Human rights offer a vision of international justice that today’s idealistic millions hold dear. Yet the very concept on which the movement is based became familiar only a few decades ago when it profoundly reshaped our hopes for an improved humanity. In this pioneering book, Samuel Moyn elevates that extraordinary transformation to center stage and asks what it reveals about the ideal’s troubled present and uncertain future. For some, human rights stretch back to the dawn of Western civilization, the age of the American and French Revolutions, or the post–World War II moment when the Universal Declaration of Human Rights was framed. Revisiting these episodes in a dramatic tour of humanity’s moral history, The Last Utopia shows that it was in the decade after 1968 that human rights began to make sense to broad communities of people as the proper cause of justice. Across eastern and western Europe, as well as throughout the United States and Latin America, human rights crystallized in a few short years as social activism and political rhetoric moved it from the hallways of the United Nations to the global forefront. It was on the ruins of earlier political utopias, Moyn argues, that human rights achieved contemporary prominence. The morality of individual rights substituted for the soiled political dreams of revolutionary communism and nationalism as international law became an alternative to popular struggle and bloody violence. But as the ideal of human rights enters into rival political agendas, it requires more vigilance and scrutiny than when it became the watchword of our hopes.

Includes the Aerial Warfare In Europe During World War II illustrations pack with over 180 maps, plans, and photos. Gen Henry H. “Hap.” Arnold, US Army Air Forces (AAF) Chief of Staff during World War II, maintained diaries for his several journeys to various meetings and conferences throughout the conflict. Volume 1 introduces Hap Arnold, the setting for five of his journeys, the diaries he kept, and evaluations of those journeys and their consequences. General Arnold’s travels brought him into strategy meetings and personal conversations with virtually all leaders of Allied forces as well as many AAF troops around the world. He recorded his impressions, feelings, and expectations in his diaries. Maj Gen John W. Huston, USAF, retired, has captured the essence of Henry H. Hap Arnold—the man, the officer, the AAF chief, and his mission. Volume 2 encompasses General Arnold’s final seven journeys and the diaries he kept therein.

This book explores examples of this process of invention and addresses the complex interaction of past and present in a fascinating study of ritual and symbolism.

The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.

Want To Find Your Voice? Learn from the Best. Time and time again you've been told to find your own unique writing style, as if it were as simple as pulling it out of thin air. But finding your voice isn't easy, so where better to look than to the greatest writers of our time? Write Like the Masters analyzes the writing styles of twenty-one great novelists, including Charles Dickens, Edith Wharton, Franz Kafka, Flannery O'Connor, and Ray Bradbury. This fascinating and insightful guide shows you how to imitate the masters of literature and, in the process, learn advanced writing secrets to fire up your own work. You'll discover: • Herman Melville's secrets for creating characters as memorable as Captain Ahab • How to master point of view with techniques from Fyodor Dostoevesky • Ways to pick up the pace by keeping your sentences lean like Ernest Hemingway • The importance of sensual details from James Bond creator Ian Fleming • How to add suspense to your story by following the lead of the master of horror, Stephen King Whether you're working on a unique voice for your next novel or you're a composition student toying with different styles, this guide will help you gain insight into the work of the masters through the rhetorical technique of imitation. Filled with practical, easy-to-apply advice, Write Like the Masters is your key to understanding and using the proven techniques of history's greatest authors.