She never overcame her humble beginnings and when Willie Eubanks rescued her from the orphanage by marrying her, she ended up right back where she started. Living in the same cabin, she was born in twelve and a half years earlier. However, she grew to love Willie and was determined that she and Willie were not going to end up as her parents had. In addition, she wanted to make sure her children were not going to have to suffer through the same experiences she had.

    

    When Esme learns she is adopted—from a working class family—she cannot allow Richard to marry so far beneath his station. Fleeing the life she knew, Esme finds work as a "decoy woman," testing British undercover operatives who may otherwise reveal secrets. But she still loves Richard—is she brave enough to go back to him and reveal the truth of her birth? A captivating World War II saga for fans of Rosie Archer and Annie Murray.

    This best-selling title, designed to be either the primary anthology or textbook for the course, covers the Civil War's entire chronological span with a series of documents and essays.

    Key theories are integrated with biographical sketches of theorists, placing readings in context and helping students understand the original works of classical authors as well as compare and contrast their theories.

    It was to be their first major war since Waterloo. Having already won international wars with Denmark and France, Britain was ready. Or so they thought … For the first time in history, the British Expeditionary Force set out to cross the Channel under the air cover. With aviation still in its infancy when the war began, with it only being five years since the first flimsy French aeroplane cross the Channel at 45 mph, the air cover provided was rather primitive. Up above the mud-soaked soldiers who fought over the devastated, trench-scarred landscape that was northern France, a new kind of war was being born. Flimsy biplanes and triplanes wheeled and spun, engines roaring, wires screaming and guns chattering. In the skies above the poppy-fields, men became aces and were cut down in their prime: Albert Ball, Jean Navarre. Max Immelmann and Manfred von Richtofen, the ‘Red Baron’. They were the legendary heroes of a whole new age. Alexander McKee was selling aviation articles to flying magazines by the age of eighteen. During the Second World War he wrote for a succession of army newspapers and later became a writer/producer for the British Forces Network. Since 1956 he has been researching and writing books on all branches of naval, military and aviation history. He instigated the excavation of the Tudor ship Mary Rose in the seabed off Portsmouth, which he describes in King Henry VIII’s Mary Rose. In all he has written nineteen books, two of his most recent successes being the books Into the Blue and Dresden 1945. Endeavour Press is the UK's leading independent digital publisher. For more information on our titles please sign up to our newsletter at www.endeavourpress.com. Each week you will receive updates on free and discounted ebooks. Follow us on Twitter: @EndeavourPress and on Facebook via http://on.fb.me/1HweQV7. We are always interested in hearing from our readers. Endeavour Press believes that the future is now.

    From The Cabinet of Dr. Caligari onwards the principal films of this period were characterized by two influences: literary Expressionism, and the innovations of the theatre directors of this period, in particular Max Reinhardt. This book demonstrates the connection between German Romanticism and the cinema through Expressionist writings. It discusses the influence of the theatre: the handling of crowds; the use of different levels, and of selective lighting on a predominately dark stage; the reliance on formalized gesture; the innovation of the intimate theatre. Against this background the principal films of the period are examined in detail. The author explains the key critical concepts of the time, and surveys not only the work of the great directors, such as Fritz Lang and F. W. Murnau, but also the contribution of their writers, cameramen, and designers. As The Times Literary Supplement wrote, 'Mme. Eisner is first and foremost a film critic, and one of the best in the world. She has all the necessary gifts.' And it described the original French edition of this book as 'one of the very few classics of writing on the film and arguably the best book on the cinema yet written.'

    In this companion volume to The Holocaust: An Introduction, you will go through a detailed account of the camp, its methods of killing and cruelty, and more. Buy your copy today to become educated in both the far reaches of evil in those responsible and the heights of bravery in those that survived. Here's a Preview of What You Will Learn * Origins of Auschwitz * Witold Pilecki * Auschwitz I * Auschwitz-Birkenau * First-hand accounts from the camps DOWNLOAD YOUR COPY TODAY

    He renounced violence when he left the June 2nd Movement in 1972.Security police seized the original German edition, Wie Alles Anfing, when it appeared in 1975. The resulting trial and publicity raised an international outcry and the book ended up being republished in German and translated into six languages.In an age when public protests—against corporate greed, against free trade agreements, and for social justice—are becoming more frequent and more violent, How It All Began provides a fascinating glimpse into the thinking behind urban struggle, and the consequences of action.As Baumann himself said, "Violence is a perfectly adequate means, I never had any hangups about it."The first English version of How It All Began was published by Arsenal in 1977 and updated in 1981. Long out of print, it has been re-issued, making it available to readers once again.Bommi Baumann was a leading member of the June 2nd Movement, one of the most active urban guerrilla groups in West Berlin. From a low-income, unstable family background, Baumann left the movement and the urban guerrilla struggle in 1972 and went underground to write this book. He was arrested in London in 1981 and there has been no word from him since.

    Previously, writing had operated by way of symbolic mediation—all data had to pass through the needle's eye of the written signifier—but phonography, photography, and cinematography stored physical effects of the real in the shape of sound waves and light. The entire question of referentiality had to be recast in light of these new media technologies; in addition, the use of the typewriter changed the perception of writing from that of a unique expression of a literate individual to that of a sequence of naked material signifiers.Part technological history of the emergent new media in the late nineteenth century, part theoretical discussion of the responses to these media—including texts by Rilke, Kafka, and Heidegger, as well as elaborations by Edison, Bell, Turing, and other innovators—Gramophone, Film, Typewriter analyzes this momentous shift using insights from the work of Foucault, Lacan, and McLuhan. Fusing discourse analysis, structuralist psychoanalysis, and media theory, the author adds a vital historical dimension to the current debates over the relationship between electronic literacy and poststructuralism, and the extent to which we are constituted by our technologies. The book ties the establishment of new discursive practices to the introduction of new media technologies, and it shows how both determine the ways in which psychoanalysis conceives of the psychic apparatus in terms of information machines.Gramophone, Film, Typewriter is, among other things, a continuation as well as a detailed elaboration of the second part of the author's Discourse Networks, 1800/1900 (Stanford, 1990). As such, it bridges the gap between Kittler's discourse analysis of the 1980's and his increasingly computer-oriented work of the 1990's.