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Ordinary Evil
The word "ordinary" holds a double meaning. In one sense, it refers to something inconsequential or everyday. In the second sense, "ordinary" refers to the absolute church authority of a bishop, archbishop, or priest. In the Catholic Church, these figures are to be trusted with deepest, darkest secrets. To their congregations, they can never do wrong-or can they? When a series of international and seemingly unrelated events lead to the brutal murder of a Catholic altar boy, conflicting notions of the law, obedience, forgiveness and revenge test the faith of several Roman Catholic priests and two Catholic women. With the boy's death comes scandal and pain for more than just the family who lost a son. In the aftermath of the horrific crime and with the revelation of sexual abuse in the church, ordinary people must now confront ordinary authority, uncovering a web of deceit that stretches from the towns and cities of New England all the way to the Vatican. Even the law cannot reveal all things. In the end, despite the terrible acts committed in his name, only God will ever know the truth.
Ordinary Evil
The word ordinary holds a double meaning. In one sense, it refers to something inconsequential or everyday. In the second sense, ordinary refers to the absolute church authority of a bishop, archbishop, or priest. In the Catholic Church, these figures are to be trusted with deepest, darkest secrets. To their congregations, they can never do wrongor can they? When a series of international and seemingly unrelated events lead to the brutal murder of a Catholic altar boy, conflicting notions of the law, obedience, forgiveness and revenge test the faith of several Roman Catholic priests and two Catholic women. With the boys death comes scandal and pain for more than just the family who lost a son. In the aftermath of the horrific crime and with the revelation of sexual abuse in the church, ordinary people must now confront ordinary authority, uncovering a web of deceit that stretches from the towns and cities of New England all the way to the Vatican. Even the law cannot reveal all things. In the end, despite the terrible acts committed in his name, only God will ever know the truth.
The Soundies
The 1940s saw a brief audacious experiment in mass entertainment: a jukebox with a screen. Patrons could insert a dime, then listen to and watch such popular entertainers as Nat "King" Cole, Gene Krupa, Cab Calloway or Les Paul. A number of companies offered these tuneful delights, but the most successful was the Mills Novelty Company and its three-minute musical shorts called Soundies. This book is a complete filmography of 1,880 Soundies: the musicians heard and seen on screen, recording and filming dates, arrangers, soloists, dancers, entertainment trade reviews and more. Additional filmographies cover more than 80 subjects produced by other companies. There are 125 photos taken on film sets, along with advertising images and production documents. More than 75 interviews narrate the firsthand experiences and recollections of Soundies directors and participants. Forty years before MTV, the Soundies were there for those who loved the popular music of the 1940s. This was truly "music for the eyes."
Evil and Givenness
Evil and Givenness: The Thanatonic Phenomenon provides a phenomenological study of evil in its conceptual integrity.Describing a phenomenological situation exclusive to evil in its distinct mode of givenness and manners of manifestation, the account of evil in this book centers on the thanatonic as that phenomenality proper to evil. Although situated within a phenomenology of givenness via Jean-Luc Marion, the thanatonic is distinguished from saturated phenomena by giving itself in a parasitic mode. Brian W. Becker identifies four figures as displaying characteristics of this parasitic givenness—trauma, evil eye, foreign-body, and abject—each expressing a dimension of the thanatonic and ...
American Icons
Despite the work that has been done on the power of visual communication in general, and about the social influence of television in particular, television’s relationship with reality is still something of a black box. Even today, the convention that the screen functions as a window on reality structures much of the production and reception of televisual narratives. But as reality ought to become history at one point, what are we to do with such windows on the past? Developing and applying a highly innovative approach to the modern picture, American Icons sets out to expose the historicity of icons, to reframe the history of the screen and to dissect the visual core of a medium that is still so poorly understood. Dismantling the aura of apparently timeless icons and past spectacles with their seductive power to attract the eye, this book offers new ways of seeing the mechanisms at work in our modern pictorial culture.
Annual Report
Reports for 1980-19 also include the Annual report of the National Council on the Arts.
