But only in the beginning. After the opening act of the great national drama, Native Americans yielded to the westward rush of European settlers.Or so the story usually goes. Yet, for three centuries after Columbus, Native people controlled most of eastern North America and profoundly shaped its destiny. In Facing East from Indian Country, Daniel K. Richter keeps Native people center-stage throughout the story of the origins of the United States.Viewed from Indian country, the sixteenth century was an era in which Native people discovered Europeans and struggled to make sense of a new world. Well into the seventeenth century, the most profound challenges to Indian life came less from the arrival of a relative handful of European colonists than from the biological, economic, and environmental forces the newcomers unleashed. Drawing upon their own traditions, Indian communities reinvented themselves and carved out a place in a world dominated by transatlantic European empires. In 1776, however, when some of Britain's colonists rebelled against that imperial world, they overturned the system that had made Euro-American and Native coexistence possible. Eastern North America only ceased to be an Indian country because the revolutionaries denied the continent's first peoples a place in the nation they were creating.In rediscovering early America as Indian country, Richter employs the historian's craft to challenge cherished assumptions about times and places we thought we knew well, revealing Native American experiences at the core of the nation's birth and identity.

    Through the remains of funerary rituals we learn not only about prehistoric people's attitudes toward death and the afterlife but also about their culture, social system, and world view. This ambitious book reviews the latest research in this huge and important field and describes the sometimes controversial interpretations that have led to our understanding of life and death in the distant past.Mike Parker Pearson draws on case studies from different periods and locations throughout the world—the Paleolithic in Europe and the Near East, the Mesolithic in northern Europe, and the Iron Age in Asia and Europe. He also uses evidence from precontact North America, ancient Egypt, and Madagascar, as well as from the Neolithic and Bronze Age in Britain and Europe, to reconstruct vivid pictures of both ancient and not so ancient funerary rituals. He describes the political and ethical controversies surrounding human remains and the problems of reburial, looting, and war crimes.The Archaeology of Death and Burial provides a unique overview and synthesis of one of the most revealing fields of research into the past, which creates a context for several of archaeology's most breathtaking discoveries—from Tutankhamen to the Ice Man. This volume will find an avid audience among archaeologists, anthropologists, historians, and others who have a professional interest in, or general curiosity about, death and burial.

    This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding. Essential, and still eye-opening, Orientalism remains one of the most important books written about our divided world.

    Embraced as a cultural touchstone, the 1993 film would also make Matthew McConaughey’s famous phrase—alright, alright, alright—ubiquitous. But it started with a simple idea: Linklater thought people might like to watch a movie about high school kids just hanging out and listening to music on the last day of school in 1976.    To some, that might not even sound like a movie. But to a few studio executives, it sounded enough like the next American Graffiti to justify the risk. Dazed and Confused underperformed at the box office and seemed destined to disappear. Then something weird happened: Linklater turned out to be right. This wasn’t the kind of movie everybody liked, but it was the kind of movie certain people loved, with an intensity that felt personal. No matter what their high school experience was like, they thought Dazed and Confused was about them.Alright, Alright, Alright is the story of how this iconic film came together and why it worked. Combining behind-the-scenes photos and insights from nearly the entire cast, including Matthew McConaughey, Parker Posey, Ben Affleck, Joey Lauren Adams, and many others, and with full access to Linklater’s Dazed archives, it offers an inside look at how a budding filmmaker and a cast of newcomers made a period piece that would feel timeless for decades to come.

    In How to Write a Selling Screenplay, he takes writers through the entire process, from developing a story to finding the best agent. Using an annotated version of an often-optioned screenplay of his own, and citing examples from movies ranging from Casablanca and Lethal Weapon to Sling Blade and The English Patient, he discusses how to create three-dimensional characters, find a compelling story, build an airtight plot structure, fine-tune dialogue, and much more. Keane's tips on the difference between writing for film and television, as well as his advice on dealing with Hollywood movers and shakers, make this an essential companion for people writing their first--or their fortieth--screenplay.

    She illuminates the social lives of the people who produce coffee, and those who process, distribute, market, and consume it. The Gimi peoples, who grow coffee in Papua New Guinea's highlands, are eager to expand their business and social relationships with the buyers who come to their highland villages, as well as with the people working in Goroka, where much of Papua New Guinea's coffee is processed; at the port of Lae, where it is exported; and in Hamburg, Sydney, and London, where it is distributed and consumed. This rich social world is disrupted by neoliberal development strategies, which impose prescriptive regimes of governmentality that are often at odds with Melanesian ways of being in, and relating to, the world. The Gimi are misrepresented in the specialty coffee market, which relies on images of primitivity and poverty to sell coffee. By implying that the "backwardness" of Papua New Guineans impedes economic development, these images obscure the structural relations and global political economy that actually cause poverty in Papua New Guinea.

    As she chronicles the clash of social movements, ideas, and armies that have played a part in this struggle, Ishay illustrates how the history of human rights has evolved from one era to the next through texts, cultural traditions, and creative expression. Writing with verve and extraordinary range, she develops a framework for understanding contemporary issues from the debate over globalization to the intervention in Kosovo to the climate for human rights after September 11, 2001. The only comprehensive history of human rights available, the book will be essential reading for anyone concerned with humankind's quest for justice and dignity.Ishay structures her chapters around six core questions that have shaped human rights debate and scholarship: What are the origins of human rights? Why did the European vision of human rights triumph over those of other civilizations? Has socialism made a lasting contribution to the legacy of human rights? Are human rights universal or culturally bound? Must human rights be sacrificed to the demands of national security? Is globalization eroding or advancing human rights? As she explores these questions, Ishay also incorporates notable documents—writings, speeches, and political statements—from activists, writers, and thinkers throughout history.

    Taking the guesswork out of saving and finding money for college, this is a practical and insightful must-have guide for every parent.

    Now, James Monaco offers a revised and rewritten third edition incorporating every major aspect of this dynamic medium right up to the present.Looking at film from many vantage points, How to Read a Film: Movies, Media, Multimedia explores the medium as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to such other narrative media as the novel, painting, photography, television, and even music, Monaco discusses those elements necessary to understand how films convey meaning and, more importantly, how we can best discern all that a film is attempting to communicate.In a key departure from the book's previous editions, the new and still-evolving digital context of film is now emphasized throughout How to Read a Film. A new chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film. Monaco has likewise doubled the size and scope of his Film and Media: A Chronology appendix. The book also features a new introduction, an expanded bibliography, and hundreds of illustrative black-and-white film stills and diagrams. It is a must for all film students, media buffs, and movie fans.

    Through an insightful study of Romantic poets, Bloom puts forth his central vision of the relations between precursors and the individual artist. His argument that all literary texts are a strong misreading of those that precede them had an enormous impact on the practice of criticism and post-structuralist literary theory. The book remains a central work of criticism for all students of literature.Written in a moving personal style, anchored by concrete examples, and memorable quotations, this second edition of Bloom's classic work maintains that the anxiety of influence cannot be evaded - neither by poets nor by responsible readers and critics. A new introduction, centering upon Shakespeare and Marlowe explains the genesis of Bloom's thinking, and the subsequent influence of the book on literary criticism of the past quarter of a century.

    Indeed it was with a Salon review that he made his literary debut: and it is significant that even at this early stage - in 1845 - he was already articulating the need for a painter who could depict the heroism of modern life. This he was to find in Constantin Guys, whom he later celebrated in the famous essay which provides the title-piece for this collection. Other material in this volume includes important and extended studies of three of Baudelaire's contemporary heroes - Delacroix, Poe and Wagner - and some more general articles, such as those on the theory and practice of caricature, and on what Baudelaire, with intentional scorn, called philosophic art. This last article develops views only touched on in Baudelaire's other writings. This volume is extensively illustrated with reproductions of works referred to in the text and otherwise relevant to it. It provides a survey of some of the most important ideas and individuals in the critical world of the great poet who has been called the father of modern art criticism.

    Stanislavski's simple exercises fire the imagination, and help readers not only discover their own conception of reality but how to reproduce it as well.

    This revised and enlarged edition of the leading anthology provides the essential writings of Marx and Engels--those works necessary for an introduction to Marxist thought and ideology.

    Drawing on a broad range of disciplines, including history, literature, and philosophy—as well as the author's own experience of life on three continents—Cosmopolitanism is a moral manifesto for a planet we share with more than six billion strangers.

    Mike Davis shows us where the city's money comes from and who controls it while also exposing the brutal ongoing struggle between L.A.'s haves and have-nots.