Böcker av John Roberts

This new title reproduces two complete sets (1916 and 1936) of official Admiralty plans .

Joey McClane, a precocious twelve year old south Texas boy, has lived with his grandfather ever since he was orphaned as an infant. Paw Paw, an avid classic car and race car enthusiast, has discovered the 1934 Buick coupe that he had fallen in love with as a child—it had been his grandfather’s car, and he had called her Mattie. And now Joey sets out on a restoration project that will drastically change the direction of his life.He finds himself thrust into the car’s history by way of apparitions and dreams. Over the next few years, as he and Paw Paw work on Mattie, Joey embarks on a mental journey through Mattie’s past and soon finds that history creeping in to his present-day existence. His mind is torn between two very different times, and Mattie begins to take control of Joey’s life. Meanwhile, he meets his first girlfriend, develops a friendship with a ghost, and receives visions and understanding of his grandfather’s lifelong secrets. But when he becomes a fugitive engaged in a high-speed chase with the police, he knows he must make a decision in order to prevent his two worlds from colliding.This novel tells the story of a boy’s strange experience with his first car, one that will change his life forever.

THE BUSBY BABES remain unique in British football. Emerging in a post-war 1950s era of austerity and rationing, they gave a glimpse of the youthful enthusiasm and talent that would emerge a decade later in music and art, while their untimley deaths, at the end of a snowy runway in Munich, inspired a devotion to Manchester United Football Club at odds with staid 1950s behaviour. In this, his fi nal update on his classic work, John Roberts revisits the original interviews he undertook with the relatives of the deceased and the survivors. What emerges is an unsentimental work that remains the greatest account of the tragedy.

Why do two young Britons become terrorists?Shalima is a young muslim woman; Yusuf was born Ryan but converts to Islam. Both are radicalised and fly to Yemen to join Al Qaeda. Here they are trained and indoctrinated.

After modernism and postmodernism, it is argued, the everyday supposedly is where a democracy of taste is brought into being - the place where art goes to recover its customary and collective pleasures, and where the shared pleasures of popular culture are indulged, from celebrity magazines to shopping malls.*BR**BR*John Roberts argues that this understanding of the everyday downgrades its revolutionary meaning and philosophical implications. Bringing radical political theory back to the centre of the discussion, he shows how notions of cultural democratization have been oversimplified. Asserting that the everyday should not be narrowly identified with the popular, Roberts critiques the way in which the concept is now overly associated with consumption and 'ordinariness'.*BR**BR*Engaging with the work of key thinkers including, Lukacs, Arvatov, Benjamin, Lefebvre, Gramsci, Barthes, Vaneigem, and de Certeau, Roberts shows how the concept of the everyday continues to be central to debates on ideology, revolution and praxis. He offers a lucid account of different approaches that developed over the course of the twentieth century, making this an ideal book for anyone looking for a politicised approach to cultural theory.

Theorists critique photography for "e;objectifying"e; its subjects and manipulating appearances for the sake of art. In this bold counterargument, John Roberts recasts photography's violating powers of disclosure and aesthetic technique as part of a complex "e;social ontology"e; that exposes the hierarchies, divisions, and exclusions behind appearances.The photographer must "e;arrive unannounced"e; and "e;get in the way of the world,"e; Roberts argues, committing photography to the truth-claims of the spectator over the self-interests and sensitivities of the subject. Yet even though the violating capacity of the photograph results from external power relations, the photographer is still faced with an ethical choice: whether to advance photography's truth-claims on the basis of these powers or to diminish or veil these powers to protect the integrity of the subject. Photography's acts of intrusion and destabilization, then, constantly test the photographer at the point of production, in the darkroom, and at the computer, especially in our 24-hour digital image culture. In this game-changing work, Roberts refunctions photography's place in the world, politically and theoretically restoring its reputation as a truth-producing medium.

Roberts seeks to show how and why world citizenship and mundialism-the building of global institutions-are essential for the human race to solve the growing problems of the environment, international violence, and other major world challenges.