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Completely updated, with a new section on using the computer in the cataloging function, this new edition of a classic will be a welcome tool for the volunteer or paraprofessional in a small library.

This book gives a rare glimpse into the mechanics of writing and marketing popular fiction in the first half of the century as well as a profile of an industrious and fascinating writer and his characters.

A selective history for those who want to be informed without being overwhelmed, who would like to know enough about the silent era to feel at home there, respect its artists, and admire their work.

This collection of case studies emphasizes practical management techniques designed to be used by library media specialists in elementary, middle and high school settings.

Lists and describes approximately 1,600 published and unpublished choral works by more than 100 African-American composers and arrangers, 600 more works than the first edition.

Samuel Coleridge-Taylor (1875-1912) was a popular and important British composer, born of a West African doctor and a British mother. This volume traces the development of his compositional style, from his final years at the Royal College of Music (1895-1897) to the time of his death in 1912.

Neil Hurley demonstrates Hitchcock's covert preoccupation with spiritual themes-conscience, guilt, false accusation, crises as catalysts of character development, personal romance, the salvation of nations, and the "unjustly accused." This last theme is linked in profound ways to Hitchcock's secular Christ types, who find purpose and undiscovered courage and companionship in having to disprove falsely imputed guilt in I Confess, The Wrong Man, Veritgo, North by Northwest, Psycho, The Birds, Marnie, and Frenzy. (The last three also feature feminine Christ parallels who undergo Passion/Resurrection experiences marked with visual religious clues.)

Extensive lists of printed resources on 35 years of rockabilly performers, ranging from Charlie Feathers, Carl Perkins, Jerry Lee Lewis, and Elvis Presley to Shakin' Stevens, The Cramps, and The Stray Cats. Includes more than 220 rockabilly singers and instrumentalists.

An examination of cinematic versions of post-Civil War narratives that had their debut during three key decades of Spanish cinema (1965-1995). It offers an overview of the critical problems of screen adaptation and a global analysis that examines film adaptations of works by 57 authors.

In The Day Lincoln Was Almost Shot: The Fort Stevens Story, historian B.F. Cooling documents the story of President Abraham Lincoln and the Battle of Fort Stevens in July 1864.

Can the methods of science be directed toward science itself? How did it happen that scientists, scientific documents, and their bibliographic links came to be regarded as mathematical variables in abstract models of scientific communication? What is the role of quantitative analyses of scientific and technical documentation in current science policy and management? Bibliometrics and Citation Analysis: From the Science Citation Index to Cybermetrics answers these questions through a comprehensive overview of theories, techniques, concepts, and applications in the interdisciplinary and steadily growing field of bibliometrics.Since citation indexes came into the limelight during the mid-1960s, citation networks have become increasingly important for many different research fields. The book begins by investigating the empirical, philosophical, and mathematical foundations of bibliometrics, including its beginnings with the Science Citation Index, the theoretical framework behind it, and its mathematical underpinnings. It then examines the application of bibliometrics and citation analysis in the sciences and science studies, especially the sociology of science and science policy. Finally it provides a view of the future of bibliometrics, exploring in detail the ongoing extension of bibliometric methods to the structure and dynamics of the World Wide Web. This book gives newcomers to the field of bibliometrics an accessible entry point to an entire research tradition otherwise scattered through a vast amount of journal literature. At the same time, it brings to the forefront the cross-disciplinary linkages between the various fields (sociology, philosophy, mathematics, politics) that intersect at the crossroads of citation analysis. Because of its discursive and interdisciplinary approach, the book is useful to those in every area of scholarship involved in the quantitative analysis of information exchanges, but also to science historians and general readers who simply wish to familiarize them

Since the early 1980s, Jim Jarmusch has produced a handful of idiosyncratic films that have established him as one of the most imaginatively allusive directors in the history of American cinema. Three of his filmsDead Man (1995), Ghost Dog (1999), and The Limits of Control (2009)demonstrate the director's unique take on Eastern and Aboriginal spirituality. In particular, they reflect Jarmusch's rejection of Western monotheism's fear-driven separation of life and death. While these films address historical issues of imperialism, colonialism, and genocide, they also demonstrate a uniquely spiritual form of resistance to conditions that political solutions have not resolved.The impact of Dead Man, Ghost Dog, and The Limits of Control cannot be fully felt without considering the multicultural sources from which the writer/director drew. In The Jarmusch Way, Julian Rice looks closely at these three films and explores their relation to Eastern philosophy and particular works of Western literature, painting, and cinema. This book also delves deeply into the films' association with Native American culture, a subject upon which Rice has written extensively.Though he has garnered a passionate following in some circles, Jarmusch remains critically underappreciated. Making a case that this director deserves far more serious attention than he has received thus far, The Jarmusch Way thoroughly discusses three of his most intriguing films.

While the importance of writing has often been recognized, the role of books and especially that of libraries has just as often been slighted. Knowledge, once generated, has to be communicated, preserved, and accessible. Books in their varying formatsfrom clay tablets to scrolls and manuscripts to pixelshave been instrumental in spreading knowledge, although relatively little attention has been given to the story of books themselves.A Social History of Books and Libraries from Cuneiform to Bytes traces the roles of books and libraries throughout recorded history and explores their social and cultural importance within differing societies and changing times. It presents the history of books from clay tablets to e-books and the history of libraries, whether built of bricks or bytes. Following an introduction that sets the theoretical basis for the historical importance of books and libraries, chapters alternate between the history of the book and the history of libraries. Included within the chapters are short excursions on some particular development, such as book emblems or cataloging. Case studies are given as thematic illustrations of libraries everywhere.Patrick M. Valentine argues that social and cultural forces have been more influential in determining the nature and status of information, books, and libraries than has technology. But A Social History of Books and Libraries is far from a jeremiad against technology; rather it presents history within the subtle yet shifting context of time and place. Although written primarily for librarians and library students, it will also be of interest to a wider audience of scholars and those interested in books, libraries, and cultural history.

The Classical Revolution studies the recent emergence of a new brand of classical music, one rooted in ';pre-modern' tonal traditions. Through polemical essays on the conflict between re-emergent tradition and the usual, bland ';modern music' in which academic atonalism, process music and attempts to borrow some life from pop and world music form a rather isolated territory, Borstlap examines both the philosophical and aesthetic positions of these new classical composers, positions too often misunderstood because they create a new and unexpected category, not in the margins of music life but directly related to the central performance culture.As Borstlap points out, part of the ongoing problem of contemporary music, a problem first created by modernism, is a profound misunderstanding of musical modernism itself. At the heart of his argument is the distinction between music and ';sonic art' a distinction that renders superfluous the loaded labels of ';progressive' and ';conservative' in disputes over music. Addressing questions of cultural identity, musical meaning, and the aesthetics of beauty, The Classical Revolution closely examines the institutional biases of the modern-music establishment and its all-too-solid grip on the production and reception of new music. By drawing attention to new classical composers in a traditionalist mold, Borstlap illustrates how their increasing success in the realm of performanceas opposed to academic studybespeaks a broader set of trends in serious contemporary composition.The Classical Revolution is an accessible and informative polemic for music lovers with an interest in the meaning of classical music in general, and the classical tradition in particular which seems to be re-emerging in the 21st century. It should equally interest academics, music directors, promoters, programmers, musicians, and music students alike since here, a wide field of new musical experience opens itself up, with a hopeful perspective on the future of music.

John Boorman has written and directed more than 25 television and feature films, including such classics as Deliverance, Point Blank, Hope and Glory, and Excalibur. He has been nominated for five Academy Awards, including twice for best Director (Deliverance and Hope and Glory). In the first full-length critical study of the director in more than two decades, author Brian Hoyle presents a comprehensive examination of Boorman's career to date.The Cinema of John Boorman offers a film-by-film appraisal of the director's career, including his feature films and little-known works for television. Drawing on unpublished archive material, Hoyle provides a close reading of each of Boormans films. Organized chronologically, each chapter examines two or three films and links them thematically. This study also describes Boorman's interest in myths and quest narratives, as well as his relationship with writers and literature. Making the case that Boorman is both an auteur and a visionary, The Cinema of John Boorman will be of interest not only to fans of the director's work but to film scholars in general.

Oliver Stone has written and directed many memorable films while also developing a reputation for tackling controversial subjects, such as the Turkish prison system (Midnight Express), the Vietnam war (Platoon and Born on the Fourth of July), insider trading (Wall Street), presidential assassination (JFK), and a voyeuristic media (Natural Born Killers). Along the way, Stone has been nominated for more than 10 Academy Awards and three times received Oscars for his work.In The Oliver StoneEncyclopedia, James M. Welsh and Donald M. Whaley provide an overarching evaluation of Stones work as screenwriter, producer, and director. While the entries in this volume address all of the usual aspects of Stone's career, they also explore new avenues of critical evaluation, especially influences such as Friedrich Nietzsche and Buddhism, which Stone converted to in the 1990s. In addition, this volume traces Stone's obsession with Latin American politics, evident in his film Salvador (1986), his screenplay for Alan Parker's Evita (1996), and the documentaries Commandante (2003), Looking for Fidel (2004), and South of the Border (2010).Each entry is followed by a bibliography of published sources, both in print and online. A comprehensive and engaging examination of the director, The Oliver Stone Encyclopedia will appeal to scholars and fans alike as the most comprehensive reference on this directors body of work.

In the mid-1980s, Easton Press began publishing a series of leather-bound collector editions called ';Masterpieces of Science Fiction' and ';Masterpieces of Fantasy,' which featured some of the most important works in these genres. James Gunn was commissioned to write introductions to these works, which allowed him to pay tribute to many authors who inspired and influenced his own work. In Paratexts: Introductions to Science Fiction and Fantasy, Gunn has collected the most significant essays produced for the Easton series, along with prefaces he wrote for reprints of his own novels. Cited here are some of the most significant works of 19th and 20th century science fiction and fantasy, such as The Island of Dr. Moreau, 1984, Stranger in a Strange Land, A Clockwork Orange, Speaker for the Dead, The Postman, Do Androids Dream of Electric Sheep?, The Hitchhiker's Guide to the Universe, The Dead Zone, The Mists of Avalon, Dragon's Eye, Nine Princes in Amber, Blue Mars, The Last Unicorn, and The Lord of the Rings.Drawing upon Gunn's lifetime of work in the field, these introductions include analyses of the individual works and the fields in which they were written. Gunn also briefly discusses each novel's significance in the science fiction canon. Collected here for the first time, these prefaces and introductions provide readers with insight into more than seventy novels, making Paratexts a must-read for science fiction and fantasy aficionados.

Recognized as a major innovator in the weird story, H. P. Lovecraft (1890-1937) was an author whose influence was felt by nearly every writer of horror, fantasy, and science fiction in the second half of the twentieth century. In H. P. Lovecraft and Influence: His Predecessors and Successors, Robert H. Waugh has assembled a collection of essays that not only examine the effect Lovecraft's work has had-and continues to have-on writers, but how Lovecraft's writing was shaped by those who preceded him. Chapters in this collection are devoted to authors such as Jonathan Swift, Nathaniel Hawthorne, Edgar Allan Poe, Lord Dunsany, Ramsey Campbell, Thomas Ligotti, Stephen King and more.

In Contemporary Collecting: Objects, Practices, and the Fate of Things, Kevin M. Moist and David Banash have assembled several essays that examine collecting practices on both a personal and professional level. These essays situate collectors and collections in a contemporary context and also show how our changing world finds new meaning in the legacy of older collections. Arranged by such themes as "Collecting in a Virtual World," "Changing Relationships with Things," "Collecting and Identity-Personal and Political," and "Collecting Practices and Cultural Hierarchies," these essays help illuminate the role of objects in our lives.

In Crossing Traditions: American Popular Music in Local and Global Contexts, a wide range of scholarly contributions on the local and global significance of American popular music examines the connections between selected American blues, rock and roll, and hip-hop music and their equivalents from Senegal, Nigeria, England, India, and Mexico. Contributors show how American popular music promotes local and global awareness of such key issues as economic inequality and social marginalization while inspiring cross-cultural and interethnic influences among regional and transnational communities.

Islam in Africa South of the Sahara: Essays in Gender Relations and Political Reform draws together contributions from scholars that focus on changes taking place in the practice of the religion and their effects on the political terrain and civil society.

The crusades were among the longest and most bitter wars in human history and consisted of no less than seven major expeditions from Western Europe from the late 11th to the early 14th centuries for the purpose of wresting Jerusalem and the Holy Land from the control of the Muslims. In the end, it was the Muslims who won, and the Christians who suffered a major setback, and the Middle East remained firmly in Muslim hands. This was one of the worst clashes between different religions and civilizations and, for long, it was largely forgotten or brushed over. That is no longer the case, with many Muslims regarding Western interference in the region as a repeat of the crusades while launching their own jihads. So, while an old conflict, it is still with us today.Even at the time, it was very hard to understand the causes and outcome of the crusades, and that remains a problem today. This Historical Dictionary of the Crusades cannot claim to have resolved it, but it most definitely does make the situation easier to understand. The introduction provides an overview, tracing the crusades from one expedition to the next, and assessing their impact. The actual flow of events is far easier to follow thanks to the chronology. And maps help to trace the events geographically. The entries, and there are more than 300 of them in this second edition, look more closely at notable figures, including Pope Gregory VII, Richard ';the lionhearted,' and Saladin, as well as important places (Jerusalem, Constantinople and others), events, battles and sieges, as well as the use of weapons and armor. The bibliography points to further reading.

Rock ';n' roll infuses the everyday life of the American adult, but for the first, complete generation of rock ';n' roll fansbaby boomers born between 1946 and 1964it holds a special kind of value, playing a social personality-defining role that is unique to this group. Based on 18 years of sociological research and 52 years of rock ';n' roll fandom, Baby Boomer Rock 'n' Roll Fans: The Music Never Ends draws on data collected from participant observations and interviews with artists, fans, and producers to explore our aging rock culture through the filter of symbolic interactionist theory. As author Joseph Kotarba notes, the ';purpose in writing this book is to describe sociologically the many ways people in our society who were raised on rock'n'roll music and its cultural baggage have continued to use the rock'n'roll idiom to make sense of, celebrate, and master everyday lifethrough adulthood and for the rest of their lives.'Sociological concepts of the ';self' are the key organizing feature of this book, as each chapter engages with sociological ideas to explain how baby boomers use popular music to explore, sculpt, fulfill, and ultimately make sense of who they are in different contexts. Kotarba looks at baby boomers as individuals and parents, as political actors and religious adherents, social beings and aging members of American society, detailing throughout how rock ';n' roll provides a groundwork for establishing and maintaining both private and public sense of self. Baby Boomer Rock 'n' Roll Fans will interest scholars and students of music and sociology and American popular culture.

Giovanni Battista Rubini (1794-1854) was a legendary tenor and the first 19th-century non-castrati male singer to become an international star of opera. The previous two centuries had been the era of the castrati, with tenors and basses relegated to character and supporting roles in the operas of their time. Rubini stood apart because he not only matched the castrati in coloratura and pathos, but he also had an extraordinarily high voice. With Rubini's rise, and in his wake, several tenors came to sing roles written specifically for them by Rossini, Bellini, Donizetti, and many other lesser-known bel canto composers. Signaling the end of the dominance of castrati on stage, this period would last some 40 years until the advent of Grand Opera, Wagner, and Verdi and the appearance of the first so-called High C from the chest by Gilbert-Louis Duprez in 1837. Since then, the accepted tenor sound has followed the tradition epitomized by Enrico Caruso and, in our own era, Luciano Pavarotti and Placido Domingo.Many composers, conductor, and performers would come to regard bel canto dramatic operas as decorative and vapid until Maria Callas and Tulio Serafin demonstrated the heights this genre of opera could reach. However, opera directors and opera performers of late who have expressed an interest in reviving selected masterpieces from the bel canto tradition have found themselves confronted with the problem of locating tenors versed in the vocal techniques necessary to carry the high tessituras. In Giovanni Battista Rubini and the Bel Canto Tenors: History and Technique, Dan H. Marek explores the extraordinary life of Rubini in order to frame this special period in the history of opera and connect the technique of the castrati who were among Rubini's instructors. Drawing on the work of Berton Coffin, Marek offers long-sought answers to the challenges presented by high tessitura of bel canto operas for tenors. To further assist working singers, Giovanni Battista Rubini and the Bel Canto Tenors includes over 60 pages of exercises written by Rubini himself before 1840, which Marek, for the first time ever has adapted to acoustical phonetics.Professional singers, teachers and their students, vocal coaches, and opera conductors will find this work indispensable as the only English-language work on high tessitura for tenor and soprano singing.

Sing Us a Song, Piano Woman: Female Fans and the Music of Tori Amos explores the many-layered relationships female fans build with feminist musicians in general and with Tori Amos, in particular. Using original interview research with more than forty fans of Tori Amos, multiple observer-participant experiences at Amos's concerts, and critical content analysis of Amos's lyrics and larger body of work, Adrienne Trier-Bieniek utilizes a combination of gender, emotions, music, and activism to unravel the typecasts plaguing female fans. Trier-Bieniek aggressively challenges the popular culture stereotypes that have painted all female fans as screaming, crying teenage girls who are unable to control themselves when a favorite (generally male) performer occupies the stage. In stunning contrast, admirers of Tori Amos comprise a more introspective category of fan. Sing Us a Son, Piano Woman examines the wide range of stories from these listeners, exploring how Amos's female fans are unique because Amos places the experiences of women at the center of her music. Tori Amos's fan base is considered devoted because of the deeply emotional, often healing, connection they have to her music, an aspect that has been overlooked, particularly in sociological and cultural research on gender, emotions and music.Tori Amos's female fans as a social phenomenon are vital for understanding the multi-layered relationships women can have with female singer/songwriters. At a time when superficial women dominate public media presentations, from the Kardashians to the ';Real Housewives,' the relationship between Tori Amos and her fans illustrates the continuous search by women for female performers who challenge patriarchal standards in popular culture. Trier-Bieniek's research serves as a springboard for further study of women in pop culture whose purpose is empower and provoke their fans, as well as change society.

In this collection of provocative essays, leading thinkers, preachers, and scholars from around the country challenge both the Black church and the hip-hop generation to realize their shared responsibilities to one another and to the greater society.

The Eurovision Song Contest (ESC) is more than a musical event that ostensibly ΓÇ£unites European peopleΓÇ¥ through music. It is a spectacle: a performative event that allegorically represents the idea of ΓÇ£Europe.ΓÇ¥ Since its beginning in the Cold War era, the contest has functioned as a symbolic realm for the performance of European selves and the negotiation of European identities. Through the ESC, Europe is experienced, felt, and imagined in singing and dancing as the interplay of tropes of being local and/or European is enacted.In Empire of Song: Europe and Nation in the Eurovision Song Contest, contributors interpret the ESC as a musical ΓÇ£mediascapeΓÇ¥ and mega-event that has variously performed and performs the changing visions of the European project. Through the study of the cultural politics of the ESC, contributors discuss the ways in which music operates as a dynamic nexus for making national identities and European sensibilities, generating processes of ΓÇ£assimilationΓÇ¥ or ΓÇ£integration,ΓÇ¥ and defining the celebrated notion of the ΓÇ£European citizenΓÇ¥ in a global context. Scholars in the volume also explore the ways otherness and difference are produced, spectacularized, challenged, or even neglected in the televised musical realities of the ESC. For the contributing authors, song serves as a site for constituting Europe and the nation, on- and offstage. History and politics, as well as the constant production of European subjectivities, are sounded in song. The Eurovision song is a shifting realm where old and new states imagine their pasts, question their presents, and envision ideal futures in the New Europe.Essays in Empire of Song adopt theoretical and epistemological orientations in their exploration of ΓÇ£popular musicΓÇ¥ within ethnomusicology and critical musicology, questioning the idea of ΓÇ£EuropeΓÇ¥ and the ΓÇ£nationΓÇ¥ through and in music, at a time when the European self appears more fragmented, if not entirely shattered. Bringing together ethnomusicology, music studies, history, social anthropology, feminist theory, linguistics, media ethnography, postcolonial theory, comparative literature, and philosophy, Empire of Song will interest students and scholars in a vast array of disciplines.

Irma Collins's Dictionary of Music Education is more than just a lexicon. It is a journey through time and the story of the evolution of music education, including entries on notable individuals, crucial terms, important events, and key organizationsa broad survey of the field. Collins includes information about a variety of English-speaking countries such as the United States, the United Kingdom, Canada, and Australia, emphasizing the impact music education researchers and organizations have had on one another across the globe.Biographical entries profile musicians and music educators who were among the founders or first implementers of significant pedagogical tools and methods. Terms include standard concepts in the field of music education. Event and organization entries are those crucial to the advancement of music education regionally, nationally, and internationally. Dictionary of Music Education also includes a timeline, cross-references, and a significant bibliography. This work will interest anyone involved in the field of music education, from students and faculty to administrators and private instructors.

Georges Bizet spent almost his entire life in Paris, his hometown. He never visited Spain. And yet his Carmen is considered by many the epitome of Spanish opera. Bizet did not live to see CarmenΓÇÖs enormous worldwide success. He died at the age of thirty-six, just three months after his masterpiece took the stage for the first time. Today his other remarkable works have been entirely eclipsed by Carmen, masking the trajectory that led to the creation of one of the worldΓÇÖs most beloved operas.In almost all available English-language biographies, serious errors abound, often informed by romantic misconceptions surrounding the life of this remarkable musician. First published in 1991, Christoph SchwandtΓÇÖs Georges Bizet: A Biography is now widely recognized as the definitive work on this misunderstood composerΓÇÖs life. Drawing on significant recent research gathered for the revised and augmented 2011 German editionΓÇönow translated into English by Cynthia KlohrΓÇöSchwandt rewrites and restores the historical record concerning BizetΓÇÖs achievements and contributions to the world of music. This work is ideal for students and scholars of opera history and aficionados of what many consider one of the worldΓÇÖs greatest operas ever written.

Contributions to Illuminations: A Scarecrow Press Series of Guides to Research in Religion provide students and scholars, lay readers and clergy, with a road map to research in key areas of religious study. All commonly constructed with introductions to the topic and reviews of key thinkers, concepts, and events, each volume includes surveys of the primary and secondary sources, with critical evaluations of their places in the canon of thought and research on the topic. Focusing primarily on the knowledge required by today's students and scholars, each guide is a must-have for any student of religion.The twentieth century saw an explosion of wars and an accompanying explosion of literature on the morality of war. Thinking among Christian clerics and scholars on the idea of ';just war' shifted with developments on the battlefield. Alternatives to just war theory, such as pacifism and realism, found new proponents in the published work of the neo-Anabaptists and Niebhurians. Meanwhile, proponents of Christian just war theory had to address challenges from competing ideologies as well as ththose presented by the changing nature of warfare.Modern Just War Theory: A Guide to Research, by scholar and librarian Michael Farrell, serves as a manual for students and scholars studying Christian just war theory, helping them navigate the wealth of just war literature produced in the twentieth and twenty-first centuries. Farrell's guide provides an introduction to the major developments of just war theory in the twentieth century, including sections on how to research just war theory, an overview of some of the most important theorists and developments of the twentieth century, and discussions of key search terms and related topics. Farrell then surveys and evaluates key primary and secondary sources for researchers on just war theory, as well as related sources on Christian realism and the responses of just war theorists to proponents of pacifism and secular just war theories. Modern Just War Theory will appeal to students and scholars of theology, military history, international law, and Christian ethics