If there is one film in the canon of Carl Theodor Dreyer that can be said to be, as Jacques Lacan might put it, his most "painfully enjoyable," it is Gertrud . The film's Paris premier in 1964 was covered by the Danish press as a national scandal; it was lambasted on its release for its lugubrious pace, wooden acting, and old-fashioned, stuffy milieu. Only later, when a younger generation of critics came to its defense, did the method in what appeared to be Dreyer's madness begin to become apparent. To make vivid just what was at stake for Dreyer, and still for us, in his final work, James Schamus focuses on a single moment in the film. He follows a trail of references and allusions back through a number of thinkers and artists (Boccaccio, Lessing, Philostratus, Charcot, and others) to reveal the richness and depth of Dreyer's work--and the excitement that can accompany cinema studies when it opens itself up to other disciplines and media. Throughout, Schamus pays particular attention to Dreyer's lifelong obsession with the "real," developed through his practice of "textual realism," a realism grounded not in standard codes of verisimilitude but on the force of its rhetorical appeal to its written, documentary sources. As do so many of the heroines of Dreyer's other films, such as La Passion de Jeanne d'Arc (1928), Gertrud serves as a locus for Dreyer's twin fixations; written texts, and the heroines who both embody and free themselves from them. Dreyer based Gertrud not only on Hjalmar Soderberg's play of 1906, but also on his own extensive research into the life of the "real" Gertrud, Maria van Platen, whose own words Dreyer interpolated into the film. By using his film as a kind of return to the real woman beneath the text, Dreyer rehearsed another lifelong journey, back to the poor Swedish girl who gave birth to him out of wedlock and who gave him up for adoption to a Danish family, a mother whose existence Dreyer only discovered later in life, long after she had died. James Schamus is a professor in the School of Arts, Columbia University, and the CEO of Focus Features. His screenwriting and producing credits include The Ice Storm, Crouching Tiger, Hidden Dragon , and a number of other films from his long collaboration with Ang Lee. "James Schamus has great faith in the viewer's active role when facing a work of art. He pries open a single image of Carl Dreyer's Gertrud and, like a passionate explorer, leads us through a labyrinth of meanings. For him, this is a journey of discovery, and while guiding us he traces his own map to that most mythical treasure hidden in the depths of cinema: the mirror that reflects the self." - Alfonso Cuarón, director of Y Tu Mamá También "In this stunningly brilliant excursus of a single moment in Carl Theodor Dreyer's Gertrud, James Schamus has written a work of alchemical ekphrasis. Schamus has forged a new mode of film writing that should encourage scholars to emulate the depth and breadth of its investigation." - Anne Friedberg, University of Southern California "Schamus creates an intricate web of connections that sheds light especially on the conflicted relation of image and text in Dreyer's films." - Brigitte Peucker, Yale University "Lovers of cinema know Gertrud as a 'difficult' film, yet one that raises heated passions. To know why Gertrud is a film of passion is also to understand that what makes a great work of cinematic modernism is not always immediately visible. In this engaging and erudite book, James Schamus gives new and compelling reasons to love this often unloved film about the excesses and limits of love. Similar to T. J. Clark's compelling experiment in The Sight of Death, Schamus turns and returns to key moments of the film to unravel the myriad historical, philosophical, and aesthetic threads that design Dreyer's picture of modernism and the impossibility of love. Like Gertrud contemplating a tapestry and refinding a dream, Schamus leads us, in this beautifully written book, to recognize in an image a ciphered desire from which an entire story can unfold." - D. N. Rodowick, Harvard University "Gertrud, at once monumental and mysterious, finds its ideal critic in James Schamus. His brief, probing chapters illuminate the film from so many angles - Dreyer's life, the original play, the history of aesthetics, the institutions of cinema both then and now - that we return to this 'failed masterpiece' with new respect, even awe. Informed by deep research and shrewd looking and listening, this study offers something one seldom finds in modern film studies: tactful eloquence in the face of sheer, enigmatic beauty. Schamus scrutinizes the monument and celebrates the mystery." - David Bordwell, Jacques Ledoux Professor of Film Studies, University of Wisconsin-Madison

An evil man's appetite for hate dose not choose who he hates, all things and people fulfi l his hunger to do evil. While we go about debating what right or wrong, there are those who could care less about that debate and simply carry out evil for no cause other than they are evil. This book contains historical answers about a time only the Imperial Wizard of the KKK himself could answer. The letters Killen wrote to James Stern while they were incarcerated answers the long standing questions about Mississippi Burning that was turned into a movie based on a true case. WHO, WHAT, WHERE, WHY. This book covers from civil rights to modern day Gang wars, to fi nally disbanding the KKK.

City College of New York is perhaps the longest-running, radical social experiment in American history. For one hundred and fifty years, City has been the bellwether of this nation's effort to bring the urban poor into the middle class. And as generations of immigrant children passed beneath its arched gateway and emerged as scientists, scholars, and teachers, City more than justified America's liberal faith in the transformative power of education. But over the last few generations the dynamics and the demographics of urban poverty have changed; the barriers to assimilation have grown. City on a Hill spans these eras, telling the story of the college's difficult present against the backdrop of its fabled past. The juxtaposition forces a fundamental question: How much power do America's institutions have in the face of the cultural and economic forces that now perpetuate inner-city poverty?

This book defines law as applied politics and examines United States politics, a government created by Founders who did not believe political parties to be necessary. The book is a course whose lectures set out a jurisprudence applicable to civil and scientific as well as common law. The thesis of the course is that an understanding of the role of precedent in the common law explains both the human condition and what has happened to United States law since the decision in Brown v. Board of Education. The use of questions and dialog within the course involves the reader in the development of a jurisprudence grounded in a philosophy of law. About the Author: Jan Ginter Deutsch is the Walton Hale Hamilton Professor Emeritus of Law and Professorial Lecturer in Law at Yale Law School. His subjects are corporations and securities regulations. His books include The Law of Corporations: What Corporate Lawyers Do (with J. Bianco) and Selling the People's Cadillac: The Edsel and Corporate Responsibility. Professor Deutsch was educated at Yale (B.A., LL.B., and Ph.D. in Political Science) with an M.A. from Cambridge.

Tadeusz Kotarbinski is one of towering figures in contemporary Polish philosophy. He was a great thinker, a great teacher, a great organizer of philosophical and scientific life (he was, among others, the rector of the Uni versi ty of t6dz, the president of the Polish Academy of Sciences, and the president of the International Institute of Philosophy), and, last but not least, a great moral authority. He died at the age of 96 on October 3, 1981. Kotarbinski was active in almost all branches of philosophy. He made many significant contributions to logic, semantics, ontology, epistemology, history of philosophy, and ethics. He created a new field, namely praxiology. Thus, using an ancient distinction, he contributed to theoretical as well as practical philoso~hy. Kotarbinski regarded praxiology as his major philosophical "child". Doubtless, praxiology belongs to practical philosophy. This collection, howewer, is mainly devoted to Kotarbinski' s theoretical philosophy. Reism - Kotarbinski' s fundamental idea of ontology and semantics - is the central topic of most papers included here; even Pszczolowski' s essay on praxiology considers its ontological basis. ,Only two papers, namely that of Zarnecka-Bialy and that of Wolenski, are not linked with reism. However, both fall under the general label "Kotarbinski: logic, semantics and ontology". The collection partly consists of earlier published papers.

A true classic of the concert band repertoire, the upper-end transcription of this excerpt from Czech composer Jaromír Weinberger's folk opera Schwanda the Bagpiper has appeared on countless concert programs and contest lists for the past nine decades. At long last, this cheerful work is available in a solid scoring for younger players, expanding its appeal to many more ensembles and audiences. Arranged from the original orchestral score, all parameters of this level have been observed for ease of preparation. (2:00)

Book by Sherman, Jason

Hardcover reprint of the original 1923 edition; hardbound in brown cloth with gold stamped lettering, 8vo - 6x9''. This item is printed on demand as a collector quality facsimile, crafted to hold its own in a library of first editions. Book Information: Lovestone, Jay . Blood and Steel; An Exposure of the 12-Hour Day in the Steel Industry. Indiana: Repressed Publishing LLC, 2012. Original Publishing: Lovestone, Jay . Blood and Steel; An Exposure of the 12-Hour Day in the Steel Industry. New York, Workers Party Of America, 1923. Subject: Wages, Iron and steel workers, United States, Hours of labor, United States, Steel Strike, U.S., 1919-1920.

Centre and Periphery consists of ten essays in political geography by such distinguished contributors as Owen Lattimore, Paul Claval, Stein Rokkan and Jean Laponce. They apply the centre/periphery model to such topics as America′s place in the global system, regionalism in Italy, and the periphery as source of change. A substantial introduction and conclusion by Jean Gottmann provide a framework for these essays demonstrating the potential of the centre/periphery model for more fully integrating the political and geographical perspectives. ′The choice of centre and periphery as a theme around which to organize the papers is a happy one...All of these essays are preceded and followed by two thoughtful contributions by Professor Gottmann, who offers some challenging ideas concerning the nature of political geography and its relationship to politics.′ -- The Geographical Journal, Vol 148 (1982), Pt 1

Text: English, French (translation)

William C. Hackett's English translation of Jean Wahl's Existence humaine et transcendence (1944) brings back to life an all-but-forgotten book that provocatively explores the philosophical concept of transcendence. Based on what Emmanuel Levinas called "Wahl's famous lecture" from 1937, Existence humaine et transcendence captured a watershed moment of European philosophy. Included in the book are Wahl's remarkable original lecture and the debate that ensued, with significant contributions by Gabriel Marcel and Nicolai Berdyaev, as well as letters submitted on the occasion by Heidegger, Levinas, Jaspers, and other famous figures from that era. Concerned above all with the ineradicable felt value of human experience by which any philosophical thesis is measured, Wahl makes a daring clarification of the concept of transcendence and explores its repercussions through a masterly appeal to many (often surprising) places within the entire history of Western thought. Apart from its intrinsic philosophical significance as a discussion of the concepts of being, the absolute, and transcendence, Wahl's work is valuable insofar as it became a focal point for a great many other European intellectuals. Hackett has provided an annotated introduction to orient readers to this influential work of twentieth-century French philosophy and to one of its key figures.

"According to tradition, Moses wrote the first five books of the Bible. Depicted there in suprising and contradicting ways, and both for and against his people, bringer of the tablets of law which he then breaks. By way of a series of possible portraits-including one of a female Moses-Jean-Christophe Attias follows the metamorphoses of the Hebrew liberator through ages and cultures. Drawing on rabbinical sources as well as the Bible itself, he examines the words of the texts and especially their silences. He discovers here a fragile prophet, teacher of a Judaism of the spirit, of wandering, and of incompleteness. The Judaism of Moses speaks to believers and others-to Jews, of course, but also far beyond them, inviting its hearers to have done with tribal pride, the violence of weapons, and the tyranny of a special place"--