Literaire Lift Serie 3.

An incarnate evil, youthful innocence, and burgeoning adolescent sexuality meet in a gripping Southern Gothic tale set in a 1963 West Virginia summer camp as two young girls go to a swimming hole at midnight and encounter two ex-cons. BOMC. Tour.

Discusses the fight to free an American student who has been imprisoned for six years in a Peruvian jail after being charged as a leader of a terrorist group, convicted improperly, and sentenced to life with no chance of parole. Foreword by Noam Chomsky and afterword by Ramsey Clark. With a new epilogue.

An inspiring look at a new generation of camerawomen, this collection of 23 interviews is the first in-depth study of the courageous women who filmed on mountain tops, underwater, in war zones, and on Hollywood sets.

This collection of essays foregrounds the work of filmmakers in theorizing and comparing postcolonial conditions, recasting debates in both cinema and postcolonial studies. Postcolonial cinema is presented, not as a rigid category, but as an optic through which to address questions of postcolonial historiography, geography, subjectivity, and epistemology. Current circumstances of migration and immigration, militarization, economic exploitation, racial and religious conflict, enactments of citizenship, and cultural self-representation have deep roots in colonial/postcolonial/neocolonial histories. Contributors deeply engage the tense asymmetries bequeathed to the contemporary world by the multiple,diverse, and overlapping histories of European, Soviet, U.S., and multi-national imperial ventures. With interdisciplinary expertise, they discover and explore the conceptual temporalities and spatialities of postcoloniality, with an emphasis on the politics of form, the 'postcolonial aesthetics' through which filmmakers challenge themselves and their viewers to move beyond national and imperial imaginaries. Contributors include: Jude G. Akudinobi, Kanika Batra, Ruth Ben-Ghiat, Shohini Chaudhuri, Julie F. Codell, Sabine Doran, Hamish Ford, Claudia Hoffmann, Anikó Imre, Priya Jaikumar, Mariam B. Lam, Paulo de Medeiros, Sandra Ponzanesi, Richard Rice, Mireille Rosello and Marguerite Waller.

Vertaling door Azwin Ressang.

Na zijn ontslag uit de gevangenis knoopt ex-motorbendelid Jason de eindjes aan elkaar door spullen van rommelmarkten te verkopen op eBay. Contact met vrienden of familie heeft hij nauwelijks meer, boos en gewelddadig als hij is. Dan belt een maatschappelijk werker: de broer en schoonzus die hij al meer dan tien jaar niet heeft gesproken zijn omgekomen bij een auto-ongeluk. Jason wordt belast met de zorg voor hun zesjarige dochter Harvey, van wie hij niet eens wist dat ze bestond

n het werk van C.J. den Heyer heeft de verhouding van de christelijke tot de joodse godsdienst steeds een belangrijke rol gespeeld. Bij zijn afscheid als hoogleraar bieden collega's hem deze bundel opstellen aan. Zij schrijven over relatie tussen joden en christenen en over uiteenlopende wijzen van interpretatie van de schrift. Talrijke verrassende thema's worden aangeroerd, van de Barmhartige Samaritaan in de kunst tot een magische opvatting van het woord.

Pedro Martínez is Oscar Lewis’ newest contribution to our knowledge of the culture of Mexican poverty. The book tries to do for the village scene what the earlier volume, The Children of Sanchez, did for the urban slum. In that both works are multi-biographical in nature, they are quite similar. However, this new one contains a number of features that make it distinctive from the first and, perhaps, more valuable.

The most important of these is the time span involved. Pedro Martinez is the result of no less than twenty years of contact with a single family. Lewis met the Martínez family for the first time in 1943. Formal study of the family began in 1944. Between that date and 1948 life histories were obtained from Pedro and his wife, Esperanza. Approximately ten years later Lewis returned, this time with a tape recorder. He re-interviewed Pedro alone, for Esperanza had already died. He tells us that the concordance between the two series of interviews is impressive, though the reader has no way of judging. Beginning in 1960, a life history was obtained from Felipe, Pedro’s oldest living son. The three life histories, translated and set into order by Lewis, make up the body of the book.

Pedro was born in 1889. He was seventy two when Lewis wrote his introduction to the book. His life, therefore, has spanned one of the most dynamic periods of Mexican history. This is fortunate, for seldom do we encounter a record of the feelings and thoughts that ordinary men have when caught up in significant historical processes. Historians will find Pedro’s recollections of the Zapata movement particularly illuminating. And his frustrating experience with the ejido system will perhaps aid in giving us a more balanced appraisal of that instrument of reform.