Seven Rooms brings together highlights from Hotel, a magazine for new approaches to fiction, non-fiction & poetry which, since its inception in 2016, provided a space for experimental reflection on literature's status as art & cultural mediator. Co-published by Tenement Press and Prototype, this anthology captures, refracts, and reflects a vital moment in independent publishing in the UK, and is built on the shared values of openness, collaboration, and total creative freedom.

Highlights the persuasive devices most common to fascist appeals Fascism has resurfaced as one of the most pressing problems of our time. The rise of extremist parties and candidates in Europe, the United States, and around the globe has led even mainstream political commentators to begin using the term “fascism� to describe dangerous movements that have revived and repackaged many of the strategies long thought to have been relegated to the margins of political rhetoric. No longer just confined to the state regimes of the past, fascism thrives today as a globally self-augmenting, self-propagating rhetorical phenomenon with a variety of faces and expressions. The Rhetoric of Fascism defines and interprets the common persuasive devices that characterize fascist discourse to understand the nature of its enduring appeal. By approaching fascism from a rhetorical perspective, this volume complements established political and sociological understandings of fascism as a movement or regime. A rhetorical approach studies fascism less as a party one joins than as a set of persuasive strategies one adopts. Fascism spreads precisely because it is not a coherent entity. Instead, it exists as a loosely bound and often contradictory collection of persuasive trajectories that have attained enough coherence to mobilize and channel the passions of a self-constituted mass of individuals. Introductory chapters focus on general theories of fascism drawn from twentieth-century history and theory. Contributors investigate specific historical figures and their relationship to contemporary rhetorics, focusing on a specific rhetorical device that is characteristic of fascist rhetoric. A common thread throughout every chapter is that fascist devices are appealing because they speak to us in the familiar language of our culture. As we are seduced by one device at a time, we soon find ourselves part of a movement, a group, or a campaign that makes us act in ways we might never have imagined. This volume reveals that fascism may be closer to home than we think. CONTRIBUTORS Patrick D. Anderson / Rya Butterfield / Nathan Crick / Elizabeth R. Earle / Zac Gershberg / Stephen J. Hartnett / Marie-Odile N. Hobeika / Sean Illing / Jacob A. Miller / Fernando Ismael QuiÑones Valdivia / Patricia Roberts-Miller / Raquel M. Robvais / Bradley A. Serber / Ryan Skinnell

Gloster Gladiator is a British fighter constructed at the Gloster Aircraft Company. The prototype was created in 1934. It was powered by a 645 HP Bristol Mercury VIS engine. Gloster Gladiator Mk I had a 8382 mm long fuselage, which consisted of four numbered sections. The first of these included the engine bed. The second front fuselage, the third – the rear fuselage, and the fourth – tail. The arrangement of instrumentation and equipment inside the truss was marked with letters or numbered from one to eight fuselage partitions corresponding to the distances between the frames. Clearly straight main panels with a span of 9845 mm were built around two Hawker steel girders. The upper and lower supports of the girders were made of rolled octagonal elements, and the wavy lining provided strong points for attaching four aerodynamically profiled transverse struts. Such wing structure was finished with light alloy ribs, stringers and steel and duralumin spreader bars.

Documentary-style horror written and directed by Chris Sparling. A team of psychologists are investigating supposed supernatural abilities in humans when they come across Judith Winstead (Rya Kihlstedt), a young woman with abilities far surpassing any of their other subjects. As Judith's abilities continue to grow and she becomes more and more difficult to control, the US Department of Defense, who have learned of the destructive nature of her powers, become interested in her case...

This book examines the German air force (GAF) monograph project, also known as the Karlsruhe project, through which the US Air Force employed former Luftwaffe generals to record the history of World War II from the German perspective. Historians have explored parallel programs in the US Army and Navy, but the Karlsruhe project has received little attention. However, the Air Force monographs have proven useful to historians because of their high quality. This book attributes the Karlsruhe monographs' strength as works of history primarily to the Air Force's limited interest in them, which insulated the writers from outside pressure to produce studies of immediate utility to the military. Whereas policy needs drove the Army and Navy programs and often caused them to search for convenient tactical "lessons" in German history, the GAF monograph project was effectively autonomous. This was a mixed blessing. Chronically undermanned and inadequately funded, the project ended with most studies still unfinished. The Air Force ignored the monographs and failed to benefit from the experience of the Luftwaffe. This book illustrates the inherent tensions in writing official military history and utilizes the Karlsruhe project as a lens to examine problems plaguing the Air Force during the early Cold War. Still, cooperative historical work proved to be an inexpensive and unexpected way of cementing the critical West German-American military alliance, and both air forces came to value this aspect of the project more than the historical studies it produced.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.