Bøger udgivet af Rutgers University Press

Written in an engaging and accessible style, this first broadly focused compensatory history of technology not only includes women's contributions but begins the long-overdue task of redefining technology and significant technology and to value these contributions correctly. Stanley traces women's inventions in five vital areas of technology worldwide--agriculture, medicine, reproduction, machines, and computers--from prehistory (or origin) forward, profiling hundreds of women, both famous and obscure. The author does not ignore theory. She contributes a paradigm for male takeovers of technologies originated by women.

What were the women of Germany doing during the Third Reich? What were they thinking? And what do they have to say a half century later?In Frauen we hear their voices––most for the first time. Alison Owings interviewed and here records the words of twenty-nine German women who were there: Working for the Resistance. Joining the Nazi Party. Outsmarting the Gestapo. Disliking a Jewish neighbor. Hiding a Jewish friend. Witnessing "Kristallnacht." Witnessing the firebombing of Dresden. Shooting at Allied planes. Welcoming Allied troops. Being a prisoner. And being a guard. The women recall their own and others' enthusiasm, doubt, fear, fury, cowardice, guilt, and anguish.Alison Owings, in her pursuit of such memories, was invited into the homes of these women. Because she is neither Jewish nor German, and because she speaks fluent colloquial German, many of the women she interviewed felt comfortable enough with her to unlock the past. What they have to say will surprise Americans, just as they surprised the women themselves.Not since Marcel Ophuls's controversial film The Sorrow and the Pity have we been on such intimate terms with "the enemy." In this case, the story is that of the women, those who did not make policy but were forced to participate in its effects and to witness its results. What they did and did not do is not just a reflection on them and their country––it also leads us to question what actions we might have taken in their place. The interviews do not allow for easy, smug answers.

"One of the sharpest and most productive analyses of our contemporaneity and the place of cinema within it and of our new historical relations as spectators to the imaginary universe on the movie screen. This is a study that will be of intense interest to film theorists and historians, cultural critics, mass media analysts, and anyone concerned with the complicated place of culture in our world today."--Dana Polan, English and Film Studies, University of Pittsburgh How have modern advertising techniques, the widespread use of VCRs, conglomerate takeovers of studios and film archives, cable TV, and media coverage of the Vietnam war changed the ways we watch movies? And how, in turn, have those different habits and patterns of viewing changed the ways in which films address their viewers? Drawing on a wide variety of American and European films and on many theoretical models, Timothy Corrigan investigates what he calls "a cinema without walls," taking a close look at particular films in order to see how we watch them differently in the post-Vietnam era. He examines cult audiences, narrative structure, genre films (road movies, in particular), and contemporary politics as they engage new models of film making and viewing. He thus provides a rare, serious attempt to deal with contemporary movies. Corrigan discusses filmmakers from a variety of backgrounds and cultures, including Martin Scorsese, Raoul Ruiz, Michael Cimino, Alexander Kluge, Francis Ford Coppola, Stephen Frears, and Wim Wenders. He offers detailed analyses of films such as Platoon; Full Metal Jacket; 9-1/2 Weeks; The Singing Detective; Choose Me; After Hours; Badlands; The King of Comedy; Paris, Texas; and My Beautiful Laundrette. Orchestrating this diversity, Corrigan provides a critical basis for making sense of contemporary film culture and its major achievements. Timothy Corrigan is a professor of English and film at Temple University. He is the author of Writing about Film and New German Film: The Displaced Image, and editor of The Films of Werner Herzog: Between Mirage and History.

Founded in 1856 by Bishop James Roosevelt Bayley of Newark, Seton Hall University has played a large part in New Jersey and American Catholic life for nearly two centuries. From its modest beginnings as a small college and seminary to its present position as a major national university, it has always sought to provide ¿a home for the mind, the heart, and the spirit.¿ In this vivid and elegantly written history, Dermot Quinn examines how Seton Hall was able to develop as an institution while keeping faith with its founder¿s vision. Looking at the men and women who made Seton Hall what it is today, he paints a compelling picture of a university that has enjoyed its share of triumphs but has also suffered tragedy and loss. He shows how it was established in an age of prejudice and transformed in the aftermath of war, while exploring how it negotiated between a distinctly Roman Catholic identity and a mission to include Americans of all faiths.  Seton Hall University not only recounts the history of a great educational institution, it also shares the personal stories of the people who shaped it and were shaped by it: the presidents, the priests, the faculty, the staff, and of course, the students.

Every Wrong Direction recreates and dissects the bitter education of Dan Burt, an American émigré who never found a home in America. Burt's memoir follows his wanderings through three countries and seven cities over 43 years, culminating in his emigration to Britain, the country where he finally found a home.

In this remarkable memoir, former Thomas Edison State University president George A. Pruitt describes how his experiences growing up in Mississippi and the South Side of Chicago during the civil rights movement led him to become a trailblazer for access to higher education for adult learners.