was 15 and he was 16 years old. The Lord, in His sovereignty, allowed Anne to complete her book on women's discipleship before her death. May her book be a blessing to Christian women everywhere. Dr. Anne Morey was not just a wonderful wife and mother, but she was also a fearless soldier of Christ who was not afraid, like Deborah of old, who took up the Sword of the Spirit in the cause of God and truth. Her love of truth and courage in spiritual warfare is what drew me to her when we were teenagers. She accompanied me on the streets of New York City to hand out tracts to the lost. Together we counseled runaway teenagers in Greenwich Village. She loved going to Walter Martin's Apologetics Class every Monday night. We discussed philosophy and theology with great relish. We loved Francis and Edith Schaeffer so much that we spent part of our honeymoon at L'Abri. Anne graduated cum laude and went on to earn an MA and then a PhD. She ran the women's ministries in the church, and gave biblical instruction on how women could use their spiritual gifts in the Body of Christ. This is how she developed a Biblical women's discipleship program. Most "women's ministries" focus on baking cookies, making dolls, gathering clothing for the poor, and sinful gossip and slander. My wife viewed them as a total waste of time. Why can't women study the Bible in depth? Why can't they study apologetics and theology? Titus 2:3-5 gave Anne the key to developing God's plan for discipling women. Mature Christian women were to be instructed by the elders of the church in seven topics, and then personally train the younger women in those subjects. If churches were to follow what God laid out in Titus 2:3-5, the women in the church would rise up as a mighty army of God to confront and conquer the evil in the church and the world. Anne's graduation to Glory was the most painful experience in my life. While her death was gain to her and she is far better off with Christ in heaven, the rest of us are left to struggle on in the battle. But, by the Grace of God, before she died, Anne finished her book on the biblical plan for women's discipleship programs. Her godly influence and example lives on in the lives of the many women she discipled, as well as those who read this book and then implement its programs in their churches. Enjoy Weep Laugh Love Learn what it means to be a woman of God. Dr. Robert A. Morey

Today, we are so accustomed to consuming the amplified lives of film stars that the origins of the phenomenon may seem inevitable in retrospect. But the conjunction of the terms "movie" and "star" was inconceivable prior to the 1910s. "Flickers of Desire" explores the emergence of this mass cultural phenomenon, asking how and why a cinema that did not even run screen credits developed so quickly into a venue in which performers became the American film industry's most lucrative mode of product individuation. Contributors chart the rise of American cinema's first galaxy of stars through a variety of archival sources--newspaper columns, popular journals, fan magazines, cartoons, dolls, postcards, scrapbooks, personal letters, limericks, and dances. The iconic status of Charlie Chaplin's little tramp, Mary Pickford's golden curls, Pearl White's daring stunts, or Sessue Hayakawa's expressionless mask reflect the wild diversity of a public's desired ideals, while Theda Bara's seductive turn as the embodiment of feminine evil, George Beban's performance as a sympathetic Italian immigrant, or G. M. Anderson's creation of the heroic cowboy/outlaw character transformed the fantasies that shaped American filmmaking and its vital role in society.

Beginning with Rudyard Kipling and Edith Nesbit and concluding with best-selling series still ongoing at the time of writing, this volume examines works of twentieth- and twenty-first-century children's literature that incorporate character types, settings, and narratives derived from the Greco-Roman past. Drawing on a cognitive poetics approach to reception studies, it argues that authors typically employ a limited and powerful set of spatial metaphors - palimpsest, map, and fractal - to organize the classical past for preteen and adolescent readers. Palimpsest texts see the past as a collection of strata in which each new era forms a layer superimposed upon a foundation laid earlier; map texts use the metaphor of the mappable journey to represent a protagonist's process of maturing while gaining knowledge of the self and/or the world; fractal texts, in which small parts of the narrative are thematically identical to the whole, present the past in a way that implies that history is infinitely repeatable. While a given text may embrace multiple metaphors in presenting the past, associations between dominant metaphors, genre, and outlook emerge from the case studies examined in each chapter, revealing remarkable thematic continuities in how the past is represented and how agency is attributed to protagonists: each model, it is suggested, uses the classical past to urge and thus perhaps to develop a particular approach to life.

Whether re-creating an actual event or simply being set in a bygone era, films have long taken liberties with the truth. While some members of the audience can appreciate a movie without being distracted by historical inaccuracies, other viewers are more discerning. From revered classics like Gone with the Wind to recent award winners like Argo, Hollywood films often are taken to task for their loose adherence to the facts. But what obligation do filmmakers have to the truth when trying to create a two-hour piece of entertainment? In Bringing History to Life through Film: The Art of Cinematic Storytelling, Kathryn Anne Morey brings together essays that explore the controversial issue of film as a purveyor of history. Examining a range of films, including highly regarded features like The Last of the Mohicans and Pan's Labyrinth, as well as blockbuster franchises like Pirates of the Caribbean, chapters demonstrate that the debate surrounding the role of history on film is still as raw as ever. Organized in five sections, these essays discuss the myths and realities of history as they are portrayed on film, from "Nostalgic Utopias" to "Myths and Fairy Tales." The fourteen chapters shed light on how films both convey and distort historical realities to capture the "essence" of the past rather than the past itself. Ultimately, they consider what role cinema plays as the quintessential historical storyteller. In addition to cinema and media studies, this book will appeal to scholars of history and fans of a wide range of cinematic genres.

An innovative approach to the relationship between filmmaking and society during Hollywood's golden age. The 1910s and 1920s witnessed the inception of a particular brand of negotiation between filmdom and its public in the United States. Hollywood, its proponents, and its critics sought to establish new connections between audience and industry, suggesting means by which Hollywood outsiders could become insiders. Hollywood Outsiders looks at how four disparate entities--the Palmer Photoplay correspondence school of screenwriting, juvenile series fiction about youngsters involved in the film industry, film appreciation and character education programs for high school students, and Catholic and Protestant efforts to use and influence filmmaking--conceived of these connections, and thus of the relationship of Hollywood to the individual and society. Anne Morey's exploration of the diverse discourses generated by these different conjunctions leads to a fresh and compelling interpretation of Hollywood's place in American cultural history. In its analysis of how four distinct groups, each addressing constituencies of various ages and degrees of social authority, defined their interest in the film industry, Hollywood Outsiders combines concrete discussions of cultural politics with a broader argument about how outsiders viewed the film industry as a vehicle of self-validation and of democratic ideals.

An innovative approach to the relationship between filmmaking and society during Hollywood's golden age. The 1910s and 1920s witnessed the inception of a particular brand of negotiation between filmdom and its public in the United States. Hollywood, its proponents, and its critics sought to establish new connections between audience and industry, suggesting means by which Hollywood outsiders could become insiders. Hollywood Outsiders looks at how four disparate entities--the Palmer Photoplay correspondence school of screenwriting, juvenile series fiction about youngsters involved in the film industry, film appreciation and character education programs for high school students, and Catholic and Protestant efforts to use and influence filmmaking--conceived of these connections, and thus of the relationship of Hollywood to the individual and society. Anne Morey's exploration of the diverse discourses generated by these different conjunctions leads to a fresh and compelling interpretation of Hollywood's place in American cultural history. In its analysis of how four distinct groups, each addressing constituencies of various ages and degrees of social authority, defined their interest in the film industry, Hollywood Outsiders combines concrete discussions of cultural politics with a broader argument about how outsiders viewed the film industry as a vehicle of self-validation and of democratic ideals.