In American visual culture, the 1930s and 1940s were a key transitional period shaped by the era of modernism and the global confrontation of World War II. Christof Decker demonstrates that the war and its iconography of destruction challenged visual artists to find new ways of representing its consequences. Dealing with trauma and war crimes led to the emergence of complex aesthetic forms and media crossovers. Decker shows that the 1940s were a pivotal period for the creation of horrific yet also innovative representations that boosted American visual modernism and set the stage for debates about the ethics of visual culture in the post-9/11 era.

Carol Shields's award-winning and critically acclaimed "literary mystery," first published in 1987. Swann is the story of four individuals who become entwined in the life of Mary Swann, a rural Canadian poet whose authentic and unique voice is discovered only hours before her husband hacks her to pieces.Who is Mary Swann? And how could she have produced these works of genius in almost complete isolation? Mysteriously, all traces of Swann's existence — her notebook, the first draft of her work, even her photograph — gradually vanish as the characters in this engrossing novel become caught up in their own concepts of who Mary Swann was.

Contributions by Zoe Bursztajn-Illingworth, Marc DiPaolo, Emine Akkülah Doğan, Caroline Eades, Noelle Hedgcock, Tina Olsin Lent, Rashmila Maiti, Allen H. Redmon, Jack Ryan, Larry T. Shillock, Richard Vela, and Geoffrey Wilson In Next Generation Adaptation: Spectatorship and Process, editor Allen H. Redmon brings together eleven essays from a range of voices in adaptation studies. This anthology explores the political and ethical contexts of specific adaptations and, by extension, the act of adaptation itself. Grounded in questions of gender, genre, and race, these investigations focus on the ways attention to these categories renegotiates the rules of power, privilege, and principle that shape the contexts that seemingly produce and reproduce them. Contributors to the volume examine such adaptations as Quentin Tarantino’s Death Proof, Jacques Tourneur’s Out of the Past, Taylor Sheridan’s Sicario and Sicario: Day of the Soldado, Jean-Jacques Annaud’s Wolf Totem, Spike Lee’s He’s Got Game, and Jim Jarmusch’s Paterson. Each chapter considers the expansive dialogue adaptations accelerate when they realize their capacity to bring together two or more texts, two or more peoples, two or more ideologies without allowing one expression to erase another. Building on the growing trends in adaptation studies, these essays explore the ways filmic texts experienced as adaptations highlight ethical or political concerns and argue that spectators are empowered to explore implications being raised by the adaptations.

Sixth-grader Emmy tries to find her place in a new school and to figure out how she can create her own kind of music using a computer.

John Hughes explores Hardy's claim that his art sought to intensify the expression of things through three main sections on music, the body, and voice. These offer intersecting and mutually informing discussions of the central drama of inexpression and expressivity in Hardys work, as it affects the various personae of the text, including the reader. Throughout, the book draws on themes in the work of Gilles Deleuze and Stanley Cavell to reveal how Hardys fiction and poetry express and represent the affective and physical conditions of mind, and their conflicts with social fictions of identity. The first main section on music incorporates three chapters that examine how Hardys writing stages musical experience as an expression of human desire and individuality at odds with the constraints of rationality, Victorian fiction form, and social convention. Intricate and extensive readings are linked also to larger contextual and theoretical issues in order to show how music as a theme and motif highlights the kinds of creativity and ethical cruxes that characterise Hardys work throughout his career. The second section on embodiment and sensation shows how close attention to Hardys writing on the topics of facial and bodily expression (and affectivity) reveal much about the sources of his inspiration, and its philosophical conditions and implications. The third section on voice offers three chapters, each of which centrally employs a close metrical reading of an important Hardy poem within its larger biographical and inter-textual contexts. These readings demonstrate how fundamental were Hardys innovations in meter to the power and originality of his work, and to its expressive treatment of his abiding preoccupations with love, grief, childhood, and the loss of faith.

Argues that free verse has deep historical roots, and traces them, from Milton to contemporary poetry

How do I know it's God? is one of the most commonly asked questions of new and mature Christians alike, and the aim of God Conversations is to both equip and inspire the reader and show them that hearing the voice of the Spirit is accessible to everyone who chooses to follow Jesus. Most Christians know that God speaks, yet struggle with how to recognise his voice in their everyday lives. What does God's voice sound like? How do we know if what we're hearing is from God? Stories of God talking to his people abound throughout the Bible, but we usually only get the highlights. We read; "And God said to Joseph; 'Go to Egypt'," and then; "Mary and Joseph left for Egypt." We don't get a blow-by-blow description of how God spoke. We don't receive a detailed explanation of how they knew it was God, and we don't get to see what was going on inside their heads as they acted on what they'd heard. In God Conversations, international speaker and pastor Tania Harris shares insights from her own journey about hearing God's voice. You'll get to eavesdrop on some contemporary conversations with God in the light of his communication with the ancient characters of the Bible. Part memoir, part teaching, this unique and creative collection of stories will help you to recognise God's voice when he speaks and how to respond when you do.

Does God call women to serve as equal partners in marriage and as leaders in the church? With careful exegetical work, Lucy Peppiatt considers relevant passages in Ephesians, Colossians, 1 Peter, 1 Timothy, and 1 Corinthians. There she finds a story of God releasing women alongside men into all forms of ministry, leadership, work, and service on the basis of character and gifting, rather than biological sex.