In Fabulae, Joy Katz interrogates the physical world, constructing a sensual and striking autobiography. She turns to the familiarity and strangeness of the female body, its surfaces and inner workings, often, although her subjects range from Thomas Jefferson to an Adam and Eve plagued with obsessive-compulsive disorder to the streets of New York’s diamond district. The poems, by turns funny and philosophical, point to how we suffer from desire: the danger, she writes, is that we might love the world “like heaven and be lost.” But they come back to delight in a flawed world especially the palpable beauty of words, and even the erotic shapes of the letterforms that make them up.

John W. Cones, whose real goal is to stimulate a long-term film industry reform movement, shows how the financial control of the film industry in the hands of the major studios and distributors actually translates into creative control of the industry.

Cones discusses the pros and cons of the debate relating to the industry’s so-called net profit problem and the way in which the distribution deal plays an integral part in that problem. He then breaks down five major film finance/distribution scenarios, explaining various distribution deals and suggesting ways of negotiating distribution.

Critically examining the specific terms of the distribution deal itself, Cones covers gross receipts exclusions, distributor fees, and distribution expenses. He also investigates the various forms of interest, issues of production costs, matters of creative control, and general contractual provisions.

For handy reference, Cones includes an extensive checklist for negotiating any feature film distribution deal. The list deals with distribution fees, distribution expenses, interest, production costs, creative control issues, general contractual provisions, distributor commitments, and the limits of negotiating. His nine appendixes present a "Motion Picture Industry Overview," "Profit Participation Audit Firms," "ADI (Top 50) Market Rankings," an "AFMA Member List, 1992–1993," a "Production-Financing/Distribution Agreement," a "Negative Pickup Distribution Agreement," a "Distribution Rights Acquisition Agreement," a "Distribution Agreement (Rent-a-Distributor Deal)," and a "Foreign Distribution Agreement."

Cones wrote this book for independent producers, executive and associate producers and their representatives, directors, actors, screenwriters, members of talent guilds, distributors, and entertainment, antitrust, and securities attorneys. Securities issuers and dealers, investment bankers, and money finders, investors, and financiers of every sort also will be interested. In addition, Cones suggests and hopes that the book will interest "Congress, their research staff, government regulators at the Internal Revenue Service, the Securities and Exchange Commission, the Federal Trade Commission, and law enforcement officials such as the Los Angeles District Attorney and the U.S. Justice Department."

Misunderstanding and denigration of postmodern feminism are widespread. Elizabeth Flynn’s Feminism Beyond Modernism comes to its defense in a cogent and astute manner by first distinguishing between postmodern and antimodern feminisms and then reclaiming postmodern feminism by reconfiguring its relationship to modernism.

Too often postmodern feminism is unfairly identified as opposed to modernism and associated with subjectivism and relativism. Flynnaddresses these problems by provisionally defining postmodern feminism as problematizing and critiquing modernism without directly opposing it. Flynn also suggests that feminist traditions that reject modernism, such as radical and cultural feminisms, are antimodern rather than postmodern.

In this interdisciplinary study, Flynn defines feminist traditions broadly, situating her discussions within the contexts of literary studies and rhetoric and composition while simultaneously exploring the troubled relationship between these fields. Departing from accepted definitions of modernism, Flynn distinguishes between aesthetic modernism and Enlightenment modernism and uses the work of John Locke, Sigmund Freud, Charlotte Perkins Gilman, Michel Foucault, Donna Haraway, and others as benchmarks for historical placement. In addition, rereadings of works by Virginia Woolf, Adrienne Rich, Alice Walker, Louise Rosenblatt, and others demonstrate the complex ways in which they respond to modernist pressures and tendencies. From this context, Flynn’s Feminism Beyond Modernism reconfigures feminist traditions by defining postmodern feminism as a critique of modernism rather than as an antimodern opponent.

The first book-length investigation of a pioneering English professor and theorist at Vassar College, A Feminist Legacy: The Rhetoric and Pedagogy of Gertrude Buck explores Buck’s contribution to the fields of education and rhetoric during the Progressive Era. By contextualizing Buck’s academic and theoretical work within the rise of women’s educational institutions like Vassar College, the social and political movement toward suffrage, and Buck’s own egalitarian political and social ideals, Suzanne Bordelon offers a scholarly and well-informed treatment of Buck’s achievements that elucidates the historical and contemporary impact of her work and life.

Bordelon argues that while Buck did not call herself a feminist, she embodied feminist ideals by demanding the full participation of her female students and by challenging power imbalances at every academic, social, and political level.

A Feminist Legacy reveals that Vassar College is an undervalued but significant site in the history of women’s argumentation and pedagogy. Drawing on a rich variety of archival sources, including previously unexamined primary material, A Feminist Legacy traces the beginnings of feminist theories of argumentation and pedagogy and their lasting legacy within the fields of education and rhetoric.

Perhaps no other group of plants attracts more interest among both professional and amateur botanists than ferns. As early as 1846, when one of the first lists of Illinois plants was published, sixteen species of ferns were already known in the state. The longtime interest of a great many people makes the distribution of ferns better known than that of any other group of plants in Illinois.

This detailed account of ferns and fern-allies was first published in 1967 as the first volume in the series The Illustrated Flora of Illinois. Eminent botanist Robert H. Mohlenbrock has now revised Ferns to include twenty-five additional taxa of ferns that have since been discovered in Illinois. In addition, numerous nomenclatural changes have occurred for plants already known in the state.

The introductory information of Ferns includes discussions of the morphology and life history of the ferns and fern-allies, the taxonomic history of the group in Illinois, and the habitats where they can be found.

The semitechnical keys and descriptions, familiar to the professional botanist, have been simplified for the novice and are accompanied by a glossary and a profuse use of illustrations. A new key has been included for the additional ferns. Two general keys enable the reader to identify the order and the genus of the fern or fern-ally in question. One of these is designed for use with specimens that have sporangia; the other is for use with sterile specimens. The keys are composed of a hierarchy of characteristics for determining the order, family, and genus of any given specimen. Once a genus is ascertained, the reader can apply its key to more than one species of the same genus.

Each species has its own description, statement of habitat and range, Illinois distribution, map, discussion, synonymy, and full-page line illustration showing its diagnostic characteristics.

The second in a series of four illustrated guides to identifying aquatic and standing water plants in the central Midwest, this convenient reference volume includes descriptions, nomenclature, ecological information, and identification keys to plants in all of the monocot families except sedges—which are covered in the first volume in the series—that are found in Kentucky (except for the Cumberland region), Ohio, Indiana, Illinois, Iowa, Missouri, Kansas, and Nebraska.

Monocots covered in this volume include ferns, conifers, grasses, rushes, orchids, duckweeds, irises, sweet flags, arrowheads, aroids, flowering rushes, pipeworts, frog-bits, arrowgrasses, naiads, pickerelweeds, pondweeds, bur reeds, cattails, and yellow-eyed grasses. Robert H. Mohlenbrock includes three types of plants: submergents, those that spend their entire lives with their vegetative parts either completely submerged or at least floating on the water’s surface; emergents, which are typically rooted underwater with their vegetative parts standing out of water; and a third category of plants that live most of their lives out of water, but which may live in water at least three months a year.

With taxa arranged alphabetically, the volume is well organized and easy to use. In addition, basic synonymy, description, distribution, comments, and line drawings show the habits and distinguishing features for each plant. Habitat and nomenclatural notes are also listed, as are the official wetland designations given by the U.S. Fish and Wildlife Service.

Filicineae, Gymnospermae, and Other Monocots, Excluding Cyperaceae is a useful standard reference for state and federal employees who deal with both aquatic and wetland plants and environmental conservation and mitigation issues. It is furthermore an essential guide for students and instructors in college and university courses focusing on the identification of aquatic and wetland plants.

In Film and Television After 9/11, editor Wheeler Winston Dixon and eleven other distinguished film scholars discuss the production, reception, and distribution of Hollywood and foreign films after the terrorist attacks of September 11, 2001, and examine how moviemaking has changed to reflect the new world climate.

While some contemporary films offer escapism, much of mainstream American cinema since 9/11 is centered on the desire for a “just war” in which military reprisals and escalation of warfare appear to be both inevitable and justified. Films of 2002 such as Black Hawk Down, Collateral Damage, and We Were Soldiers demonstrate a renewed audience appetite for narratives of conflict, reminiscent of the wave of filmmaking that surrounded American involvement in World War II.

The attacks on the World Trade Center and the Pentagon galvanized the American public initially, yet film critics wonder how this will play out over time. Film and Television After 9/11 is the first book to provide original insights into topics ranging from the international reception of post-9/11 American cinema, re-viewing films of our shared cinematic past in light of the attacks, and exploring parallels between post-9/11 cinema and World War II-era productions.

A woman’s heartrending search for her sister

Advancing with the suspense and deft reportage of the true-crime genre and fueled by the poignancy of a literary memoir, Finding Susan is Molly Hurley Moran’s pointed exploration of the disappearance of her sister and her family’s descent into the surreal world of psychics and detectives they once dismissed as the stuff of Lifetime movies.

Susan Hurley Harrison disappeared from upscale Ruxton, Maryland on August 5, 1994. Her body was discovered in the woods of northern Maryland two years later and her death was ruled a homicide. Although Susan’s case drew substantial media attention—including a spot on Unsolved Mysteries—no one, to date, has ever been charged with her murder. In piecing together a mosaic of Susan’s final years, Moran grew to believe her sister was a victim of domestic violence.

An academic by trade, Moran employs a scholar’s precision and razor-sharp feminist analysis in this valiant effort to come to terms with Susan’s life and death and to understand her sister in a way she did not when she was alive. “Finding” Susan refers to both the search for Susan's body and the search for the formative forces of her life.

Mirroring elements of high-profile cases from Laci Peterson to Nicole Brown Simpson, Finding Susan is one woman’s chronicle of loss and remembrance that arrestingly details the helplessness experienced by families of missing persons and calls critical attention to our alarming blindness to domestic abuse. Including appendixes of domestic violence resources, Finding Susan serves as a guide for concerned family members and friends of at-risk women to help identify the warning signs of domestic abuse. Thirty-six illustrations are a powerful complement to the volume.

Jessica Restaino offers a snapshot of the first semester experiences of graduate student writing teachers as they navigate predetermined course syllabi and materials, the pressures of grading, the influences of foundational scholarship, and their own classroom authority. With rich qualitative data gathered from course observations, interviews, and correspondence, Restaino traces four graduate students’ first experiences as teachers at a large, public university. Yet the circumstances and situations she relates will ring familiar at widely varying institutions.

Although introductions to courses in finance exist for a variety of fields, Robert W. Kaps provides the first text to address the subject from an aviation viewpoint. Relying on his vast experience—twenty-plus years in the airline industry and more than thirty years in aviation—Kaps seeks not only to prepare students for careers in the aviation field but also to evoke in these students an excitement about the business. Specifically, he shows students how airlines, airports, and aviation are financed. Each chapter contains examples and illustrations and ends with suggested readings and references.

Following his discussion of financial management and accounting procedures, Kaps turns to financial management and sources of financial information. Here he discusses types of business organizations, corporate goals, business ethics, maximizing share price, and sources of financial information.

Kaps also covers debt markets, financial statements, air transport sector revenue generation, and air transport operating cost management, including cost administration and labor costs, fuel, and landing fees and rentals. He describes in depth air transport yield management systems and airport financing, including revenues, ownership, operations, revenue generation, funding, allocation of Air Improvement Program funds, bonds, and passenger facility charges.

Kaps concludes with a discussion of the preparation of a business plan, which includes advice about starting and running a business. He also provides two typical business plan outlines. While the elements of fiscal management in aviation follow generally accepted accounting principles, many nuances are germane only to the airline industry. Kaps provides a basic understanding of the principles that are applicable throughout the airline industry.

“Now, let’s find out where those fish are and how to catch a few,” says Art Reid in his Preface.

And that is the essence of this comprehensive guide to fishing in Southern Illinois. In the colorful language of one who has fished the waters and swapped tales over many a campfire, Reid draws upon more than 25 years of experience fishing the United States and several foreign countries.

Liberally spiced with anecdotes, this book tells not only where the fish are and how to catch them but who catches them: no history of fishing in Southern Illinois would be complete without an abundance of profiles of the colorful people who for years have been dedicated anglers. The stories are fun and related with verve, the people fascinating, and the information as com­plete as a fisherman could find anywhere.

Early in the Civil War, two young brothers boldly flew the Union flag from a tree atop a hill between Makanda and Cobden. This was a towering act of courage in an area teeming with Copperheads.

Theodore and Al Thompson, 18 and 20 years old at the time, raised the flag in defiance of the Knights of the Golden Circle, a secessionist group that operated throughout the Midwest. Controlling its membership through terror, this secret society condemned betrayers to death by torture. The Knights, whose goals included capturing a Union prison and liberating the rebels, triggered the Civil War riot in Charleston, instigated anti-draft movements, and aided Northern deserters.

Theodore Thompson, who later owned much of Makanda, Giant City, and the land that became Southern Illinois University describes the tree as a "tall tulip poplar between 3 and 4 feet in diameter at the trunk and some 60 feet to the first limbs. This noted tree could be seen in some directions 15 or 20 miles away."

This is the fourth volume in The Illustrated Flora of Illinois devoted to dicotyledons, or dicot plants. Dicots are the greatest group of flowering plants, exceeding the monocotyle­dons, or monocots. Dicots produce a pair of seed leaves during germination while monocots produce only a single seed leaf.

This volume contains four orders and ten families of dicots. The orders included in this volume are Malvales, Urticales, Rhamnales, and Euphorbiales. Within the Malvales are the families Tiliaceae, Sterculiaceae, and Mal­vaceae. The families Ulmaceae, Moraceae, and Urticaceae comprise the Urticales. Rhamnaceae and Elaeagnaceae make up the Rhamnales. The Euphorbiales include only the Thymelaeceae and the Euphorbiaceae.

The second edition of Flowering Plants: Flowering Rush to Rushes offers new material, including a preface, seventeen new illustrations of the additional species now known from Illinois, a revised list of illustrations, and an appendix of the additions and changes since 1970 in the identification, classification, and location of the plants included in the first edition. This new edition of the first volume in the multi-volume series of The Illustrated Flora of Illinois—which provides a working reference for the identification and classification of these plant forms in the state—includes flowering rushes, arrowheads, pondweeds, naiads, duckweeds, cattails, bur reeds, spiderworts, and rushes.

In his introduction, Robert H. Mohlenbrock defines terms and procedures used in the identification and classification of this group of flowering plants referred to as monocotyledons—plants that produce upon germination a single cotyledon or seed-leaf and are often identified by their tall, slender, grass-like leaves. He outlines the life histories and morphologies of the representative monocots and illustrates the plants’ habits and frequencies in Illinois.

Geared to the amateur as well as the professional botanist, the volume includes a glossary of definitions and identification keys to classify the plants according to order, family, genus, and species. The identifying characteristics of each descending class are also given in detail. The morphology of each species is outlined along with data on frequency of occurrence, related soil and climate conditions, and history of past collections. Among the 125 illustrations are detailed sketches of the important features of each species and maps indicating the geographical locations of each species in Illinois.

This volume, the eighth devoted to flowering plants in the Illus­trated Flora of Illinois series, is the third of several devoted to dicotyledons, which include such well-known plants as roses, peas, mustards, mints, nightshades, milkweeds, and asters. Mohlenbrock here represents four orders (Annonales, Berberidales, Nymphaeales, and Sarraceniales) and fifteen families of plants. As in previous volumes in this series, the common names are those used locally in Illinois. An illustration of each species depicts the distinguishing features and the habitat in Illinois.

This sixth volume of dicots contains three orders and eight families. The orders included are Solanales, Campanulales, and Santalales. Within the Solanales are the families Solanaceae, Convolvulaceae, Cuscutaceae, and Polemoniaceae. The Campanulales contain only the family Campanulaceae. The Santalales include the families Celastraceae, Santalaceae, and Viscaceae. As with each volume in this series Mohlenbrock includes a complete plant description, illustrations showing diagnostic features, distribution maps, and ecological notes.

Since the publication of the first edition of Smartweeds to Hazelnuts in 1987, thirteen additional species and one hybrid have been discovered in Illinois.  In addition, numerous nomenclatural changes have occurred for plants already known.

This second edition updates the status of the Polygonaceae, Hamamelidaceae, Platanaceae, Fagaceae, Betulaceae, and Corylaceae in Illinois. Each of the newly discovered species has been added and is fully illustrated. Updated nomenclature as well as Illinois distributional data are included for each species. In addition to the fourteen new plant illustrations, the appendix contains new information on the descriptions and the geographical locations of plants in the first edition, and revised identification keys.

Robert H. Mohlenbrock and Paul M. Thomson Jr. have included a complete description, illustrations showing diagnostic features, distribution maps, and ecological notes for each plant included in this volume.

This new edition will be invaluable to scholars of botany as well as laypersons interested in observing plants in their natural habitat.

This eighth volume in the comprehen­sive Illustrated Flora of Illinois series is the seventh volume devoted to flowering plants (the eighth volume is devoted to ferns) and the second treating dicotyledons, which include such well-known plants as roses, peas, mustards, mints, nightshades, milkweeds, and asters. The previous volume on dicots, Flower­ing Plants: Hollies to Loasas, was pub­lished in 1978.

In the present volume, Mohlenbrock includes three orders of vascular plants encompassing five families. The orders are Salicales and Tamaricales, of the Salicaceae and Tamaricaceae families, and Capparidales, of the Capparidaceae, Re­sedaceae, and Brassicaceae families. In all, 44 genera and 117species are treat­ed in this volume, each species illustrat­ed in detail.

In a style reminiscent of the master storytellers of yore, Charless Caraway recounts the story of his life, as a man and a boy, on small farms in Saline and Jackson counties, particularly around Eldorado, Makanda, and Etherton Switch. He makes no bones about the hardships of those "old days," first helping his father eke out a living from the land, then scrambling for a living as a sharecropper and fruit picker, as he scrimped and saved for the day when he and his young wife, Bessie Mae Rowan Caraway, could buy a piece of land of their own.

The one-room school, the general store, the trips by wagon over roads that choked you in summer and swallowed you in winter, the home that burned: all are described in a matter-of-fact yet moving way. Many of the locations, buildings, and people are represented in equally unromanticized photographs from the family’s collection. Some of the stories and photos recall the common disasters of the frontier: drought, flood, and the tornado of 1925.

It is clear from these stories that each aspect of life exacted a price, but the Caraways paid that price without regret and rallied to go on their way. Charless and his family and friends fill this book with courage, strength, and an unshakable faith in the value of human endeavor.

Running the gamut from traditional to radical forms, Timothy Liu’s sixth collection of poems, For Dust Thou Art, continues the trajectory of his previous books but extends his lyrical range. The centerpiece of the volume’s tripartite structure is a meditation on the events surrounding 9/11 and its aftermath. In his poems, Liu explores what a twenty-first century American “poetry of witness” might look like and protests the charge that the poetic generation to which Liu belongs is stymied by a kind of jaded amorality. Whether taking on public spectacle or contemplating the fallout of a private life, these meditations move forward and backward through time, seeking spiritual consolation within a material world.

In this book, first published in 1985, Ernest G. Bormann explores mass persuasion in America from 1620 to 1860, examining closely four rhetorical communities: the revivals of 1739–1740, the hot gospel of the postrevolutionary period, the evangelical revival and reform of the 1830s, and the Free Soil and Republican parties. Each community varies greatly, but Bormann asserts that each succeeding community shares a rhetorical vision of restoring the “American Dream” that is essentially a modification of the previous visions. Thus, they form a family of rhetorical visions that constitutes a rhetorical tradition of importance in nineteenth-century American popular culture.

Challenging the classic horror frame in American film

American filmmakers appropriate the “look” of horror in Holocaust films and often use Nazis and Holocaust imagery to explain evil in the world, say authors Caroline Joan (Kay) S. Picart and David A. Frank. In Frames of Evil: The Holocaust as Horror in American Film, Picart and Frank challenge this classic horror frame—the narrative and visual borders used to demarcate monsters and the monstrous. After examining the way in which directors and producers of the most influential American Holocaust movies default to this Gothic frame, they propose that multiple frames are needed to account for evil and genocide.

Using Schindler’s List, The Silence of the Lambs, and Apt Pupil as case studies, the authors provide substantive and critical analyses of these films that transcend the classic horror interpretation. For example, Schindler’s List, say Picart and Frank, has the appearance of a historical docudrama but actually employs the visual rhetoric and narrative devices of the Hollywood horror film. The authors argue that evil has a face: Nazism, which is configured as quintessentially innate, and supernaturally crafty.

Frames of Evil, which is augmented by thirty-six film and publicity stills, also explores the commercial exploitation of suffering in film and offers constructive ways of critically evaluating this exploitation. The authors suggest that audiences will recognize their participation in much larger narrative formulas that place a premium on monstrosity and elide the role of modernity in depriving millions of their lives and dignity, often framing the suffering of others in a manner that allows for merely “documentary” enjoyment.

In this interdisciplinary cultural history that encompasses film, literature, music, and drama, Inez Hedges follows the thread of the Faustian rebel in the major intellectual currents of the last hundred years. She presents Faust and his counterpart Mephistopheles as antagonistic—yet complementary—figures whose productive conflict was integral to such phenomena as the birth of narrative cinema, the rise of modernist avant-gardes before World War II, and feminist critiques of Western cultural traditions.

Framing Faust: Twentieth-Century Cultural Struggles pursues a dialectical approach to cultural history. Using the probing lens of cultural studies, Hedges shows how claims to the Faustian legacy permeated the struggle against Nazism in the 1930s while infusing not only the search for socialist utopias in Russia, France, and Germany, but also the quest for legitimacy on both sides of the Cold War divide after 1945.

Hedges balances new perspectives on such well-known works as Thomas Mann’s Dr. Faustus and Jack Kerouac’s Dr. Sax with discussions of previously overlooked twentieth-century expressions of the Faust myth, including American film noir and the Faust films of Stan Brakhage. She evaluates musical compositions—Hanns Eisler’s Faust libretto, the opera Votre Faust by Henri Pousseur and Michel Butor, and Alfred Schnittke’s Faust Cantata—as well as works of fiction and drama in French and German, many of which have heretofore never been discussed outside narrow disciplinary confines.

Enhanced by twenty-four illustrations, Framing Faust provides a fascinating and focused narrative of some of the major cultural struggles of the past century as seen through the Faustian prism, and establishes Faust as an important present-day frame of reference.

The canon of popular cinema has long been rife with fantastic tales, yet critical studies have too often expediently mixed the fantasy genre with its kindred science fiction and horror films or dismissed it altogether as escapist fare. Framing Monsters: Fantasy Film and Social Alienation reconsiders the cultural significance of this storytelling mode by investigating how films seemingly divorced from reality and presented in a context of timelessness are, in fact, encoded with the social practices and beliefs of their era of production.

Situating representative fantasy films within their cultural moments, Joshua David Bellin illustrates how fantastic visions of monstrous others seek to propagate negative stereotypes of despised groups and support invidious hierarchies of social control. In constructing such an argument, Framing Monsters not only contests dismissive attitudes toward fantasy but also challenges the psychoanalytic criticism that has thus far dominated its limited critical study.

Beginning with celebrated classics, Bellin locates King Kong (1933) within the era of lynching to evince how the film protects whiteness against supposed aggressions of a black predator and reviews The Wizard of Oz (1939) as a product of the Depression’s economic anxieties. From there, the study moves to the cult classic animated Sinbad Trilogy (1958–1977) of Ray Harryhausen, films rampant with xenophobic fears of the Middle East as relevant today as when the series was originally produced.

Advancing to more recent subjects, Bellin focuses on the image of the monstrous woman and the threat of reproductive freedom found in Aliens (1986), Jurassic Park (1993), and Species (1995) and on depictions of the mentally ill as dangerous deviants in 12 Monkeys (1996) and The Cell (2000). An investigation into physical freakishness guides his approach to Edward Scissorhands (1990) and Beauty and the Beast (1991). He concludes with a discussion of X-Men (2000) and Lord of the Rings (2001–2003), commercial giants that extend a recent trend toward critical self-reflection within the genre while still participating in the continuity of social alienation.

Written to enhance rather than undermine our understanding of fantastic cinema, Framing Monsters invites filmmakers, critics, and fans alike to reassess this tremendously popular and influential film type and the monsters that populate it.

This collection of essays was selected from those presented in October 1988 at a conference sponsored by the National Endowment for the Humanities, "Concepts of History in German Cinema." The contributors include notable historians, film scholars, and German studies specialists who explore the complex network of social, political, and religious institutions that have influenced the historiography of German cinema and television.

Before the turn of the century, Germans began to employ the medium of film to represent the past when they attempted to document their Prussian heritage. Since then, German cinema and television have promoted history as a component of personal, cultural, and national identity by consistently providing prominent treatment of historical subjects.

Although it is relatively easy to document changes in the selection and handling of these subjects, it is more difficult to determine precisely which factors have motivated those changes.

In attempting to define these factors, the link between German cinema, television, and history has developed around three interrelated issues: (1) the reception of Weimar cinema, which for most film scholars continues to be mediated to one extent or another by Siegfried Kracauer’s work; (2) the inscribing of fascism in cinema and television; and (3) the nature of, and potential for, alternatives to mainstream cinema and television.

Drawing on primary resources from sixteen archives plus contemporary secondary sources, Benjamin analyzes interactions among the players involved and argues that First Amendment rights in radio evolved in the 1920s and 1930s through the interaction of many entities having social, political, or economic interests in radio. She shows how free speech and First Amendment rights were defined and perceived up to 1935.

Focusing on the evolution of various electronic media rights, Benjamin looks at censorship, speakers’ rights of access to the medium, broadcasters’ rights to use radio as they desired, and listeners’ rights to receive information via the airwaves. With many interested parties involved, conflict was inevitable, resulting in the establishment of industry policies and government legislation—particularly the Radio Act of 1927. Further debate led to the Communications Act of 1934, which has provided the regulatory framework for broadcasting for over sixty years. Controversies caused by new technology today continue to rage over virtually the same rights and issues that Benjamin deals with.

In this revised edition of his earlier biography, Paul Simon provides an inspiring account of the life and work of Elijah Lovejoy, an avid abolitionist in the 1830s and the first martyr to freedom of the press in the United States.

Lovejoy was a native New Englander, the son of a Congregational minister. He came to the Midwest in 1827 in pursuit of a teaching career and succeeded in running his own school for two years in St. Louis. Teaching failed to challenge Lovejoy, however, so he bought a half interest in the St. Louis Times and became its editor. In 1832, after experiencing a religious conversion, he returned east to study for the ministry at Princeton Theological Seminary. After his graduation, Lovejoy was called back to St. Louis by a group of Christian businessmen to serve as the editor of a new religious newspaper, the Observer, promoting religion, morality, and education. It was through this forum that Lovejoy took an ever stronger stance against slavery.

In the slave state of Missouri, such a view was not onlyunpopular, but in the eyes of many, criminal. As a result, Lovejoy and his family suffered repeated persecution and acts of violence from angry mobs. In July 1836, in hopes of finding a more tolerant community in a "free" state, he moved both his printing press and his family across the Mississippi River to Alton, Illinois.

The move to Alton was a fateful one. Lovejoy’s press was dismantled and thrown into the river by a mob on the night of its arrival. Lovejoy ordered a new printing press, and it, too, was destroyed eleven months later. A determined and dedicated man, Lovejoy ordered a third press, and city officials took special precautions to ensure its safety after delivery. Nevertheless, an organized and angry mob rolled this third press, still in its crate, into the river exactly one month after Lovejoy’s second press had been destroyed. A fourth press, housed in a large stone warehouse and guarded by Lovejoy and his supporters, met the same fate but only after a drunken mob had killed Lovejoy himself. He was buried two days later, 9 November 1837, on his thirty-fifth birthday. No one was ever convicted of his murder.

Rather than suppressing the abolitionist movement, Lovejoy’s death caused an eruption of antislavery activity throughout the nation. At a protest meeting in Ohio, John Brown dedicated his life to fighting slavery, and Wendell Phillips emerged from a Lovejoy protest meeting in Boston to become a leader in the antislavery fight.

Simon defines Lovejoy’s fight as a struggle for human dignity and the oppressed. He distinguishes Lovejoy as a courageous and admirable individual and his story as an important and enduring one for both the cause of freedom for the slaves and the cause of freedom of the press.

In his groundbreaking new book Charles Pete Banner-Haley explores the history of African American intellectualism and reveals the efforts of black intellectuals in the ongoing struggle against racism, showing how they have responded to Jim Crow segregation, violence against black Americans, and the more subtle racism of the postintegration age. Banner-Haley asserts that African American intellectuals—including academicians, social critics, activists, and writers—serve to generate debate, policy, and change, acting as a moral force to persuade Americans to acknowledge their history of slavery and racism, become more inclusive and accepting of humanity, and take responsibility for social justice.

Other topics addressed in this insightful study include the disconnection over time between black intellectuals and the masses for which they speak; the ways African American intellectuals identify themselves in relation to the larger black community, America as a whole, and the rest of the world; how black intellectuals have gained legitimacy in American society and have accrued moral capital, especially in the area of civil rights; and how that moral capital has been expended. Among the influential figures covered in the book are W. E. B. Du Bois, Ralph Ellison, Richard Wright, James Weldon Johnson, E. Franklin Frazier, Ralph Bunche, Oliver C. Cox, George S. Schuyler, Zora Neale Hurston, Martin Luther King, Jr., Jesse Jackson, Cornel West, Toni Morrison, bell hooks, Charles Johnson, and Barack Obama.

African American intellectuals, as Banner-Haley makes clear, run the political gamut from liberal to conservative. He discusses the emergence of black conservatism, with its accompanying questions about affirmative action, government intervention on behalf of African Americans, and the notion of a color-blind society.  He also looks at how popular music—particularly rap and hip-hop—television, movies, cartoons, and other media have functioned as arenas for investigating questions of identity, exploring whether African American intellectuals can also be authentically black.

A concluding discussion of the so-called browning of America, and the subsequent rise in visibility and influence of black intellectuals culminates with the historic election of President Barack Obama, an African American intellectual who has made significant contributions to American society through his books, articles, and speeches. Banner-Haley ponders what Obama’s election will mean for the future of race relations and black intellectualism in America.

In the Shenandoah Valley campaign of 1864, U.S. Major General Philip H. Sheridan led his army to a series of decisive victories for the Union over Lieutenant General Jubal A. Early and the Confederate Army of the Valley. In From Winchester to Cedar Creek, author Jeffry D. Wert highlights Sheridan’s victories in the critical area of the Virginia Valley as defining moments of the Civil War. Sheridan’s campaign ensured Confederate defeat in Virginia and ultimately contributed to Lincoln’s reelection and the Union’s victory in the Civil War.

Drawing on manuscript collections and many published sources, Wert offers vivid descriptions of the battles of Third Winchester, Fisher’s Hill, Tom’s Brook, and Cedar Creek. The book also explores how the interplay of the strengths and weaknesses of the Union and Confederate commanders, Sheridan and Early, resulted in victories for Sheridan’s Army of the Shenandoah. Grounded in detailed research, Wert’s compelling narrative portrays the military strategies these commanders employed and how their tactical decisions impacted civilian sacrifice in the Valley.

First published in 1987, Wert’s chronicle remains the definitive book on Sheridan’s command and the Shenandoah Campaign of 1864. Offering a balanced treatment of both Union and Confederate experiences during the campaign, Wert emphasizes its importance as a turning point in the war from both military and civilian points of view.

Supplemented with situation maps and photographs, From Winchester to Cedar Creek not only documents and dynamically recounts the events that unfolded in the summer and fall of 1864 in the Virginia Valley, but it also details the political, strategic, and tactical forces that made the Shenandoah Valley campaign so important to the outcome of the Civil War.