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Vindicating God A unique daily devotional that defends God against false accusations made against Him By Troy J. Edwards Unless otherwise indicated, all Scripture quotations are taken from the King James Version (KJV) of the Bible. Vindicating God A unique daily devotional that defends God against false accusations made against Him Troy J. Edwards Copyright © 2015 by Troy J. Edwards Cover design by the artistically creative team of Teri Mayumi Edwards and Takako Edwards Published by Vindicating God Ministries The author gives permission to have any portion of this book copied if it will assist other believers in receiving all that God has for them and/or if it will lead someone to Christ. The material here is for the edification of the body of Christ. However, it is a violation of Christian ethics to use the author’s material for personal profit gain. Remember that we must all stand before the judgment seat of Christ to give an account for the deeds that are done in the body (1 Cor. 3:8-15). Therefore, please comply within the limits of this permission statement. 2 Introduction Over the centuries there have been many attacks on the God and Father of our Lord Jesus Christ. However, God’s character has never been more maligned than it has been in this century. Atheists, agnostics, Satan worshippers, and pretentious politicians have blasphemed the God worshipped by true Christians and have accused Him and His people of all sorts of malicious acts. Many of these critics have cherry-picked through the Bible, misquoted the Word of God, and have misrepresented God to others. -
Alternate History – Alternate Memory: Counterfactual Literature in the Context of German Normalization
ALTERNATE HISTORY – ALTERNATE MEMORY: COUNTERFACTUAL LITERATURE IN THE CONTEXT OF GERMAN NORMALIZATION by GUIDO SCHENKEL M.A., Freie Universität Berlin, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (German Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2012 © Guido Schenkel, 2012 ABSTRACT This dissertation examines a variety of Alternate Histories of the Third Reich from the perspective of memory theory. The term ‘Alternate History’ describes a genre of literature that presents fictional accounts of historical developments which deviate from the known course of hi story. These allohistorical narratives are inherently presentist, meaning that their central question of “What If?” can harness the repertoire of collective memory in order to act as both a reflection of and a commentary on contemporary social and political conditions. Moreover, Alternate Histories can act as a form of counter-memory insofar as the counterfactual mode can be used to highlight marginalized historical events. This study investigates a specific manifestation of this process. Contrasted with American and British examples, the primary focus is the analysis of the discursive functions of German-language counterfactual literature in the context of German normalization. The category of normalization connects a variety of commemorative trends in postwar Germany aimed at overcoming the legacy of National Socialism and re-formulating a positive German national identity. The central hypothesis is that Alternate Histories can perform a unique task in this particular discursive setting. In the context of German normalization, counterfactual stories of the history of the Third Reich are capable of functioning as alternate memories, meaning that they effectively replace the memory of real events with fantasies that are better suited to serve as exculpatory narratives for the German collective. -
RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest. -
THE PHILOSOPHY of STEVEN SODERBERGH the Philosophy of Popular Culture
THE PHILOSOPHY OF STEVEN SODERBERGH The Philosophy of Popular Culture Th e books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. Th e goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. Th is series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series Th e Philosophy of Stanley Kubrick, edited by Jerold J. Abrams Football and Philosophy, edited by Michael W. Austin Tennis and Philosophy, edited by David Baggett Th e Philosophy of the Coen Brothers, edited by Mark T. Conard Th e Philosophy of Film Noir, edited by Mark T. Conard Th e Philosophy of Martin Scorsese, edited by Mark T. Conard Th e Philosophy of Neo-Noir, edited by Mark T. Conard Th e Philosophy of Horror, edited by Th omas Fahy Th e Philosophy of Th e X-Files, edited by Dean A. -
Mysteryoftheages (Pdf)
hp://reluctant-messenger.com/HWA/Mystery/index.htm MYSTERY OF THE AGES by Herbert W. Armstrong c. 1985 Author's Statement WHY DID I WRITE THIS BOOK? I have lived a long, acve, interest-packed life covering the last eight and a half years of the 19th century and all of the tweneth to the present. I have lived through the horse and buggy age, the automobile and industrial age, the air age, the nuclear age and now into the space age. I have seen America live through the agrarian age when farmers walked behind their horse-drawn ploughs singing happily, and into the urban age when Midwest American farmers are groaning and fighRng for more government subsidies to prevent the exncRon of farm life. I have seen this tweneth century develop into a state of awesome advancement and achievement industrially and technologically.. Paradoxically, I have seen alarming escalaon of appalling evils, crime and violence and the crucible of nuclear war develop to threaten the very exncRon of the human race within the present living generaon. These condions and facts are indeed mysteries that have remained unsolved and now need to be explained. I have traveled over the four quarters of this globe we call earth. I have rubbed shoulders with the rich and the very poor and those in between. I have visited with captains of industry, emperors, kings, presidents and prime ministers. I have rubbed shoulders with and come to know the totally illiterate and poverty-stricken poor. I have seen this world firsthand at close range as have only the very few. -
The Talking Bear Wins
whatzup WEB SIGHTS ART & MUSEUMS GARRETT HERITAGE DAYS PINK DROYD WWW .GARRETTHERITAGEDAYS .COM HTTP ://PINKDROYD .COM ARTLINK THREE RIVERS FESTIVAL REMNANTS WWW .ARTLINKFW .COM WWW .THREERIVERSFESTIVAL .ORG WWW .REMNANTSBAND .COM The Talking Bear Wins NORTHSIDE GALLERIES KARAOKE/DISC JOCKEYS RENEGADE WWW .NORTHSIDEGALLERIES .COM WWW .FTW -RENEGADE .COM Tops at the Box: While it was CINEMA AMERICAN IDOL KARAOKE paul NEW STEWART Steven Soderbergh’s latest, a strip- WWW .FACEBOOK .COM /AMERICALIDOLKARAOKE WWW .REVERBNATION .COM /PAULNEWSTEWART per flick called Magic Mike, that ScreenTime FORT WAYNE CINEMA CENTER SWING TIME KARAOKE entertainMENT THE SUM MORZ sizzled towards the top on release WWW .CINEMACENTER .ORG WWW .SWINGTIMEKARAOKE .COM WWW .SUMMORZ .COM GREG W. LOCKE DANCE UNLIKELY ALIBI day, it was Seth MacFarlane’s fea- MEDIA WWW .MYSPACE .COM /UNLIKELYALIBI ture film debut, Ted, that ended up FORT WAYNE BALLET FORT WAYNE MUSIC URBAN LEGEND owning the weekend, taking in just weekend, selling another $12 mil- WWW .FORTWAYNEBALLET .ORG WWW .FORTWAYNEMUSIC .COM WWW .1URBANLEGEND .COM over $54 million over its first three lion, upping the mega-movie’s 24- FORT WAYNE DANCE COLLECTIVE LOCL.NET WHAT SHE SAID day total to just over $180 million. WWW .FWDC .ORG WWW .LOCL .NET WWW .MYSPACE .COM /WHATSHESAIDBAND days. This news comes as no sur- I suppose this means we can expect DINING & NIGHTLIFE WBYR 98.9 THE BEAR RETAIL prise, as: (a) The film was heavily WWW .989THEBEAR .COM advertised for weeks and weeks; a fourth Madagascar flick. Gotta 3 RIVERS CO-OP WHATZUP 3 RIVERS CO-OP NATURAL GROCERY & DELI (b) people really like leading man wonder if Ben Stiller will once WWW .3RIVERSFOOD .COOP WWW .WHATZUP .COM WWW .3RIVERSFOOD .COOP Mark “The Depahted” Wahlberg; again bring along his Greenberg AFTER DARK WXKE ROCK 104 SPORTS & RECREATION and (c) a whole lot of people love buddy for writing duties. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
The Good German the DEPARTED
SDSA_cover_&inside.qxd:Layout 1 12/8/06 11:50 AM Page 1 SET DECOR Winter Set Decorators Society of America Winter 2006 2006 stranger than fiction www.setdecor.com The Good German $5.95 www.setdecor.com THE DEPARTED SDSA_cover_&inside.qxd:Layout 1 12/8/06 11:51 AM Page 2 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 1 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 2 This event is not affiliated with, or endorsed by, the Academy of Motion Pictures Arts and Sciences. The Alex Theatre is non-pr Alex The Arts and Sciences. Academy of Motion Pictures the with, or endorsed by, This event is not affiliated ofit, 501 (c) organization. Photo courtesy Ken Haber The Set Decorators Society of America and the Alex Theatre are proud to present the RED CARPET GALA: For People who Make Movies and People who Watch Them Please join us on our Red Carpet for an evening of Academy Awards® viewing and celebrating! Hors d’Oeuvres & Desserts 4:30 pm February 25th 2007 Alex Theatre 216 North Brand Boulevard Glendale CA Box Office 818.243.2539 • Online ticketing: www.alextheatre.org Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 3 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 4 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 5 Set Decor.qxd:Layout 1 12/13/06 12:59 PM Page 6 contents Set Decorators Society of America Winter 2006 48 26 30 16 56 38 60 Film decor 16 THE GOOD SHEPHERD Gretchen Rau Elaine O’Donnell SDSA, Leslie E Rollins SDSA, Alyssa Winter A glimpse of the art of giving behind the art of storytelling 26 BOBBY Lisa Fisher SDSA In its final performance the -
THE GOOD GERMAN Wettbewerb the GOOD GERMAN the GOOD GERMAN – L’AMI ALLEMAND Regie: Steven Soderbergh
Berlinale 2007 THE GOOD GERMAN Wettbewerb THE GOOD GERMAN THE GOOD GERMAN – L’AMI ALLEMAND Regie: Steven Soderbergh USA 2006 Darsteller Jake Geismar George Clooney Länge 108 Min. Lena Brandt Cate Blanchett Format 35 mm, 1:1.85 Corporal Tully Tobey Maguire Farbe und Colonel Muller Beau Bridges Schwarzweiß Levi Dominic Comperatore Stabliste Lieutenant Schaeffer Dave Power Buch Paul Attanasio, Danny Tony Curran nach dem Roman Kongress- von Joseph Kanon abgeordneter Jack Thompson Kamera Peter Andrews General John Roeder Kameraführung Cris Lombardi General Sikorsky Ravil Isyanov Kameraassistenz Steven Meizler Gunther Behn Don Pugsley Schnitt Mary Ann Bernard Bernie Teitel Leland Orser Ton Paul Ledford Hannelore Robin Weigert Mischung Larry Blake Pressesprecher J. Paul Boehmer Musik Thomas Newman Interviewer Tom Cummins Production Design Philip Messina Angestellter Brandon Keener Art Director Doug Meerdink Requisite Robin L. Miller Tobey Maguire, George Clooney, Cate Blanchett Kostüm Louise Frogley Maske Julie Hewett Michelle Vittone- THE GOOD GERMAN McNeil Berlin 1945. Der amerikanische Kriegskorrespondent Jake Geismer soll über Regieassistenz Gregory Jacobs die bevorstehende Konferenz von Potsdam berichten. Jake kennt Berlin – Casting Debra Zane einst hat er hier ein Nachrichtenbüro geleitet. Und er hat sich hier verliebt. Herstellungsltg. Das scheint aber Ewigkeiten her zu sein, als er jetzt mit dem Jeep die Produktionsltg. Frederic W. Brost Aufnahmeleitung Ken Lavet Berliner Ruinenlandschaft durchquert. Quentin Halliday Jakes Fahrer, Corporal Tully, ist auf dem Schwarzmarkt aktiv – er handelt mit Produzenten Ben Cosgrove allem und jedem und spielt alle Seiten gegeneinander aus, um den besten Gregory Jacobs Preis zu erzielen. Doch das ist durchaus nicht ungewöhnlich. Im Berlin die- Executive Producers Benjamin Waisbren ser Tage verfolgt jeder eigene Strategien, um seine Bedürfnisse zu befriedi- Frederic W. -
Intertextuality, Broken Mirrors, and the Good German
THE PHILOSOPHY OF STEVEN SODERBERGH Edited by R. Barton Palmer and Steven M. Sanders THE UNIVERSITY PRESS OF KENTUCKY Copyright © 2011 by Th e University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, Th e Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offi ces: Th e University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com 15 14 13 12 11 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Th e philosophy of Steven Soderbergh / edited by R. Barton Palmer and Steven M. Sanders. p. cm. — (Philosophy of popular culture) Includes bibliographical references and index. ISBN 978-0-8131-2662-3 (hardcover : alk. paper) 1. Soderbergh, Steven, 1963—Criticism and interpretation. I. Palmer, R. Barton, 1946– II. Sanders, Steven, 1945– PN1998.3.S593P55 2010 791.4302’33092dc—22 2010036022 Th is book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. Manufactured in the United States of America. Member of the Association of American University Presses CONTENTS Acknowledgments ix Introduction 1 R. Barton Palmer and Steven M. Sanders Part 1. Knowledge, Truth, Sexuality Knowledge, Truth, and Th ought Experiments in Schizopolis and sex, lies, and videotape 13 David Rodríguez-Ruiz Love, Truth, and the Medium in sex, lies, and videotape 29 Yannis Tzioumakis Amplifi ed Discourse and Desire in sex, lies, and videotape 51 Murray Pomerance Part 2. -
World War II Memories and Germans' Inter-Ethnic Encounters in Canada
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Histoire sociale / Social History (E-Journal, York University) Troubling Memories in Nation-building: World War II Memories and Germans’ Inter-ethnic Encounters in Canada after 1945 ALEXANDER FREUND* For postwar Canadians, especially for those who had served in Europe or had lost relatives and friends in the war, as well as for European immigrants who had suf- fered under the Nazi terror, the great influx of German-speaking immigrants could pose a difficult personal confrontation with the past. This was also true for the Ger- man immigrants. The dominant national narrative, that the Allies had fought a good war against an evil empire, created a gulf between German Canadians and other Canadians and left little room for German immigrants to make sense of their war- time memories. German immigrants interpreted and responded to personal encoun- ters and public representations of the war and the Holocaust in different ways. Some guarded their memories through silence in inter-ethnic relations or withdrew from such relations altogether, while others used such relations to learn more about the past. While multiculturalism helped bridge divides at the individual level, it did not integrate into the national historical memory the experiences of immigrants who had been former enemies. Après la guerre, l’afflux en grand nombre d’immigrants germanophones pouvait semer chez les Canadiens, surtout chez ceux qui avaient servi en Europe ou qui avaient perdu des parents et des amis durant le conflit et chez les immigrants européens qui avaient souffert sous le régime de terreur de l’Allemagne nazie, un sentiment troublant de confrontation de soi avec le passé. -
Folder 10 Society for the Prevention of World War
CVeutschtum and cAme rica By John Brown PROF. OF ·nil! CATHOLIC UNIVERSITY WASHlNGTQN, .D. C . • Reprinted fYom the }OUR.NAL 01' LEGAL AND POLITICAL SociOLOGY Published by PHILOSOPHICAL LIBRARY, NEW You: Distributed by the Society for the Prevention of World War Ill, Inc. 5U MADISON AvE., NEW Yolll:: CITY INTRODUCTION The article "Deutchtum and Amerid" by Prof. Brown of the Catholic University, Washington, D. C. is an excellent study proving the growing German in· fluence in the cultural and educational spheres of the United States. As the Society for the Prevention of World War III, Inc., considers Prof. Brown's article as a very valuable contribution to inform the American public about the German propaganda in the United States, we have obtained permission from the author and the editors of the "Journal of Legal and Political Sociology" to reprint Prof. Brown's article. The penetration of America's cultural and politiCal life With German propaganda is one of the most effect· ive means of PancGermanism 1n its struggle for world domination:· Without the political and economic backing given to Germany in the United States, she would have never been able to prepare so thoroughly for the present onslaught. The resurrection of German ·power is due to a large extent to the systematic activity of well organized pro-German groups which have exerted grow· ing influence on the political, economic and cultural life of the United States during the last ~~J~· .·. - We shall be very grateful to our readers if they would give us further information on any pro-German propaga11da activity wherever they find it.