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Drawn by visions of glory on the battlefield, Henry Fleming joins the Union Army to fight the Confederates. But his dreams of valor are outweighed by his fear, and after one battle, Harry runs away. As he runs, he meets several wounded men whose \"red badges of courage\" make him even more ashamed of his cowardice. Henry returns to the front line and, inspired by the men who sacrificed their limbs and lives, fights with a passion he never knew he had. This is an unabridged version of the classic Civil War novel by American author Stephen Crane, first published in 1895.

How science fiction films in the 1950s were marketed and helped create the broader genre itself. For Hollywood, the golden age of science fiction was also an age of anxiety. Amid rising competition, fluid audience habits, and increasing government regulation, studios of the 1950s struggled to make and sell the kinds of films that once were surefire winners. These conditions, the leading media scholar J. P. Telotte argues, catalyzed the incredible rise of science fiction. Though science fiction films had existed since the earliest days of cinema, the SF genre as a whole continued to resist easy definition through the 1950s. In grappling with this developing genre, the industry began to consider new marketing approaches that viewed films as fluid texts and audiences as ever-changing. Drawing on trade reports, film reviews, pressbooks, trailers, and other archival materials, Selling Science Fiction Cinema reconstructs studio efforts to market a promising new genre and, in the process, shows how salesmanship influenced what that genre would become. Telotte uses such films as The Thing from Another World , Forbidden Planet , and The Blob , as well as the influx of Japanese monster movies, to explore the shifting ways in which the industry reframed the SF genre to market to no-longer static audience expectations. Science fiction transformed the way Hollywood does business, just as Hollywood transformed the meaning of science fiction.

A concise and timely account of Hitler's—and fascism's—rise to power and ultimate defeat, from one of America's most famous journalists.   American journalist and author William L. Shirer was a correspondent for six years in Nazi Germany—and had a front-row seat to Hitler's mounting influence. His most definitive work on the subject, The Rise and Fall of the Third Reich, is a riveting account defined by first-person experience interviewing Hitler, watching his impassioned speeches, and living in a country transformed by war and dictatorship.   Shirer was originally commissioned to write The Rise and Fall of Adolf Hitler for a young adult audience. This account loses none of the immediacy of The Rise and Fall of the Third Reich—capturing Hitler's ascendence from obscurity, the horror of Nazi Germany's mass killings, and the paranoia and insanity that marked the führer's downfall. This book is by no means simplified—and is sure to appeal to adults as well as young people with an interest in World War II history.   \"For nearly 100 years William L Shirer has spoken to us of fascism, Nazis, and Hitler . . . [He] tells the unvarnished truth as he experienced it . . . I figured this school-type book wasn't going to tell me anything new. But when I started reading, I realized that I wasn't reading for the facts anymore. I listened to his story and heard the urgency in his voice: a voice from nearly 60 years ago telling us the truth about today.\" — Daily Kos

First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company. Lydia Kokkola is a Collegium Researcher at the Turku Institute for Advanced Studies(TIAS) University of Turku, Finland. She is also Adjunct Professor of Children's Literature in English at Åbo Akademi University, Finland. \"Kokkola is committed to ethical criticism. She asks repeatedly how literature affects children’s thinking and beliefs about the Holocaust and fascism. This is a welcome approach, which is at its best, in my view...when it urges us to think seriously about the profound impact that literature can have on young readers...Kokkola combines theory and criticism of children’s literature with Holocaust studies in productive and knowledgeable ways.\" -- The Lion and the Unicorn \" Lydia Kokkola's study...is keenly narratological, and she often draws on formalist and structuralist approaches as she explicates texts. Like many before her, she is concerned with narratives that simultaneously reveal and conceal as they deal with horrific events, but the kinds of questions she asks focus specifically on how information can be withheld of divulged...Kokkola's approach also brings new dimensions to previous discussions of children's literature and the Holocaust.\" -- Prooftexts: A Journal of Jewish Literary History

A fantastic retelling of the ancient Greek epic 'The Odyssey' for a young audience, written by English classical scholar Alfred John Church.

Looking back, the moral panic that precipitated the decimation of horror comics in the 1950s seems quaint, yet concerns about the psychological impact of violent media on consumers have never disappeared. In this article, I outline a particular type of psychological impact we ought to take seriously when evaluating the moral status of entertainment. I then consider (a) ways in which comics seem immune from claims that they create this kind of impact for their readers, as well as (b) ways in which we might think that comics generate special instances of moral danger for readers.

\"Music never stopped a war or put an end to greed or the hunger for power. But it was never supposed to. It has no reason, just as life has no reason. It just is. And what it is is the best that we can hope to be.\" Music is the talent - and the curse - that spans three generations to link Alex Rivera with the secrets of his family's past. Plucked from obsurity and thrown together with four other musical \"prodigies\", Alex rides the power of his music to fame and fortune as the lead-guitarist for Asturias, the latest creation of the music industry machine. But will the forces of commercialism and the stresses of fame destroy them, just as a bloody civil war tore apart another group of young idealists six decades earlier? How could anything go wrong? Everything's on track. You're on top of the world. Which is great. As long as you don't look down ...

The sesquicentennial of the Civil War and Reconstruction invites reflection on the broad meaning of American democracy, including the ideals of freedom, equality, racial justice, and selfdetermination. In We Ask Only for EvenHanded Justice, John David Smith brings together a wealth of primary texts—editorials, letters, newspaper articles, and personal testimonies—to illuminate the experience of emancipation for the millions of African Americans enmeshed in the transition from chattel slavery to freedom from 1865 to 1877. The years following Appomattox offered the freed people numerous opportunities and challenges. Exslaves reconnected with relatives dispersed by the domestic slave trade and the vicissitudes of civil war. They sought their own farms and homesteads, education for their children, and legal protection from whites hostile to their new status. They negotiated labor contracts, established local communities, and, following the 1867 Reconstruction Acts, entered local, state, and national politics. Though aided by Freedmen’s Bureau agents and sympathetic whites, former slaves nevertheless faced daunting odds. Ku Klux Klansmen and others terrorized blacks who asserted themselves, many northerners lost interest in their plight, and federal officials gradually left them to their own resources. As a result, former Confederates regained control of the southern state governments following the 1876 presidential election. We Ask Only for EvenHanded Justice is a substantially revised and expanded edition of a book originally published under the title Black Voices from Reconstruction, 1865–1877.

Back by popular demand, for a second magical West End season, this intimate show is set in a library full of books that hold more than stories within their pages. It is a tale of the power of books, and the bravery of a young boy called Tomas. Tomas loves playing in the mountains where he lives and hates reading and school, but his world is turned upside down the day he meets the Unicorn Lady in his local library... An enchanting and interactive show, I Believe in Unicorns sparks the imagination of both young and old. You too will believe in unicorns after joining Tomas's spellbinding journey!Suitable for a family audience and children aged 6+

Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.