Best remembered for the iconic classics Gone with the Wind (1939) and The Wizard of Oz (1939) to the silver screen, Victor Fleming also counted successful films such as Red Dust (1932), Captains Courageous (1937), Test Pilot (1939), Dr. Jekyll and Mr. Hyde (1941), and the groundbreaking Joan of Arc (1948) among his more than forty directing credits. One of the most sought-after directors in Hollywood's golden age, Fleming (1889--1949) was renowned for his ability to make films across a wide range of genres. In Victor Fleming: An American Movie Master, author Michael Sragow paints a comprehensive portrait of the talented and charismatic man who helped create enduring screen personas for stars such as Clark Gable, Spencer Tracy, and Gary Cooper.

Gustaf Aulen's classic work, 'Christus Victor', has long been a standard text on the atonement. Aulen applies history of ideas' methodology to historical theology in tracing the development of three views of the atonement. Aulen asserts that in traditional histories of the doctrine of the atonement only two views have usually been presented, the objective/Anselmian and the subjective/Aberlardian views. According to Aulen, however, there is another type of atonement doctrine in which Christ overcomes the hostile powers that hold humanity in subjection, at the same time that God in Christ reconciles the world to Himself. This view he calls the "classic" idea of the atonement. Because of its predominance in the New Testament, in patristic writings, and in the theology of Luther, Aulen holds that the classic type may be called the distinctively Christian idea of the atonement.

Few treatments of the death of Jesus Christ have made a point of accounting for the gruesome, degrading, public manner of his death by crucifixion, a mode of execution so loathsome that the ancient Romans never spoke of it in polite society. Rutledge probes all the various themes and motifs used by the New Testament evangelists and apostolic writers to explain the meaning of the cross of Christ. She shows how each of the biblical themes contributes to the whole, with the Christus Victor motif and the concept of substitution sharing pride of place along with Irenaeus's recapitulation model.

"A superb retelling of the story of Valley Forge and its aftermath, demonstrating that reality is far more compelling than myth." - Gordon S. Wood The defining moments of the American Revolution did not occur on the battlefield or at the diplomatic table, writes New York Times bestselling author Thomas Fleming, but at Valley Forge. Fleming transports us to December 1777. While the British army lives in luxury in conquered Philadelphia, Washington's troops huddle in the barracks of Valley Forge, fending off starvation and disease even as threats of mutiny swirl through the regiments. Though his army stands on the edge of collapse, George Washington must wage a secondary war, this one against the slander of his reputation as a general and patriot. Washington strategizes not only against the British army but against General Horatio Gates, the victor in the Battle of Saratoga, who has attracted a coterie of ambitious generals devising ways to humiliate and embarrass Washington into resignation. Using diaries and letters, Fleming creates an unforgettable portrait of an embattled Washington. Far from the long-suffering stoic of historical myth, Washington responds to attacks from Gates and his allies with the skill of a master politician. He parries the thrusts of his covert enemies, and, as necessary, strikes back with ferocity and guile. While many histories portray Washington as a man who has transcended politics, Fleming's Washington is exceedingly complex, a man whose political maneuvering allowed him to retain his command even as he simultaneously struggled to prevent the Continental Army from dissolving into mutiny at Valley Forge. Written with his customary flair and eye for human detail and drama, Thomas Fleming's gripping narrative develops with the authority of a major historian and the skills of a master storyteller. Washington's Secret War is not only a revisionist view of the American ordeal at Valley Forge - it calls for a new assessment of the man too often simplified into an American legend. This is narrative history at its best and most vital.

More than any other male movie star, the refined Clifton Webb (1889-1966) caused the moviegoing public to change its image of a leading man. In a day when leading men were supposed to be strong, virile, and brave, Clifton Webb projected an image of flip, acerbic arrogance. He was able to play everything from a decadent columnist (Laura) to a fertile father (Cheaper by the Dozen and The Remarkable Mr. Pennypacker), delivering lines in an urbanely clipped, acidly dry manner with impeccable timing. Long before his film career began, Webb was a child actor and later a suavely effete song-and-dance man in numerous Broadway musicals and revues. The turning point in his career came in 1941 when his good friend Noël Coward cast him in Blithe Spirit. Director Otto Preminger saw Webb's performance and cast him in Laura in 1944. Webb began to write his autobiography, but he said that he eventually had gotten “bogged down” in the process. However, he did complete six chapters and left a hefty collection of notes that he intended to use in the proposed book. His writing is as witty and sophisticated as his onscreen persona. Those six chapters, information and voluminous notes, and personal research by coauthor David L. Smith provide an intimate view of an amazingly talented man's life and times.

International Macroeconomics: Theory and Policy offers phenomenal coverage across the entire subject of international macroeconoimics in an open economy context. The book has four objectives: * to describe the evolution of and experiences with global exchange rate regimes * to introduce the reader to a rigorous analysis of open economy models * to apply the model framework to address key policy issues * to review individual country experiences of macro policy