Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
40
result(s) for
"Human behavior Juvenile fiction"
Sort by:
Grow up, David!
David follows his older brother around, annoying him and doing everything he can to make sure his brother notices him--but when David gets hurt playing, his brother is there to make sure he is okay.
Book
Stockholm Noir: Neoliberalism and Gangsterism in Easy Money
Every man is enemy to every man.Thomas Hobbes Leviathan (1651/2004, p. 77)Adios losers.Jorge in Jens Lapidus's Easy Money (Snabba cash, 2006/2008, p. 467)Young punks go from rags to riches, enjoy a brief time in the sun before their downfall in a hail storm of bullets. So goes the classical dark tale of gangsters such as Rico in Little Caesar (novel 1929, film 1931). The American motion picture code's specification that there should be no sympathy for the criminals suggested that there was a dangerous aspect in the attraction to these films (Black 1994: 108). It could very well be that the Motion Picture Producers and Distributors of America (MPPDA) president Will H. Hayes was averse from seeing the harsh social realities of the 1930s Depression depicted on the screen, including a corrupt legal system, but a danger of the gangster film was also its disturbing allegory on the daring entrepreneur that capitalism held up as a social ideal.In essence, the gangster story is a warped Horatio Alger tale. Carl Freedman notes in his book Versions of Hollywood Crime Cinema (2013: 15–45) that it connects to the mystery of the origins of capitalism in what Karl Marx called ‘primitive accumulation’, the consciously repressed history about how common lands and natural resources were privatised and how companies, backed up by national armed forces, plundered non-European continents of their riches. The greedy and ruthless gangster's rise to social success is but a small-scale reflection of the genocides and the violent redistribution of wealth that gave birth to modern-day capitalism.Gangsterism is also the ultimate expression of what the German sociologist Ferdinand Tonnies called Gesellschaft. While his other key concept Gemeinschaft describes the ‘natural’ personal relations and values often found in rural communities, Gesellschaft stands for the ‘constructed’ impersonal relations through business and formal interaction that characterise life in the urban capitalist era (Asplund 1991: 63–90). As national identity became a central issue in twentieth-century Europe – Fascism being the most extreme ideological project – gangsters and other social, legal and moral transgressors were often defined in popular culture as an alien intrusion of an otherwise idyllic Gemeinschaft.
Book Chapter
Fake out
Nine-year-old Ben and other members of the Bobcats co-ed soccer team improve their skills and begin to win, especially after Ben learns the importance of concentration from his older brother and finally masters the fake out.
Book
Outlaws Without a Cause: Generational Conflict in Budd Boetticher's Ranown Cycle
Generational issues were nothing new to the Western in the late 1950s. In fact, the post-World War II Western appeared to thrive on questions of generational difference. Howard Hawks's Red River (1948), presented the aging Thomas Dunson (John Wayne) as violent, tyrannical, and irrational, while his adopted son Matthew Garth (Montgomery Clift, one of the first Method actors to make the transition to Hollywood) demonstrated a measured and logical approach to leadership. Other major postwar Westerns frequently sided with youthful alternatives when presented with generational conflict. In John Ford's The Searchers (1956), Ethan Edwards (John Wayne) stands in for an aging and broken masculinity shot through with racism while Martin Pawley (Jeffrey Hunter)—in Edwards's mind a “half-breed”—embodies a younger and more sympathetic brand of multiracial masculinity. In many of Anthony Mann's 1950s Westerns, the conflicts are more familial, with strong Freudian overtones. Featuring brothers fighting brothers, in Winchester –73 (1950), and twisted relationships between both biological and adoptive parents and children—The Furies (1950), The Man from Laramie (1955), and Man of the West (1958)—Mann's films present a postwar world where parents such as Dock Tobin (of Man of the West) are the primary corrupting forces in the social and political landscape.The prevalence of heroic youngsters and broken, if not monstrous, father figures in these Westerns is curious in light of common assumptions about the genre's conservatism. It is doubly interesting in a period during which the Western redoubled its efforts to appeal to an adult audience that had followed the genre as children in 1930s B pictures. These heroic Western youths also stand out in light of the growth of films in the 1950s dealing with juvenile delinquency. After the release of Laslo Benedek's The Wild One (1953), starring celebrated young stage actor Marlon Brando, fresh from a successful film adaptation of Tennessee Williams's A Streetcar Named Desire (Elia Kazan, 1951), Hollywood studios began to capitalize on larger cultural fears of generational conflict, from the biker gangs of Benedek's film to the high school gangs in Richard Brooks's Blackboard Jungle (1955) and the confused and anxious characters of Nicholas Ray's Rebel Without a Cause (1955). Featuring troubled and inexplicable teenagers, these films presented the younger generation posing dangerous threats to existing social order.
Book Chapter
Confessions of a former bully
Nine-year-old Katie's punishment for bullying classmates includes making up for the hurt she has caused, and so she decides to write a book about bullying, why it is not okay, and how to start being a better friend.
Book
The Show of Violence
In may 1955 the american civil liberties union weighed in on the continuing debate over juvenile delinquency in American society. The group warned members of the U.S. Senate that while the problem of youth crime was indeed “alarming,” the growing demand for comic book censorship posed an even greater danger to the nation. As long as it could not be shown that the circulation of comic books created a clear and present danger to America’s youth, the risk that they might negatively influence some children had to be tolerated, for “risk is an indelible mark of democracy and a society
Book Chapter
Mr. Forgetful
Mr. Forgetful can't remember anything, but since he can't remember what he forgot, he leads a happy life!
Book
Children and the Violence of Racism
In the spring of 1946 theNew York Amsterdam Newsran a series of articles examining the nature of mental health services for African Americans in New York City. Its findings were damning. The articles highlighted discrimination against blacks at the hospital and outpatient clinic of the state-funded Psychiatric Institute, at the Mental Hygiene Clinic at Bellevue Hospital, and in the treatment of chronic alcoholics at city facilities. The final article in the series lambasted the disproportionate placement of black children in “retarded classes” by the Bureau of Children of Retarded Mental Development.¹ The April 27 lead editorial announced the
Book Chapter
Active Readership
This chapter explores information issues related to the practice of reading. More specifically, the focus is on comics, detailing the transition of the comics reader from the passive consumer to an active participant in shaping both the future of the medium and a participatory reading culture.
The patterns of readership of comics in America since the end of the nineteenth century form a richly textured tapestry. In his bookComic Book Nation: The Transformation of Youth Culture in America,Brad Wright explains: “Few enduring expressions of American popular culture are so instantly recognizable and still so poorly understood as comic
Book Chapter