Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

In Style, John Haynes provides a lively introduction to the study of expression in relation to meaning. Style: * introduces readers to the key areas in the study of style through practical exercises * encourages an interest in and sensitivity to words and structures * enables students to recognize contrasts within and between texts * heightens awareness with regards to word choice, meaning, communicative purpose and stylistic convention * examines an enormous variety of text-types; both literary and non-literary, spoken and written * in addition to numerous exercises, contains suggestions for project work.

Cinema has long been recognised as the privileged bridge between Soviet ideologies and their mass public. Recent feminist-oriented work has drawn out the symbolic role of women in Soviet culture, but, not surprisingly, men too were expected to play their part. In this first full-length study of masculinity in Stalinist Soviet cinema, John Haynes examines the 'New Soviet Man' not only as an ideal of masculinity presented to Soviet cinemagoers, but also, precisely, as a man in his specific, and hotly debated social, cultural and political context. A detailed analysis of Stalinist discourse sets the stage for an examination of the imagined relationship between the patriarch Stalin and his 'model sons' in the key genre cycles of the era: from the capital to the collective farms, and ultimately to the very borders of the Soviet state. Informed by contemporary and present day debates over the social and cultural significance of cinema and masculinity, New Soviet Man draws on a range of theoretical and comparative material to produce engaging and accessible readings accounting for both the appeal of, and the inherent potential for subversion within, films produced by the Stalinist culture industry. New Soviet Man will be widely read by students and specialists in the fields of film studies, Russian and Soviet studies, gender and modern European history. -- .

Beginning in the late 1960s, John Earl Haynes and Harvey Klehr say, the study of communism in America was taken over by "revisionists" who have attempted to portray the U.S. as the aggressor in the Cold War and saw suspicion about the American Communist Party (CPUSA) as baseless "paranoia." In this intriguing book, they show how, years after the death of communism, the leading historical journals and many prominent historians continue to teach that America's rejection of the Party was a tragic error, that American Communists were actually unsung heroes working for democratic ideals, and that those anti-Communist liberals and conservatives who drove the CPUSA to the margins of American politics in the 1950s were malicious figures deserving condemnation. The focus of "In Denial" is what the authors call "lying about spying." Haynes and Klehr examine the ways in which revisionist scholars have ignored or distorted new evidence from recently-opened Russian archives about espionage links between Moscow and the CPUSA. They analyze the mythology that continues to suggest, against all evidence, that Alger Hiss, Julius Rosenberg, Harry Dexter White, Lauchlin Currie, and others who betrayed the United States were more sinned against than sinning. They set the record straight about the spies among us. Haynes and Klehr were the first U.S. historians who used the newly opened archives of the former Soviet Union to examine the history of American communism. "In Denial" is the record of what they discovered there. They show that while the international communist movement may be dead, conflict over the meaning of the communist experience in America is still very much with us.

Contents:
Unit 1: Choosing `le mot juste' Unit 2: Following and Flouting Conventions Unit 3: Live and Dead Metaphors Unit 4: Patterns of Words in text Unit 5: Patterns of Grammar in text Unit 6: The Textual Orchestration of Patterns Unit 7: The Effects of the Medium Unit 8: Sequences of Words and Events Unit 9: The Selection of Significant Detail Unit 10: Personal Attitude, Involvement and Emotion Unit 11: Style as Ideology Unit 12: A Note on the Poetic. Appendix: Suggestions for Project Work. Further Reading.

This book presents a comprehensive re-examination of the cinemas of the Soviet Union and Central and Eastern Europe during the communist era. It argues that, since the end of communism in these countries, film scholars are able to view these cinemas in a different way, no longer bound by an outlook relying on binary Cold War terms. With the opening of archives in Eastern Europe and the former Soviet Union, much more is known about these states and societies; at the same time, the field has been reinvigorated by its opening up to more contemporary concepts, themes and approaches in film studies and adjacent disciplines. Taking stock of these developments, this book presents a rich, varied tapestry, relating specific films to specific national and transnational circumstances, rather than viewing them as a single, monolithic "Cold War Communist" cinema.

This book presents a comprehensive re-examination of the cinemas of the Soviet Union and Central and Eastern Europe during the communist era. It argues that, since the end of communism in these countries, film scholars are able to view these cinemas in a different way, no longer bound by an outlook relying on binary Cold War terms. With the opening of archives in Eastern Europe and the former Soviet Union, much more is known about these states and societies; at the same time, the field has been reinvigorated by its opening up to more contemporary concepts, themes and approaches in film studies and adjacent disciplines. Taking stock of these developments, this book presents a rich, varied tapestry, relating specific films to specific national and transnational circumstances, rather than viewing them as a single, monolithic "Cold War Communist" cinema.

The rise of Islamic radicalism has led to heated discussions about how best to address the threat of religious terror. Disputes covering the right and wrong of war with Iraq, and the even bigger war on terrorism, continue to rage across America. But this is not the first argument of this nature-America was faced with a similar moral dilemma on the eve of World War II. Fascism was conquering Europe, and religious leaders across the nation vehemently debated how to confront Nazi Germany. In The End of Illusions: Religious Leaders Confront Hitler's Gathering Storm, Joseph Loconte brings together pieces from the most significant religious thinkers of the pre-war period. In these essays, the writers eloquently and passionately present their arguments for going to war or maintaining the peace. In doing so, they explore issues vibrantly relevant today, including the Christian cause for war, the problem of evil, and America's role in the world. These urgently written pieces connect the past with the present and resonate with renewed clarity and poignancy.