The remarkable, award-winning film, Son of Man (2005), directed by the South African Mark Dornford-May, sets the Jesus story in a contemporary, fictional southern African Judea. While news broadcasts display the political struggles and troubles of this postcolonial country, moments of magical realism point to supernatural battles between Satan and Jesus as well. Jesus' Judean struggle with Satan begins with a haunting reprise of Matthew's 'slaughter of the innocents' and moves forward in a Steve Biko-like non-violent, community-building ministry, captured in graffiti and in the video footage that Judas takes to incriminate Jesus. Satan and the powers seemingly triumph when Jesus 'disappears', but then Mary creates a community that challenges such injustice by displaying her son's dead body upon a hillside cross. The film ends with shots of Jesus among the angels and everyday life in Khayelitsha (the primary shooting location), auguring hope of a new humanity (Genesis 1.26). This book's essays situate Son of Man in its African context, exploring the film's incorporation of local customs, music, rituals, and events as it constructs an imperial and postcolonial 'world'. The film is to be seen as an expression of postcolonial agency, as a call to constructive political action, as an interpretation of the Gospels, and as a reconfiguration of the Jesus film tradition. Finally, the essays call attention to their interested, ideological interpretations by using Son of Man to raise contemporary ethical, hermeneutical, and theological questions. As the film itself concisely asks on behalf of the children featured in it and their politically active mothers, 'Whose world is this'?

Although there is an abundance of scholarly inquiry into the effects on the Soviet socialist system of the historic reforms under GorbacheV's administration, relatively little attention has been paid to the impact these reforms might have on socialism outside the Soviet Union. This book makes a preliminary assessment of the impact of glasnost, perestroika, and related Soviet reforms on selected socialist countries. The sampling of socialist countries studied are roughly representative of the types of socialist states in existence today. The countries studied include Poland, Czechoslovakia, China, Cuba, Vietnam, Afghanistan, and North Korea.

The contributors to this volume approach their topics from varying perspectives, each singling out and examining different areas in the individual governments where the impact of Soviet reforms is likely to be strongest. The result is a number of varying conclusions regarding the effects of glasnost and perestroika on the socialist community. In some cases, the impact might be intentional and direct, part of a conscious policy adopted by the Soviet Union. In other cases, the impact may be indirect and even unintentional, given the complex and interdependent nature of world politics and economics. Advanced undergraduate and graduate students with an interest in comparative politics, international relations, and communist studies will find this book a source of stimulating ideas about the rapidly changing face of socialism.

This book stages a dialogue between international researchers from the broad fields of complexity science and narrative studies. It presents an edited collection of chapters on aspects of how narrative theory from the humanities may be exploited to understand, explain, describe, and communicate aspects of complex systems, such as their emergent properties, feedbacks, and downwards causation; and how ideas from complexity science can inform narrative theory, and help explain, understand, and construct new, more complex models of narrative as a cognitive faculty and as a pervasive cultural form in new and old media. The book is suitable for academics, practitioners, and professionals, and postgraduates in complex systems, narrative theory, literary and film studies, new media and game studies, and science communication.

The T&T Clark Handbook of Jesus and Film introduces postgraduate readers to the critical field of Jesus and/on film. The bulk of biblical films feature Jesus, as protagonist, in cameo, or as a looming background presence or pattern. The handbook assesses the field in light of the work of important biblical film critics including chapters from the leading voices in the field and showcasing the diversity of work done by scholars in the field. Movies discussed include The Passion of the Christ, The King of Kings, Jesus of Nazareth, Monty Python's Life of Brian, Son of Man, and Mary Magdalene. The chapters range across two broad areas: 1) Jesus films, understood broadly as filmed passion plays, other relocations of Jesus, historical Jesus treatments, and Jesus adjacent cinema (privileging invented characters or "minor" gospel characters); and 2) other cinematic Jesuses, including followers who imitate Jesus devotionally or aesthetically, (Christian) Christ figures, antichrists, yet other messiahs, and competing Jesuses in a pluralist world. As one leaves the confines of Christian theology, the question of what a film or interpreter is doing with Jesus or Christ becomes something to be determined, not necessarily something traditional.

Unique selling point: Focuses solely on entity-relationship model diagramming and design Core audience: Undergraduate CS students and professionals Place in the market: Undergraduate textbook

Unique selling point: Focuses solely on entity-relationship model diagramming and design Core audience: Undergraduate CS students and professionals Place in the market: Undergraduate textbook

The Fourth Gospel is at the same time a sublime work that has inspired and enriched the faith of countless Christians and a problematic text that has provided potent anti-Jewish imagery exploited in anti-Jewish and anti-Semitic discourse over the course of two millennia. The Fourth Gospel contains approximately 70 references to hoi ioudaioi, a designation most often (and best) translated as "the Jews." Several of these references are neutral or descriptive, referring to Jewish festivals or specific practices, and some depict individual Jews or Jewish groups as interested in Jesus' message. The vast majority, however, express a negative or even hostile stance towards the Jews. These passages express several themes that became central to Christian anti-Jewish and anti-Semitic discourse. These include the charge of deicide - killing God - and the claim that the Jews have the devil as their father (8:44). The essays in this book address both the Gospel's stance towards the Jews and the Gospel's impact on Jewish-Christian relations from antiquity to the present day, in a range of media, including sermons, iconography, art, music, and film. A short volume of collected essays cannot hope to address the full history of the Fourth Gospel's impact on Jewish-Christian relations. Nevertheless, it is hoped that this volume will contribute to the efforts of Christians and Jews alike to find ways to appreciate what is good and life-affirming about the Gospel of John, while also acknowledging the damaging impact of its portrayal of Jews as the children of Satan and the killers of Christ. Only when Christians disavow this portrayal can the Gospel of John continue to be a true source of inspiration and perhaps even a path forward in the relationships between Jews and Christians in the modern world.

Novel Arguments argues that innovative fiction - by which is meant writing that has been variously labelled as postmodern, metafictional, experimental - extends our ways of thinking about the world, rejecting the critical consensus that, under the rubrics of postmodernism and metafiction, homogenises this fiction as autonomous and self-absorbed. Play, self-consciousness and immanence - supposed symptoms of innovative fiction's autonomy - are here reconsidered as integral to its means of engagement. The 1995 book advances a concept of the 'argument' of fiction as a construct wedding structure and content into a highly evolved and expressive form. The argument, not the content, is established as the site of a fiction's 'aboutness' and thus the usual emphasis upon the generalities of innovative form is replaced by a concern for the logic of specific literary effects. Walsh deftly argues for an understanding of fictional cognition at the theoretical level and in an act of unmatched critical creativity, discards altogether the flattening totalities of received postmodern formulations.

This book stages a dialogue between international researchers from the broad fields of complexity science and narrative studies. It presents an edited collection of chapters on aspects of how narrative theory from the humanities may be exploited to understand, explain, describe, and communicate aspects of complex systems, such as their emergent properties, feedbacks, and downwards causation; and how ideas from complexity science can inform narrative theory, and help explain, understand, and construct new, more complex models of narrative as a cognitive faculty and as a pervasive cultural form in new and old media. The book is suitable for academics, practitioners, and professionals, and postgraduates in complex systems, narrative theory, literary and film studies, new media and game studies, and science communication.

Jesus films arose with cinema itself. Richard Walsh and Jeffrey L. Staley introduce students to these films with a general overview of the Jesus film tradition and with specific analyses of 22 of its most influential exemplars, stretching from La vie du Christ (1906) to Mary Magdalene (2018). The introduction to each film includes discussion of plot, characters, visuals, appeal to authority, and cultural location as well as consideration of the director's (and/or other filmmakers') achievements and style. Several film chapters end with reflections on problematic issues bedeviling the tradition, such as cultural imperialism and patriarchy. To assist teachers and researchers, each chapter includes a listing of DVD chapters and the approximate "time" (for both DVDs and streaming platforms) at which key film moments occur. The book also includes a Gospels Harmony cataloging the time at which key gospel incidents appear in these films. Extensive endnotes point readers to other important work on the tradition and specific films. While the authors strive to set the Jesus film tradition within cinema and its interpretation, the DVD/streaming listing and the Gospels Harmony facilitate the comparison of these films to gospel interpretation and the Jesus tradition.

Novel Arguments argues that innovative fiction - by which is meant writing that has been variously labelled as postmodern, metafictional, experimental - extends our ways of thinking about the world, rejecting the critical consensus that, under the rubrics of postmodernism and metafiction, homogenises this fiction as autonomous and self-absorbed. Play, self-consciousness and immanence - supposed symptoms of innovative fiction's autonomy - are here reconsidered as integral to its means of engagement. The 1995 book advances a concept of the 'argument' of fiction as a construct wedding structure and content into a highly evolved and expressive form. The argument, not the content, is established as the site of a fiction's 'aboutness' and thus the usual emphasis upon the generalities of innovative form is replaced by a concern for the logic of specific literary effects. Walsh deftly argues for an understanding of fictional cognition at the theoretical level and in an act of unmatched critical creativity, discards altogether the flattening totalities of received postmodern formulations.

Jesus films arose with cinema itself. Richard Walsh and Jeffrey L. Staley introduce students to these films with a general overview of the Jesus film tradition and with specific analyses of 22 of its most influential exemplars, stretching from La vie du Christ (1906) to Mary Magdalene (2018). The introduction to each film includes discussion of plot, characters, visuals, appeal to authority, and cultural location as well as consideration of the director's (and/or other filmmakers') achievements and style. Several film chapters end with reflections on problematic issues bedeviling the tradition, such as cultural imperialism and patriarchy. To assist teachers and researchers, each chapter includes a listing of DVD chapters and the approximate "time" (for both DVDs and streaming platforms) at which key film moments occur. The book also includes a Gospels Harmony cataloging the time at which key gospel incidents appear in these films. Extensive endnotes point readers to other important work on the tradition and specific films. While the authors strive to set the Jesus film tradition within cinema and its interpretation, the DVD/streaming listing and the Gospels Harmony facilitate the comparison of these films to gospel interpretation and the Jesus tradition.

The T&T Clark Handbook of Jesus and Film introduces postgraduate readers to the critical field of Jesus and/on film. The bulk of biblical films feature Jesus, as protagonist, in cameo, or as a looming background presence or pattern. The handbook assesses the field in light of the work of important biblical film critics including chapters from the leading voices in the field and showcasing the diversity of work done by scholars in the field. Movies discussed include The Passion of the Christ, The King of Kings, Jesus of Nazareth, Monty Python's Life of Brian, Son of Man, and Mary Magdalene. The chapters range across two broad areas: 1) Jesus films, understood broadly as filmed passion plays, other relocations of Jesus, historical Jesus treatments, and Jesus adjacent cinema (privileging invented characters or "minor" gospel characters); and 2) other cinematic Jesuses, including followers who imitate Jesus devotionally or aesthetically, (Christian) Christ figures, antichrists, yet other messiahs, and competing Jesuses in a pluralist world. As one leaves the confines of Christian theology, the question of what a film or interpreter is doing with Jesus or Christ becomes something to be determined, not necessarily something traditional.

Using step-by-step, easy-to-follow techniques, The Complete Job Search Book for College Students, 3rd Edition, shows you all the essential aspects of a successful job-search campaign. From discovering what employers are really looking for, to taking a personal inventory and managing expectations, to staying focused on what's important--you'll learn everything you need to know about organizing an effective and practical plan. The Complete Job Search Book for College Students, 3rd Edition includes: *A step-by-step plan for landing your first job *Samples of resumes and cover letters that really work *A comprehensive list of online job-hunting resources *The latest information on the best career paths *Inside information for making the most of career fairs and university job resources *How to match your qualifications to employers' needs This book tells you how to write winning cover letters and resumes, with dozens of samples covering most fields of study--including new and growing interdisciplinary fields such as biochemistry and international studies/language. There's more--learn important interviewing skills and how to negotiate a job offer! If you want to stand out from the pack and win the job you want, you need The Complete Job Search Book for College Students!

Unlike Jesus, Paul has not appeared often in the movies, either as a leading man or as a part of the supporting cast. "In Finding Saint Paul in the Movies", Walsh finds a Paul who is a stranger to our questions and ideologies. As Paul does not appear often in film, the films that the book brings into dialogue with Paul have only metaphorical connections with the Paul of Christian and academic discourse. The films relate to Paul only as Walsh's interpretations of the films and of Paul render Paul the films' precursor. Walsh's book works more abstractly. It has four major topics distributed in an equal number of chapters: Paul's concept of grace (the inclusion of the Gentiles); Paul's apocalyptic visions and worldview; Paul's struggles with theodicy and community formation; and Paul's "apostolic" or "canonical" status. He examines movies such as "Tender Mercies", "Star Trek II: The Wrath of Khan", "Places in the Heart", "Donnie Darko", "Witness", "The Truman Show", "Strange Days", "Being John Malkovich", "Fargo", "Crimes and Misdemeanours", and "The Apostle".

Institutions and ideologies lay down parameters of accepted reading for those who wish to maintain acceptable status in their guilds. This is equally true in the church and in the academy. However, interpretation can refuse and transgress such boundaries. The Greek god, Hermes was both a thief and a conveyor of messages, and "hermeneutics," the practice of interpretation, shares in this joint heritage of Hermes. Indeed, interpretative thieves constantly transgress the boundaries of both the permitted and the decorous. Readings of the canonical gospels have a particular place in this history. Indeed, the gospels are the pride and joy of the church(es), as they are of an academy that scarcely separates itself from the church. The following essays, however, all share a desire to read Herme(s)tically, in heterodox or even heretical directions. In this volume, and against the traditional readings and their keepers, the contributors practice interpretative thefts or, put differently, they pursue "lines of flight" (Deleuze and Guattari 1987), not movements of escape but rather creative ways of contesting prevailing ideologies (cf. also Cohen and Taylor). This pursuit results in marginal readings, readings excluded by dominant Christian and academic ideologies. These readings trace the contours and the effects of the canonical and creedal, as well as the academic, captivity of the gospels. Every ideology has inherent points of weakness, fractures in its assemblage where resistance and deviation become possible - not escape to some ideology-free zone, but sufficient disturbance to open up a space for thoughts and new understandings. The keepers of the various guilds/myths inevitably see this disturbance as, at best, noxious and, at worst, as demonic, but we para-critics see our lines of flight as opening space for human living (Smith 1978: 291). Parabolic interpretations create a living space by negotiating and exploiting difference, not by acquiescing to the deadly sameness of any imperial (political, ecclesiastical, or academic) system (cf. Serres 1982).Many of the contributors read "from outside" by playing the gospels off a wide variety of secular texts, including recent film and literature. Thus, in "Jesus's Two Fathers," Aichele views the Lukan Christmas story eccentrically by reading it with China Mieville's urban fantasy novel, "King Rat". The result is a rather unorthodox understanding of the incarnation. In "Tempting Jesuses," Pippin views askew the identities (God and Satan, gender), ethics, and power of the temptation narratives. She does so by joining those gospel narratives with literary works by Saramago, Kazantzakas, Morrow, McNally, Langguth, and others. In "Matthew 11:28 and Release From the Burden of Sin," Kreitzer traces a peculiar afterlife of one Christian image of salvation by moving from Matthew through Bunyan to Joffee's "The Mission". Staley's target is the liberation of the story of the woman taken in adultery. To do so, he lumps that (already suspicious) "Johannine" story with "Liar, Liar" and moves from a rhetorical to an intertextual reading. Each of these juxtapositions render their respective gospel (texts) newly seen precursors.

From "The Greatest Story Ever Told" to "Jesus of Montreal" to "Shane", the figure of Jesus has made repeated - and varied - appearances in American cinema. In this book Richard Walsh brings "Jesus-films", the canonical gospels, and American culture into conversation. The discourse begins in the theatre with the lights down low and the Jesus-films on the big screen. Walsh's commentary starts with the films themselves and the American Jesus(es) portrayed therein. Ironically, while we do not expect Jesus-films to "get Jesus or the gospels right," they do cast light on interesting literary and mythical features of the gospels - and on American culture. For example, Arcand's "Jesus of Montreal" offers fresh understanding of the apocalyptic discourse in Mark 13, and "Shane" and "Pale Rider" demonstrate that Americans desperately want a conquering hero who is not a capitalist or an imperialist to deal with their frustrations.

Screening Scripture offers a unique new perspective on religion and film. The book proposes that there is no natural connection between scripture and film-even for those movies that seem to have an obvious relationship to religious text. It is only the viewer that makes this connection. From this perspective, Screening Scripture opens up new possibilities for viewing these movies and reading these texts with each other.The contributors to this volume serve as creative viewers who make these connections for some of today's most popular and provocative films. The scriptures discussed include not only the Bible, but apocryphal, heretical, and non-Western scriptures. In the hands of these writers, the films provide fresh insights into the scriptures. Contributors to this volume: George Aichele (Adrian College) on PleasantvilleRoland Boer (Monash University) on Total RecallRalph Brabban (Chowan College) on Midnight CowboyFred Burnett (Anderson University) on Lethal WeaponCarl Dyke (Methodist College) on The Life of BrianJulie Kelso (University of Queensland) on David and BathshebaNeal McCrillis (Columbus State University) on The Giant BehemothTina Pippin (Agnes Scott College) on DraculaJennifer Rohrer-Walsh (Methodist College) on The Prince of EgyptMark Roncace (Emory University) on Sling BladeErin Runions (Barnard College) on Boys Don't CryJeffrey Staley (Seattle University) on Patch AdamsRichard Walsh (Methodist College) on End of DaysGeorge Aichele is Professor of Philosophy and Religion at Adrian College in Adrian, Michigan and is the author of The Control of Biblical Meaning.Richard Walsh is Professor of Religion, co-director of the Honors Program, and Assistant Academic Dean at Methodist College, Fayetteville, North Carolina, and is the author of Mapping the Myths of Biblical Interpretation.