"You mean sixty-one seconds. You said sixty-one minutes, but you mean a little over one minute." "No," I said. "He didn’t have a pulse for over an hour." After a healthy pregnancy, on September 16, 2010, Bonnie L. Engstrom delivered a stillborn baby boy. After sixty-one minutes, just when the doctors were going to call a time of death, James Fulton’s heart began to beat. In that sixty-one minutes, the Engstrom’s been asking for and counting on the powerful intercession of James’s namesake: Archbishop Fulton J. Sheen. That James was alive at all was a miracle. But the rest of the story is even more amazing. While the Engstroms were preparing for their little boy to grow up blind, unable to walk or talk, and be fed by a tube for the rest of his life, another miracle occurred. Against all medical odds, James not only survived, but he began — and continues — to thrive. In 2014, medical experts and theological advisors to the Congregation for the Causes of Saints unanimously approved the miracle. This amazing true story, full of weakness and strength, heartbreak and celebration, hope and joy, teaches us that through our faith in Christ and the prayers of the great cloud of witnesses, miracles are possible. "Believe the incredible, and you can do the impossible." – Venerable Archbishop Fulton J. Sheen

This Book is helpful for all competitive exams.

The Sublimity of Document: Cinema as Diorama is a collection of in-depth, substantive interviews with moving-image artists working "avant-doc, that is, making films that explore the territory between documentary and experimental cinema. The book uses the early history of the museum habitat diorama of animal life, specifically the Hall of African Mammals at the American Museum of Natural History, as a way of rethinking both early and modern cinema document--and especially those recent filmmakers and films that are devoted to providing viewers with panoramic documentations of places and events that otherwise they might never have opportunities to experience in person. This international collection of 27 interviews follows on MacDonald's earlier Avant-Doc: Intersections of Documentary and Avant-Garde Cinema (Oxford, 2015). The interviews, organized panoramically within the collection, are dense with information and insight, and readable by specialists and non-specialists alike. In most instances, these are the most in-depth and expansive-sometimes the first-interviews with these filmmakers. Together, these interviews offer an engaging panorama of the recent history and geography of cinema devoted to documenting the world around us, as well as an in-depth look at the challenges and accomplishments of filmmakers willing to go anywhere on the planet (or on the internet!) to document what they believe we need to see. MacDonald's general introduction provides an overall context for the collection, which includes interviews with Ron Fricke, Gustav Deutsch, Laura Poitras, Fred Wiseman, Nikolaus Geyrhalter, Bill Morrison, Brett Story, Abbas Kiarostami, Lois Patiño, Dominic Gagnon, Erin Espelie, Yance Ford, Janet Biggs, Carlos Adriano, Craig Johnson, Ben Russell, Betzy Bromberg, James Benning, Maxim Pozdorovkin, along with several veterans of Harvard's Sensory Ethnography Lab (and with the executive directors of the distributor, Documentary Educational Resources, which has served the field of independent documentary for nearly fifty years)--each interview is introduced with MacDonald's overview of the interviewee's life and work. The book includes filmographies and selected bibliographies for all the filmmakers.

In A Meeting of the People Roderick MacLeod and Mary Anne Poutanen look at the Protestant public education system and the communities that established, and were served by, its schools, from the origins of public education in 1801 to the dissolution of confessional school boards in 1998. They focus on key issues such as class, ethnicity, religion, gender, health and welfare, patriotism, and the nature of local administration, bringing to life the people who attempted to establish and maintain schools and considering relationships between school trustees, parents, teachers, and the wider public. Their analysis shows that communities recognized the importance of providing schooling, despite what were often bleak circumstances. The authors show that Protestant families often had to make a difficult choice between supporting better educational facilities in a central place far away or encouraging the survival of the local community through maintaining one of its key institutions, the local school. They explore the ambiguous nature of Protestant education, at times understood as schooling reserved for a religious minority and at others as a liberal approach similar to public schooling across North America. The Protestant community, begun as a British element within a small colony, has developed into a diverse array of people from across the religious spectrum, periodically redefining itself to meet the needs of a changing Quebec society.

Poems and other texts from the 1960s by a pioneering conceptual artist that show a continuity with his subsequent work in performance and video art. Pioneering conceptual artist Vito Acconci began his career as a poet. In the 1960s, before beginning his work in performance and video art, Acconci studied at the Iowa Writers Workshop and published poems in journals and chapbooks. Almost all of this work remains unknown; much of it appeared in the self-produced magazines of the Lower East Side's mimeo revolution, and many other pieces were never published. Language to Cover a Page collects these writings for the first time and not only shows Acconci to be an important experimental writer of the period, but demonstrates the continuity of his early writing with his later work in film, video, and performance. Language to Cover a Page documents a key moment in the unprecedented intersection of artists and poets in the late 1960s -- as seen in the Dwan Gallery's series of "Language" shows (1967-1970) and in Acconci's own journal 0 to 9. Indeed, as Acconci moved from the poetry scene to the art world, his poetry became increasingly performative while his artwork was often structured and motivated by linguistic play. Acconci's early writing recalls the work of Samuel Beckett, the deadpan voice of the nouveau roman, and the jump cuts and fraught permutations of the nouvelle vague. Poems in Language to Cover a Page explore the materiality of language ("language as matter and not ideas," as Robert Smithson put it), the physical space of the page, and the physicality of source texts (phonebooks, thesauruses, dictionaries). Other poems take the space of the page as an analogue to performance space or implicate the poem in a network of activity (as in his "Dial-a-Poem" pieces). Readers will find Acconci's inventive and accomplished poetry as edgy and provocative as anything published today.

The number 1 best book about spies in Britain. As listed by Dame Stelle Rimington Ex-Director-General of M.I.5.The first reaction to Leonard Sellers fascinating account of the spies who were executed in the Tower of London during the First World War is likely to be one of amazement at their ineptitude. Not one of them seems to have had any proper training or any idea of how to set about the job. This, of course raises the intriguing question: how many others were there who did know what they were up to and managed to escape detection? However, thanks to the more liberal attitude now prevalent regarding access to hitherto 'sensitive' material and to years of dogged research by Len Sellers, the remarkable, but somehow pathetic, stories of the eleven foreign agents who were caught and subsequently shot in the Tower for espionage can now be told. In these days when a mind-boggling array of equipment is available for the assimilation and transmission of supposedly secret information their antics strike one as little short of farcical, but for their efforts, inspired, it seems, more often by greed than patriotism, these men paid the ultimate price and paid it in the most historic site in Britain.Whether they deserved their fate, or indeed the niche in history which this book gives them, is for the reader to decide. What cannot be denied is that their collected histories make remarkable reading.

Social movements and interest groups of a variety of types increasingly engage in direct contestation, mobilizing to influence the activities of firms and making unmediated claims for redistribution of the gains from economic activity. Such direct contestation between societal actors and firms unleashes distributive and regulatory politics that shape local development. Why does pressure sometimes result expanded access to essential public goods, services, and economic opportunities and sometimes does not? This book develops a theory of direct contestation that explains the varying distributive consequences of the conflicts that entangle many firms. The theory is grounded in case studies of mining conflicts in Bolivia and Peru. By tracing the processes that pushed firms to take different types of distributive actions in detail, the book reveals the central roles of social structures and firm strategies in shaping the consequences of direct contestation. This work advances scholarship on social movements and organizations, private politics, distributive politics, as well as studies of mining conflicts in Latin America.