Across the globe, educators are grappling with how best to prepare a new generation to engage the challenges and opportunities of the twenty-first century. Along with knowledge and skills, many are now emphasizing the importance of character. Yet, while there has been a robust movement to educate character among children and adolescents, much less attention has been given to the ethical formation of college and university students. What is the role of colleges and universities in educating the character of students? Should universities even attempt to cultivate virtue? If so, how can they do so effectively in a pluralistic context? Cultivating Virtue in the University seeks to answer these questions by gathering diverse perspectives on character education within twenty-first century universities. With essays from some of the world's leading scholars, this volume catalyzes a critical debate about the possibilities and limits of character education in the university while offering theoretical and practical perspectives on what such education could look like in increasingly global and intercultural institutions. By engaging insights from education, history, literature, philosophy, psychology, sociology, and theology, the volume encourages scholars and educators to embrace the opportunities and challenges of cultivating virtue in the university.

Since the birth of cinema at the end of the nineteenth century religion and film have been entwined. The Jesus-story and other religious narratives were the subject matter of some of the earliest cinema productions and this relationship has continued into the present. A recent proliferation of texts, conferences and courses bear witness to burgeoning academic interest in the relation between religion and film. In this study, Jonathan Brant explores the possibility that even films lacking religious subject matter might have a religious impact upon their viewers, the possibility of revelation through film. The book begins with a reading of Paul Tillich's theology of revelation through culture and continues with a qualitative research project which grounds this theoretical account in the experiences of a group of filmgoers. The empirical research takes place in Latin America where the intellectual puzzle and central research questions that drive the thesis arose and developed.
Brant combines theoretical and empirical research in order to provide fresh insights into the way in which film functions and impacts its viewers and also offers an unusual perspective on the strengths and weaknesses of Tillich's theology of revelation, which is seen to focus on the saving and healing power of revelation rather than its communicative content. The grounding of the theory by the empirical data results in an increased appreciation of the sensitivity of Tillich's theology to the uniqueness of each film-to-viewer encounter and the data also suggests a new construal of the revelatory potential of film that is related to the community rather than the individual and to sustained life-practice rather than momentary experience. Brant reasons that Tillich's account is sensitive and compelling precisely because of its phenomenological attentiveness to real life experience, notably Tillich's own experience, of the power of art. However, Brant also suggests that it might be helpful to identify a stronger link than Tillich allows between the subject matter of the artwork, the content of revelation and the effect of revelation.

This is a newly revised edition of the famous crime novel NO ORCHIDS FOR MISS BLANDISH. For the first time this edition combines the original text from 1939 with the revisions made by the author in 1961. The novel is now widely regarded as one of the top thrillers of the last century. When it was originally published it pushed the social boundaries of the time through its relentless exploration of crime and sexual exploitation. Unlike most crime novels of that era, the characters are rich, deeply realized portraits of those who lived on the fringes of society during the Great Depression -- namely the gangsters, their women, and the men who hunted them. The novel broke sales records when published and has gone onto to sell over four million copies worldwide. Historically important, such literary greats as George Orwell and Graham Greene instantly recognized its merits. In a lengthy essay that securely placed NO ORCHIDS in an honored position in crime fiction, George Orwell wrote that, "In a book like NO ORCHIDS one is not, as in the old-style crime story, simply escaping from dull reality into an imaginary world of action. One's escape is essentially into cruelty and sexual perversion...a brilliant piece of writing, with hardly a wasted word or a jarring note anywhere." Set in the heartland of America during hard times, the story reveals itself along the back roads, roadside diners and street corners of a jaded, threadbare society - a truly unnerving novel updated for a new generation of readers ready to discover the world of James Hadley Chase.

A new investigation, based on previously unseen KGB documents, reveals the startling truth behind Stalin's last great conspiracy.

On January 13, 1953, a stunned world learned that a vast conspiracy had been unmasked among Jewish doctors in the USSR to murder Kremlin leaders. Mass arrests quickly followed. The Doctors' Plot, as this alleged scheme came to be called, was Stalin's last crime.

In the fifty years since Stalin's death many myths have grown up about the Doctors' Plot. Did Stalin himself invent the conspiracy against the Jewish doctors or was it engineered by subordinates who wished to eliminate Kremlin rivals? Did Stalin intend a purge of all Jews from Moscow, Leningrad, and other major cities, which might lead to a Soviet Holocaust? How was this plot related to the cold war then dividing Europe, and the hot war in Korea? Finally, was the Doctors' Plot connected with Stalin's fortuitous death?

Brent and Naumov have explored an astounding arra of previously unknown, top-secret documents from the KGB, the presidential archives, and other state and party archives in order to probe the mechanism of on of Stalin's greatest intrigues -- and to tell for the first time the incredible full story of the Doctors' Plot.