Kelly Gordon

Bring Springfield Distillery home with this holiday inspired fall and winter cocktail cookbook. Learn how to make our signature drinks from the tasting room in Halifax, Virginia with our handcrafted whiskeys. You'll find great recipes from hot drinks like mulled cider and hot chocolate to new takes on the Old Fashioned. Along with some family favorite Christmas cocktails and holiday food recipes. Our Scratch Whiskey Spice Cake is a must for dessert

When journalists, academics, and politicians describe the North American anti-abortion movement, they often describe a campaign that is male-dominated, aggressive, and even violent in its tactics, religious in motivation, anti-women in tone, and fetal-centric in arguments and rhetoric. Are they correct? In The Changing Voice of the Anti-Abortion Movement, Paul Saurette and Kelly Gordon suggest that the reality is far more complicated, particularly in Canada. Today, anti-abortion activism increasingly presents itself as “pro-women”: using female spokespersons, adopting medical and scientific language to claim that abortion harms women, and employing a wide range of more subtle framing and narrative rhetorical tactics that use traditionally progressive themes to present the anti-abortion position as more feminist than pro-choice feminism. Following a succinct but comprehensive overview of the two-hundred year history of North American debate and legislation on abortion, Saurette and Gordon present the results of their systematic, five-year quantitative and qualitative discourse analysis, supplemented by extensive first-person observations, and outline the implications that flow from these findings. Their discoveries are a challenge to our current assumptions about the abortion debate today, and their conclusions will be compelling for both scholars and activists alike.

When journalists, academics, and politicians describe the North American anti-abortion movement, they often describe a campaign that is male-dominated, aggressive, and even violent in its tactics, religious in motivation, anti-women in tone, and fetal-centric in arguments and rhetoric. Are they correct? In The Changing Voice of the Anti-Abortion Movement, Paul Saurette and Kelly Gordon suggest that the reality is far more complicated, particularly in Canada. Today, anti-abortion activism increasingly presents itself as “pro-women”: using female spokespersons, adopting medical and scientific language to claim that abortion harms women, and employing a wide range of more subtle framing and narrative rhetorical tactics that use traditionally progressive themes to present the anti-abortion position as more feminist than pro-choice feminism. Following a succinct but comprehensive overview of the two-hundred year history of North American debate and legislation on abortion, Saurette and Gordon present the results of their systematic, five-year quantitative and qualitative discourse analysis, supplemented by extensive first-person observations, and outline the implications that flow from these findings. Their discoveries are a challenge to our current assumptions about the abortion debate today, and their conclusions will be compelling for both scholars and activists alike.

This volume offers an in-depth exploration of contemporary moving-image art, examining the ways in which "the cinematic" has blurred cultural distinctions between reality and illusion. Cinema was the unrivaled art form of the twentieth century; in the art world, the use of film and video and the appropriation of cinematic language and devices for works in a range of media have been growing since the early 1960s. In the realm of popular culture, the influence of this technology and its vocabulary have grown to the point where the boundaries between "real life" and make-believe are at the least blurred and at most indecipherable. Opening with Kerry Brougher's overview of the cultural, social and psychological issues raised by The Cinema Effect, the book divides into two parts which reflect the opposing poles of cinema, and the roles they play in art and contemporary culture. The first section, Dreams, opens with a discussion by Kelly Gordon of how and why moving-image work has shifted from the margins to the center of art production. This essay considers the analogous relationship between cinema technology and the psychology of dreams, as well as the ways in which artists compel or challenge suspension of disbelief. The second section, Realisms, shifts the focus to the larger societal impact of the pervasiveness of cinema, looking at the work of emerging artists. In this section Anne Ellegood examines issues of subjectivity and identity in the featured artists' work and Kristen Hileman explores the complex issue of authenticity.