A magnificent new study of the political crisis that produced the overthrow of King Charles I, and came to engulf all three Stuart kingdoms - England, Scotland, and Ireland - in war during the 1640s.John Adamson's book traces the careers and fortunes of the small group of English noblemen who risked their lives and fortunes to challenge the king's attempt to create an authoritarian monarchy in the Stuart kingdoms during the 1630s.What was achieved in 1641 astonished - and alarmed - contemporaries: the trial and execution of the king's most powerful minister; a new, and sometimes violent, phase of religious reformation; the drastic curbing of the powers of the Crown; the planning of a major Anglo-Scottish military intervention in the Thirty Years' War.The threat of war was rarely absent and the resort to armed force come to seem a viable, perhaps even the only, means of resolving the conflicts within the Stuart realms.
Painting, Politics and the Struggle for the École de Paris, 1944-1964 is the first book dedicated to the postwar or 'nouvelle' École de Paris. It challenges the customary relegation of the École de Paris to the footnotes, not by arguing for some hitherto 'hidden' merit for the art and ideas associated with this school, but by establishing how and why the École de Paris was a highly significant vehicle for artistic and political debate. The book presents a sustained historical study of how this 'school' was constituted by the paintings of a diverse group of artists, by the combative field of art criticism, and by the curatorial policies of galleries and state exhibitions. By thoroughly mining the extensive resources of the newspaper and art journal press, gallery and government archives, artists' writings and interviews with surviving artists and art critics, the book traces the artists, exhibitions, and art critical debates that made the École de Paris a zone of aesthetic and political conflict. Through setting the École de Paris into its artistic, social, and political context, Natalie Adamson demonstrates how it functioned as the defining force in French postwar art in its defence of the tradition of easel painting, as well as an international point of reference for the expansion of modernism. In doing so, she presents a wholly new perspective on the vexed relationships between painting, politics, and national identity in France during the two decades following World War II.
Perhaps no psalm is more widely known than Psalm 23. Spoken by David during a time of great stress and difficulty, it summons us to lie down in green pastures and walk thru the valley of the shadow of death. Yet so often it seems we do just the reverse, lying down in the valley and fixating on the danger, fear, and uncertainty. We wonder where God has gone and why he doesn't make things right, never considering that perhaps what we perceive as a spiritual trial is actually an invitation from God.In this inspirational examination of Psalm 23, Heath Adamson asks the provocative question: What if the green pasture and valley of the shadow of death is the same place? Uncovering the rich historical and spiritual context of the shepherd's psalm, he explores how God has provided a place of rest for each of us, even in the times of unrest, uncertainty, moral ambiguity, and fear.
There is nothing more important in this life or the one to come than an intimate connection with Jesus. Unfortunately, we have thousands of voices distracting us, and all too often we listen to them. We confuse proximity to God with intimacy with God and are content with a Christian-branded life yet miss out on what we were created for: knowing God intimately. Sharing the touching story of a demon-possessed man who had every reason to run the other way when he encountered Jesus, Heath Adamson shows us how spiritual hunger can overcome our hopelessness, our shame, and our excuses. He encourages us to pursue God regardless of where we've been or where we are, seeing our salvation as a doorway. Once we walk through it, we can discover the love of God in a tangible way. This book is for anyone who longs for a deeper connection to God, who has felt far from peace and hope, and who needs the assurance that God is both interested in who they are and accepts them.
In the mid- 1920s, the heyday of silent film, the epic Western swept Hollywood and the nation. Movie moguls sought to add gravitas to their output with the productions - films they argued offered American audiences authentic history and lessons in citizenship at a time when Hollywood faced criticism for its movies' morals and star scandals. Initially extremely popular, these now nearly forgotten Westerns were hailed by the movie industry's proponents and critics alike for their 'authentic' reconstruction of America's nineteenth-century frontier period and the social benefits in portraying historical episodes foundational to American identity to the melting pot of moviegoers. In Projecting America, the first-ever book on these silent epic Westerns, Patrick Adamson demonstrates how these films indelibly impacted the genre, historical filmmaking, and Hollywood, inviting audiences to accept uncritical visions of Manifest Destiny as accurate history. Drawing on a wealth of primary sources and punctuating his argument with film stills and intertitles, Adamson introduces readers to a variety of epic Westerns, with a particular emphasis on The Covered Wagon (1923), The Iron Horse (1924), and The Vanishing American (1925). These productions depict such key moments as pioneers on the Oregon Trail, the construction of the transcontinental railroad, and challenges faced by Indigenous peoples. Combining close analysis of these films' historiography with exploration of their production and reception, Adamson investigates how the epic Westerns' emergence responded to and informed discourses far beyond those traditionally associated with the Western genre. He demonstrates that these movies not only represent an important chapter in film history but also collectively illustrate how American identity was formed and the motion picture medium was used as a vehicle for mass historical and cultural education. In Projecting America, Adamson deftly shows how epic Westerns, at the heart of the 1920s' pressing debates about cinema's social influence, are integral to a broader understanding of the history of Western films and American identity.
Although much contemporary American Indian literature examines the relationship between humans and the land, most Native authors do not set their work in the "pristine wilderness" celebrated by mainstream nature writers. Instead, they focus on settings such as reservations, open-pit mines, and contested borderlands. Drawing on her own teaching experience among Native Americans and on lessons learned from such recent scenes of confrontation as Chiapas and Black Mesa, Joni Adamson explores why what counts as "nature" is often very different for multicultural writers and activist groups than it is for mainstream environmentalists.This powerful book is one of the first to examine the intersections between literature and the environment from the perspective of the oppressions of race, class, gender, and nature, and the first to review American Indian literature from the standpoint of environmental justice and ecocriticism. By examining such texts as Sherman Alexie's short stories and Leslie Marmon Silko's novel Almanac of the Dead, Adamson contends that these works, in addition to being literary, are examples of ecological criticism that expand Euro-American concepts of nature and place.Adamson shows that when we begin exploring the differences that shape diverse cultural and literary representations of nature, we discover the challenge they present to mainstream American culture, environmentalism, and literature. By comparing the work of Native authors such as Simon Ortiz with that of environmental writers such as Edward Abbey, she reveals opportunities for more multicultural conceptions of nature and the environment.More than a work of literary criticism, this is a book about the search to find ways to understand our cultural and historical differences and similarities in order to arrive at a better agreement of what the human role in nature is and should be. It exposes the blind spots in early ecocriticism and shows the possibilities for building common ground— a middle place— where writers, scholars, teachers, and environmentalists might come together to work for social and environmental change.
From the First National People of Color Congress on Environmental Leadership to WTO street protests of the new millennium, environmental justice activists have challenged the mainstream movement by linking social inequalities to the uneven distribution of environmental dangers. Grassroots movements in poor communities and communities of color strive to protect neighborhoods and worksites from environmental degradation and struggle to gain equal access to the natural resources that sustain their cultures.This book examines environmental justice in its social, economic, political, and cultural dimensions in both local and global contexts, with special attention paid to intersections of race, gender, and class inequality. The first book to link political studies, literary analysis, and teaching strategies, it offers a multivocal approach that combines perspectives from organizations such as the Southwest Network for Environmental and Economic Justice and the International Indigenous Treaty Council with the insights of such notable scholars as Devon Peña, Giovanna Di Chiro, and Valerie Kuletz, and also includes a range of newer voices in the field.This collection approaches environmental justice concerns from diverse geographical, ethnic, and disciplinary perspectives, always viewing environmental issues as integral to problems of social inequality and oppression. It offers new case studies of native Alaskans' protests over radiation poisoning; Hispanos' struggles to protect their land and water rights; Pacific Islanders' resistance to nuclear weapons testing and nuclear waste storage; and the efforts of women employees of maquiladoras to obtain safer living and working environments along the U.S.-Mexican border.The selections also include cultural analyses of environmental justice arts, such as community art and greening projects in inner-city Baltimore, and literary analyses of writers such as Jimmy Santiago Baca, Linda Hogan, Barbara Neely, Nez Perce orators, Ken Saro-Wiwa, and Karen Yamashita—artists who address issues such as toxicity and cancer, lead poisoning of urban African American communities, and Native American struggles to remove dams and save salmon. The book closes with a section of essays that offer models to teachers hoping to incorporate these issues and texts into their classrooms. By combining this array of perspectives, this book makes the field of environmental justice more accessible to scholars, students, and concerned readers.
This book is a companion to A general topology workbook published by Birkhiiuser last year. In an ideal world the order of publication would have been reversed, for the notation and some of the results of the present book are used in the topology book and on the other hand (the reader may be assured) no topology is used here. Both books share the word Workbook in their titles. They are based on the principle that for at least some branches of mathematics a good way for a student to learn is to be presented with a clear statement of the definitions of the terms with which the subject is concerned and then to be faced with a collection of problems involving the terms just defined. In adopting this approach with my Dundee students of set theory and general topology I found it best not to differentiate too precisely between simple illustrative examples, easy exercises and results which in conventional textbooks would be labelled as Theorems.
The world’s most important contemporary designers showcase their work within the historic setting of Chatsworth House to shine light and spark conversation on the intriguing juxtaposition of the old and the new, the past and the future, and the evolution of design histories and practices.Chatsworth is an extraordinary environment to experience design: a repository for great works of fine and decorative art commissioned by generations of the Cavendish family for over four centuries. Expanding on the eponymous 2023 exhibition at Chatsworth, Mirror Mirror features the works of sixteen contemporary artists through captivating in-situ photography with accompanying artist biographies and essays that unearth how historic artifacts and environments inform and inspire modern artists' practices today. This diverse group of artists includes Michael Anastassiades, Ini Archibong, Wendell Castle, Andile Dyalvane, Ndidi Ekubia, Najla El Zein, Formafantasma, Joris Laarman, Max Lamb, Fernando Laposse, Jae Sae Jung Oh, Samuel Ross, Chris Schanck, Ettore Sottsass, Faye Toogood, and Joseph Walsh. From lithe, LED lighting structures illuminating the halls of the Chatsworth library to a seating sculpture hand-carved in Iranian travertine in the grand estate’s formal Rose Garden, these modern works create unexpected and timeless connections with the house’s architecture, interiors, furniture, and ceramics.
Birmingham, Alabama - the Football Capital of the South - has likely had more pro football teams than any other city. None have been in the NFL, and all have failed. Quickly. As veteran sportswriter Scott Adamson can attest, loving an off-brand team is the triumph of hope over experience. Having decided at an early age that tackle football was the greatest sport man has yet to invent, Adamson takes on a fan's-eye view of life with Brand X football. The Home Team: My Bromance with Off-Brand Football is the funny, somewhat tortured, journey of a fanatic's life long quest for a hometown team of his own.The Home Team: My Bromance with Off-Brand Football is filled with trivia, history, heartache, and more trivia. And how game day hotdogs can be fatal to young romance. Adamson's account of Birmingham's unsinkable quest for pro football is for any fan whose hometown's reach has exceeded its grasp.
Daring, ingenious and profoundly moving, The Kennedy Moment is masterful storytelling from an author whose career has put him at the heart of international affairs. Dr Michael Lowell--a mild-mannered American, unshakeably decent and at the top of his profession--accepts an invitation to a weekend reunion of Oxford college friends. He is looking forward to meeting some of them--including front-line Canadian medic H l ne Hevr and the Australian advertising genius Toby Jenks. But the big attraction is the serene young woman from Karachi who rejected him twenty years ago because he was 'just a little bit too dull'. As the weekend gets underway and old loves and tensions arise, an audacious suggestion is made. It begins as a joke. But it is a joke that none of them can forget. Moving between Oxford, New York, Washington, Geneva and Abidjan, this compelling political thriller is the story of five ordinary people who find themselves drawn into an extraordinary conspiracy--a gamble that could force the hand of governments and affect the lives of millions. But if it should go wrong, the risk to their own lives is incalculable.
Dreams & Disasters is the recounting of three days of painful agony that God used as a springboard to bring a dream to pass. A dream that only God could fulfill. Through every trial and difficulty that Don and his team faced, God proved that it was for a reason. Don takes us through a journey of watching the promises of God given in a small section of the Gospel of Mark, coming to reality. It's a testimony of commitment, tenacity, hope and victory. By the time you reach the end, you will realize, just as Don did, that miracles still happen.
There has never been a time like this. The worldwide pandemic is pumped out on every media outlet. Most believe the Bible is silent on these matters. Some would even believe that this pandemic is a sign of the return of Christ. Still, others, say this is a test of the believers. What I know through the scriptures is that none of this has taken God by surprise. You may be bracing yourself for a volumes-long description of how God can protect us during this time. On the contrary, Pandemic: Breaking The Outbreak provides the answers in three short verses of Psalm 41. God does speak to pandemics and provides a way for us to come under His protection.
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