Astonishing in the sheer detail it amasses, the book is the first comprehensive attempt to catalogue and analyze the crimes of Communism over seventy years.Revolutions, like trees, must be judged by their fruit, Ignazio Silone wrote, and this is the standard the authors apply to the Communist experience--in the China of the Great Helmsman, Kim Il Sung's Korea, Vietnam under Uncle Ho and Cuba under Castro, Ethiopia under Mengistu, Angola under Neto, and Afghanistan under Najibullah. The authors, all distinguished scholars based in Europe, document Communist crimes against humanity, but also crimes against national and universal culture, from Stalin's destruction of hundreds of churches in Moscow to Ceausescu's leveling of the historic heart of Bucharest to the widescale devastation visited on Chinese culture by Mao's Red Guards.As the death toll mounts--as many as 25 million in the former Soviet Union, 65 million in China, 1.7 million in Cambodia, and on and on--the authors systematically show how and why, wherever the millenarian ideology of Communism was established, it quickly led to crime, terror, and repression. An extraordinary accounting, this book amply documents the unparalleled position and significance of Communism in the hierarchy of violence that is the history of the twentieth century.

    However, arguably it was not always the case that they were distinct. The author takes the view that by reconsidering the generally received wisdom concerning the history of these closely-related subjects, we can learn a great deal about both philosophy and psychotherapy, under which heading he includes potentially solitary pursuits such as "self-help" and "personal development."

    . . [together] why media audiences have fled and why new technology and megacorporate ownership are putting good journalism at risk.” —Rasmi Simhan, Boston Globe“Kovach and Rosenstiel’s essays on each [element] are concise gems, filled with insights worthy of becoming axiomatic. . . . The book should become essential reading for journalism professionals and students and for the citizens they aim to serve.” —Carl Sessions Stepp, American Journalism Review“If you think journalists have no idea what you want . . . here is a book that agrees with you. Better—it has solutions. The Elements of Journalism is written for journalists, but any citizen who wonders why the news seems trivial or uninspiring should read it.” —Marta Salij, Detroit Free PressThe elements of journalism are:* Journalism’s first obligation is to the truth.* Its first loyalty is to citizens.* Its essence is a discipline of verification.* Its practitioners must maintain an independence from those they cover.* It must serve as an independent monitor of power.* It must provide a forum for public criticism and compromise.* It must strive to make the significant interesting and relevant.* It must keep the news comprehensive and proportional.* Its practitioners must be allowed to exercise their personal conscience.

    The book has two main sections with the first having the quotes divided by their topic such as Love, Happiness, Anger, etc. The second part of the book has specific quotes from Buddha, Gandhi, Mother Teresa, the Dalai Lama, Lao Tzu and Zen Quotations.

     Introduces issues of diversity as represented within the American cinema in a lively and accessible manner. Provides a comprehensive overview of the industrial, socio-cultural, and aesthetic factors that contribute to cinematic representations of race, class, gender, and sexuality. Is designed specifically for students and includes 101 illustrations, a glossary of key terms, questions for discussion, and lists for futher reading and further viewing. Includes case studies of a number of films, including The Lion King, The Jazz Singer, Smoke Signals, The Grapes of Wrath, and The Celluloid Closet. Each chapter features a concise overview of the topic at hand, a discussion of representative films, figures, and movements, and an in-depth analysis of a single film.

    Find out what you truly believe. Get away from the familiar." This collection of essays stems directly from that philosophy. Here is far-flung travel (the beauty of remote Hokkaido Island, the over-explored Galápagos, enigmatic Bonaire); a naturalist's concerns (for endangered communities as well as their land) and pure adventure. Here, too, are seven exquisite memory pieces; beautiful, meditative recollections that will stand as classic examples of the personal essay.

    At a glance, it bears few similarities to any place we know and inhabit. But upon closer examination, the differences between this complex virtual reality and our own might not be as vast as we think. In “How You Play the Game,” author and philosopher Charlie Huenemann looks philosophically at the game of Minecraft (“What is the point of this game? How does one win? Well, this depends on what you want to do”) and grapples with the ethical conundrums, existential crises and moral responsibilities of the virtual realm. From the Overworld to the Ender Dragon, Huenemann offers an entertaining, insightful and often hilarious examination of Minecraft and the strange worlds—both virtual and not—surrounding it.Charlie Huenemann is a Professor of Philosophy at Utah State University. He writes for 3quarksdaily, and has published several books on the history of philosophy.Cover design by Adil Dara.

    It is a collection of essays by one of Canada's greatest historians, on a subject that opened broad new avenues of thought on the role of media in the creation of history. Marshall McLuhan, deeply influenced by these essays, led North America to a new awareness of the role of media in contemporary culture. The works of Harold Innis are seminal in the study of Canadian history; the essays in this volume continue to generate intense dabate among historians, communications scholars, and media theorists.

    Taking a critical perspective on the economics and politics of "presenting" the news, this topical supplement argues that the media systematically distorts news coverage.

    J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distill our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? What's high, what's low? Why do such distinctions matter? Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, Simon Frith takes these forms of engagement as his subject--and discloses their place at the very center of the aesthetics that structure our culture and color our lives.Taking up hundreds of songs and writers, Frith insists on acts of evaluation of popular music as music. Ranging through and beyond the twentieth century, Performing Rites puts the Pet Shop Boys and Puccini, rhythm and lyric, voice and technology, into a dialogue about the undeniable impact of popular aesthetics on our lives. How we nod our heads or tap our feet, grin or grimace or flip the dial; how we determine what's sublime and what's "for real"--these are part of the way we construct our social identities, and an essential response to the performance of all music. Frith argues that listening itself is a performance, both social gesture and bodily response. From how they are made to how they are received, popular songs appear here as not only meriting aesthetic judgments but also demanding them, and shaping our understanding of what all music means.

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    Moving smoothly between moral philosophy and social theory, Honneth offers insights into such issues as the social forms of recognition and nonrecognition, the moral basis of interaction in human conflicts, the relation between the recognition model and conceptions of modernity, the normative basis of social theory, and the possibility of mediating between Hegel and Kant.

    In powerful poetic prose, Megre describes their ancient way of life, grounded in love and non-violence, and shows the potential for this same approach to life today. Through one family s story, he portrays the radiant world of the ancient Russian Vedic civilization, the drama of its destruction, and its rebirth in our present time.

    Leading political writer and broadcaster Richard Seymour, author of Corbyn: The Strange Rebirth of Radical Politics argues that this is a chilling metaphor for our relationship with social media.Former social media executives tell us that the system is an addiction-machine. We are users, waiting for our next hit as we like, comment and share. We write to the machine as individuals, but it responds by aggregating our fantasies, desires and frailties into data, and returning them to us as a commodity experience.Through journalism, psychoanalytic reflection and insights from users, developers, security experts and others, Seymour probes the human side of the machine, asking what we’re getting out of it, and what we’re getting into.

    An incisive observer, writer, and participant in today’s social movements, Zeynep Tufekci explains in this accessible and compelling book the nuanced trajectories of modern protests—how they form, how they operate differently from past protests, and why they have difficulty persisting in their long-term quests for change.   Tufekci speaks from direct experience, combining on-the-ground interviews with insightful analysis. She describes how the internet helped the Zapatista uprisings in Mexico, the necessity of remote Twitter users to organize medical supplies during Arab Spring, the refusal to use bullhorns in the Occupy Movement that started in New York, and the empowering effect of tear gas in Istanbul’s Gezi Park. These details from life inside social movements complete a moving investigation of authority, technology, and culture—and offer essential insights into the future of governance.From New York Times opinion columnist Zeynep Tufekci, an firsthand account and incisive analysis of the role of social media in modern protest“[Tufekci’s] personal experience in the squares and streets, melded with her scholarly insights on technology and communication platforms, makes [this] such an unusual and illuminating work.”—Carlos Lozada, Washington Post “Twitter and Tear Gas is packed with evidence on how social media has changed social movements, based on rigorous research and placed in historical context.”—Hannah Kuchler, Financial Times