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New York Times Co. v. Sullivan, credited with defining the central meaning of the First Amendment, has protected the freedom of expression for the past 50 years. This compelling work of historical non-fiction focuses on the progeny of that decision, examining how Justice Brennan nurtured and developed the constitutional law of defamation and related claims. The book draws on the previously unreported papers of Justice Brennan and several of his colleagues and, through them as well as author Stephen Wermiel's private interviews with Brennan, provides the authoritative historical account of how an important body of constitutional law came to be. The Progeny offers fresh insights with respect to both what the law means and the process by which it was formulated. This text tells a compelling story in which the Brennan and his fellow justices are the lead characters. Given Sullivan's enormous impact on our rights to freedom of speech and press, this book is a must read for Supreme Court watchers, journalists, fans of legal history, and, of course, First Amendment enthusiasts.

New York Times bestselling author Tosca Lee brings a modern twist to an ancient mystery surrounding Elizabeth Bathory, the most notorious female serial killer of all time.Audra Ellison has no idea why she’s had her memory wiped clean, only that she chose to erase her past to protect someone else. But soon, a handsome stranger tells her she’s special. Unique. That she has the power to influence the minds of others. And that her life is in danger. She soon discovers that she is the descendant of a serial killer, the infamous “Blood Countess” Elizabeth Bathory, and that she, like all her relatives for generations, is being hunted for the sins of her ancestor. She also discovers that she erased her memory to forget something important—important not only to her, but to those who want to see the line of Bathory ended for good. Reunited with others like her—young, powerful Progeny living defiantly on the edge of extinction in Europe’s underground—she is hounded by danger at every turn and driven deeper into the inner circles of two ancient orders intent on destroying one another with a weapon only Audra can find. And as those around her start disappearing, Audra realizes the only thing that can save them all is piecing together a past she no longer remembers. As she works to unravel the web of secrets and lies, Audra is thrust into a world of faith and doubt, of truth and deceit, of life and immortality, and she must decide who to trust—and what to believe. What she ultimately uncovers will change everything she thought she knew about who she is and what her lineage means. A kaleidoscopic thriller that brings the underground world of the ancient cities of Eastern Europe to life like never before, The Progeny is a taut, breathless story of centuries-old intrigue and modern love and forgiveness.

Mary Shelley’s 1818 novel Frankenstein is its own type of monster mythos that will not die, a corpus whose parts keep getting harvested to animate new artistic creations. What makes this tale so adaptable and so resilient that, nearly 200 years later, it remains vitally relevant in a culture radically different from the one that spawned its birth? Monstrous Progeny takes readers on a fascinating exploration of the Frankenstein family tree, tracing the literary and intellectual roots of Shelley’s novel from the sixteenth century and analyzing the evolution of the book’s figures and themes into modern productions that range from children’s cartoons to pornography. Along the way, media scholar Lester D. Friedman and historian Allison B. Kavey examine the adaptation and evolution of Victor Frankenstein and his monster across different genres and in different eras. In doing so, they demonstrate how Shelley’s tale and its characters continue to provide crucial reference points for current debates about bioethics, artificial intelligence, cyborg lifeforms, and the limits of scientific progress.  Blending an extensive historical overview with a detailed analysis of key texts, the authors reveal how the Frankenstein legacy arose from a series of fluid intellectual contexts and continues to pulsate through an extraordinary body of media products. Both thought-provoking and entertaining, Monstrous Progeny offers a lively look at an undying and significant cultural phenomenon. 

Twisted bodies, deformed faces, aberrant behavior, and abnormal desires characterized the hideous creatures of classic Hollywood horror, which thrilled audiences with their sheer grotesqueness. Most critics have interpreted these traits as symptoms of sexual repression or as metaphors for other kinds of marginalized identities, yet Angela M. Smith conducts a richer investigation into the period's social and cultural preoccupations. She finds instead a fascination with eugenics and physical and cognitive debility in the narrative and spectacle of classic 1930s horror, heightened by the viewer's desire for visions of vulnerability and transformation. Reading such films as Dracula (1931), Frankenstein (1931), Dr. Jekyll and Mr. Hyde (1931), Freaks (1932), and Mad Love (1935) against early-twentieth-century disability discourse and propaganda on racial and biological purity, Smith showcases classic horror's dependence on the narratives of eugenics and physiognomics. She also notes the genre's conflicted and often contradictory visualizations. Smith ultimately locates an indictment of biological determinism in filmmakers' visceral treatments, which take the impossibility of racial improvement and bodily perfection to sensationalistic heights. Playing up the artifice and conventions of disabled monsters, filmmakers exploited the fears and yearnings of their audience, accentuating both the perversity of the medical and scientific gaze and the debilitating experience of watching horror. Classic horror films therefore encourage empathy with the disabled monster, offering captive viewers an unsettling encounter with their own impairment. Smith's work profoundly advances cinema and disability studies, in addition to general histories concerning the construction of social and political attitudes toward the Other.

Twisted bodies, deformed faces, aberrant behavior, and abnormal desires characterized the hideous creatures of classic Hollywood horror, which thrilled audiences with their sheer grotesqueness. Most critics have interpreted these traits as symptoms of sexual repression or as metaphors for other kinds of marginalized identities, yet Angela M. Smith conducts a richer investigation into the period's social and cultural preoccupations. She finds instead a fascination with eugenics and physical and cognitive debility in the narrative and spectacle of classic 1930s horror, heightened by the viewer's desire for visions of vulnerability and transformation. Reading such films as Dracula (1931), Frankenstein (1931), Dr. Jekyll and Mr. Hyde (1931), Freaks (1932), and Mad Love (1935) against early-twentieth-century disability discourse and propaganda on racial and biological purity, Smith showcases classic horror's dependence on the narratives of eugenics and physiognomics. She also notes the genre's conflicted and often contradictory visualizations. Smith ultimately locates an indictment of biological determinism in filmmakers' visceral treatments, which take the impossibility of racial improvement and bodily perfection to sensationalistic heights. Playing up the artifice and conventions of disabled monsters, filmmakers exploited the fears and yearnings of their audience, accentuating both the perversity of the medical and scientific gaze and the debilitating experience of watching horror. Classic horror films therefore encourage empathy with the disabled monster, offering captive viewers an unsettling encounter with their own impairment. Smith's work profoundly advances cinema and disability studies, in addition to general histories concerning the construction of social and political attitudes toward the Other.

1st RazorBlade Press 2000 trade edition paperback fine book In stock shipped from our UK warehouse

history and life of Menno Simons the founder of the Mennonite religion, hard cover book.

Socrates wrote nothing; Plato's accounts of Socrates helped to establish western politics, ethics, and metaphysics. Both have played crucial and dramatically changing roles in western culture. In the last two centuries, the triumph of democracy has led many to side with the Athenians against a Socrates whom they were right to kill. Meanwhile, the Cold War gave us polar images of Plato as both a dangerous totalitarian and an escapist intellectual. This book is framed by accounts of modern responses to the trials of Socrates and the ironies of Socratic inquiry. At its centre are two chapters exploring the idea of Platonic 'origins' in philosophy, and of Platonic 'foundations' for philosophical politics, as these have been read by Coleridge, Nietzsche, Heidegger, Popper, and Murdoch among others. Melissa Lane argues that the search for Platonic origins is an artefact of post-modern literalism. Yet images of Socratic inquiry can still invigorate our ethics and politics.

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When a girl is mutilated under a full moon, two detectives search for clues to the killer's identity in Moon of the Wolf; and in Progeny of the Adder, beautiful blondes meet grisly ends in the nation's capital. Reprint.

In early modern Korea, the Chosŏn state conducted an extermination campaign against the Kaesŏng Wang, descendants of the preceding Koryŏ dynasty. It was so thorough that most of today's descendants are related to a single survivor. Before long, however, the Chosŏn dynasty sought to bolster its legitimacy as the successor of Koryŏ by rehabilitating the surviving Wangs―granting them patronage for performing ancestral rites and even allowing them to attain prestigious offices. As a result, Koryŏ descendants came to constitute elite lineages throughout Korea. As members of the revived aristocratic descent group, they were committed to Confucian norms of loyalty to their ruler. The Chosŏn, in turn, increasingly honored Koryŏ legacies. As the state began to tolerate critical historical narratives, the early plight of the Wangs inspired popular accounts that engendered sympathy. Modern forces of imperialism, colonialism, nationalism, urbanization, industrialization, and immigration transformed the Kaesŏng Wang from the progeny of fallen royals to individuals from all walks of life. Eugene Y. Park draws on primary and secondary sources, interviews, and site visits to tell their extraordinary story. In so doing, he traces Korea's changing politics, society, and culture for more than half a millennium.

While Carlo Collodi's internationally revered Pinocchio may not have been the single source of the modernist fascination with puppets and marionettes, the book's appearance on the threshold of the modernist movement heralded a new artistic interest in the making of human likenesses. And the puppets, marionettes, and other forms that figure so vividly and provocatively in modernist and avant-garde drama can, according to Harold Segel, be regarded as Pinocchio's progeny.Segel argues that the philosophical, social, and artistic proclivities of the modernist movement converged in the discovery of an exciting new relevance in the puppet and marionette. Previously viewed as entertainment for children and fairground audiences, puppets emerged as an integral component of the modernist vision. They became metaphors for human helplessness in the face of powerful forces―from Eros and the supernatural to history, industrial society, and national myth. Dramatists used them to satirize the tyranny of bourgeois custom and convention, to deflate the arrogance of the powerful, and to breathe new life into a theater that had become tradition-bound and commercialized. Pinocchio's Progeny offers a broad overview of the uses of these figures in European drama from 1890 to 1935. It considers developments in France, Spain, Italy, Austria, Germany, Sweden, Russia, Poland and Czechoslovakia. In his introduction, Segel reviews the premodernist literary and dramatic treatment of the puppet and marionette from Cervantes' Don Quixote to the turn-of-the- century European cabaret. His epilogue considers the appearance of puppets and marionettes in postmodern European and American drama by examining works by such dramatists as Jean-Claude Van Itallie, Heiner Müller, and Tadeusz Kantor.

In early modern Korea, the Chosŏn state conducted an extermination campaign against the Kaesŏng Wang, descendants of the preceding Koryŏ dynasty. It was so thorough that most of today's descendants are related to a single survivor. Before long, however, the Chosŏn dynasty sought to bolster its legitimacy as the successor of Koryŏ by rehabilitating the surviving Wangs―granting them patronage for performing ancestral rites and even allowing them to attain prestigious offices. As a result, Koryŏ descendants came to constitute elite lineages throughout Korea. As members of the revived aristocratic descent group, they were committed to Confucian norms of loyalty to their ruler. The Chosŏn, in turn, increasingly honored Koryŏ legacies. As the state began to tolerate critical historical narratives, the early plight of the Wangs inspired popular accounts that engendered sympathy. Modern forces of imperialism, colonialism, nationalism, urbanization, industrialization, and immigration transformed the Kaesŏng Wang from the progeny of fallen royals to individuals from all walks of life. Eugene Y. Park draws on primary and secondary sources, interviews, and site visits to tell their extraordinary story. In so doing, he traces Korea's changing politics, society, and culture for more than half a millennium.

The publication in 1962 of Lew Binford’s paper "Archaeology as Anthropology" is generally considered to mark the birth of processualism—a critical turning point in American archaeology. In the hands of Binford and other young University of Chicago graduates of the 1960s, this "new" archaeology became the mainstream approach in the U.S. The realignment that the processualists proposed was so thorough that its effects are still being felt today. Predictably, processualism also spun off a number of other "isms," several of which grew up to challenge its supremacy.Archaeology as a Process traces the intellectual history of Americanist archaeology in terms of the research groups that were at the forefront of these various approaches, concentrating as much on the archaeologists as it does on method and theory, thus setting it apart from other treatments published in the last fifteen years.Peppered with rare photographs of well-known archaeologists in some interesting settings, the book documents the swirl and excitement of archaeological controversy for the past forty years with over 1,600 references and an in-depth treatment of all the major intellectual approaches. The contributors examine how archaeology is conducted—the ins and outs of how various groups work to promote themselves—and how personal ambition and animosities can function to further rather than retard the development of the discipline.

The Pantheon in Rome is one of the grand architectural statements of all ages. This richly illustrated book isolates the reasons for its extraordinary impact on Western architecture, discussing the Pantheon as a building in its time but also as a building for all time.Mr. MacDonald traces the history of the structure since its completion and examines its progeny--domed rotundas with temple-fronted porches built from the second century to the twentieth--relating them to the original. He analyzes the Pantheon's design and the details of its technology and construction, and explores the meaning of the building on the basis of ancient texts, formal symbolism, and architectural analogy. He sees the immense unobstructed interior, with its disk of light that marks the sun's passage through the day, as an architectural metaphor for the ecumenical pretensions of the Roman Empire.Past discussions of the Pantheon have tended to center on design and structure. These are but the starting point for Mr. MacDonald, who goes on to show why it ranks--along with Cheops's pyramid, the Parthenon, Wren's churches, Mansard's palaces-as an architectural archetype.

This Edition Has Been Replaced By a Newer Edition

"When the nurse placed our first son, Jason, into my arms and announced that we were free to go home, sheer panic shot through my body and caused it to stiffen with fear and dread. For a moment I had trouble breathing. My pensive expression seemed frozen on my face as I pondered, 'What have I gotten myself into?' "As I looked into the downy, soft face of my newborn, my thoughts raced and my emotions threatened to overwhelm me and break forth into wracking sobs. I reached down and gently touched his tiny face. I was lost in the gaze of his blue eyes. For a moment our eyes meet and I sat transfixed by the miracle of life and the glorious love gift God had entrusted to us. And now Craig and I were about to take this little one home to begin a new season in our lives. My only thought as I looked into the face of my darling newborn was, 'If you knew how little your dad and I know about raising a child, you would not be so anxious to go home with us!' "Since I was a new mom, the reality of training a child in the way he should go and bringing him up in the fear and nurture of the Lord was an overwhelming prospect to me. I have not forgotten those angst-ridden early days of mothering. That crystal-clear memory is what drives me to write a Bible study geared toward mothers of children of all ages." Join Jean Stockdale in a pithy pilgrimage through Proverbs as she show moms of children from toddlers through teens how to impact their families for time and eternity through the art of Christian homemaking and childrearing. The interactive workbook also contains a leader guide and helps for churches desiring to begin this thought-provoking, seven-week study.

The publication in 1962 of Lew Binford’s paper "Archaeology as Anthropology" is generally considered to mark the birth of processualism—a critical turning point in American archaeology. In the hands of Binford and other young University of Chicago graduates of the 1960s, this "new" archaeology became the mainstream approach in the U.S. The realignment that the processualists proposed was so thorough that its effects are still being felt today. Predictably, processualism also spun off a number of other "isms," several of which grew up to challenge its supremacy.Archaeology as a Process traces the intellectual history of Americanist archaeology in terms of the research groups that were at the forefront of these various approaches, concentrating as much on the archaeologists as it does on method and theory, thus setting it apart from other treatments published in the last fifteen years.Peppered with rare photographs of well-known archaeologists in some interesting settings, the book documents the swirl and excitement of archaeological controversy for the past forty years with over 1,600 references and an in-depth treatment of all the major intellectual approaches. The contributors examine how archaeology is conducted—the ins and outs of how various groups work to promote themselves—and how personal ambition and animosities can function to further rather than retard the development of the discipline.

The publication in 1962 of Lew Binford’s paper "Archaeology as Anthropology" is generally considered to mark the birth of processualism—a critical turning point in American archaeology. In the hands of Binford and other young University of Chicago graduates of the 1960s, this "new" archaeology became the mainstream approach in the U.S. The realignment that the processualists proposed was so thorough that its effects are still being felt today. Predictably, processualism also spun off a number of other "isms," several of which grew up to challenge its supremacy.Archaeology as a Process traces the intellectual history of Americanist archaeology in terms of the research groups that were at the forefront of these various approaches, concentrating as much on the archaeologists as it does on method and theory, thus setting it apart from other treatments published in the last fifteen years.Peppered with rare photographs of well-known archaeologists in some interesting settings, the book documents the swirl and excitement of archaeological controversy for the past forty years with over 1,600 references and an in-depth treatment of all the major intellectual approaches. The contributors examine how archaeology is conducted—the ins and outs of how various groups work to promote themselves—and how personal ambition and animosities can function to further rather than retard the development of the discipline.