hospice, the records provide a detailed account of her experiences studying and caring for dying people and their families in the late 1960s and early 1970s. Compiled largely by Florence Wald, the founder of the first U.S. Using a unique set of records, Prelude to Hospice expands our understanding of the history of U.S. Abel provides insight into several important issues surrounding the growth of hospice care. Viewing death as a natural event, hospices seek to enable people approaching mortality to live as fully and painlessly as possible. Hospices have played a critical role in transforming ideas about death and dying. Prelude to Hospice: Florence Wald, Dying People, and their Families
Raising Your Kids Right dispels lingering societal attitudes that narratives for young readers are unworthy of serious political study by examining a variety of texts that offer information, ideology, and even instructions on how to raise kids right, not just figuratively but politically. Highlighting the works of William Bennett, Lynne Cheney, Bill O'Reilly, and others, Michelle Ann Abate brings together such diverse fields as cultural studies, literary criticism, political science, childhood studies, brand marketing, and the cult of celebrity. Yet the Truax character, and the book of the same name, is just one example of a growing genre of conservative-themed narratives for young readers spawned by the continuing strength of the American political right. The book's young readers, and their parents, would likely be surprised by the emergence of a new character, Truax, a kindly logger created by a longtime employee of the wood products industry, who, not surprisingly, has a far different viewpoint to share. Seuss's classic character the Lorax has delighted children for decades while passing along a powerful message about environmental responsibility. Raising Your Kids Right: Children's Literature and American Political Conservatism As a genre of witnessing, these graphic stories, in retracing the traumatic tracks of memory, inscribe the weight of history on generations that follow. Examined together, these intergenerational works bridge the erosions created by time and distance. The intergenerational dialogue established by Aarons’ reading of these narratives speaks to the on-going obligation to bear witness to the Holocaust.
In recreating moments of traumatic rupture, dislocation, and disequilibrium, these graphic narratives contribute to the evolving field of Holocaust representation and establish a new canon of visual memory. Employing memory as her controlling trope, Aarons analyzes the work of the graphic novelists and illustrators, making clear how they extend the traumatic narrative of the Holocaust into the present and, in doing so, give voice to survival in the wake of unrecoverable loss. In Holocaust Graphic Narratives, Victoria Aarons demonstrates the range and fluidity of this richly figured genre. Holocaust Graphic Narratives: Generation, Trauma, and Memory It is the first full-length study of recent developments in queer cinema that combines indispensable discussions of central issues with exciting new work by key writers. With a critical eye to its uneasy relationship to the mainstream, New Queer Cinema explores the aesthetic, sociocultural, political, and, necessarily, commercial investments of the movement. Chapters address the work of pivotal directors (such as Todd Haynes and Gregg Araki) and salient films (including Paris is Burning and Boys Don’t Cry), as well as unconventional and non-Anglo-American work (experimental filmmaking and third world cinema).
The volume is divided into four sections: defining “new queer cinema,” assessing its filmmakers, examining geographic and national differences, and theorizing spectatorship. New Queer Cinema: A Critical Reader provides a definitive and highly readable guide to the development of this important and controversial film movement. Why did this shift take place? Was it political gains, cultural momentum, or market forces that energized the evolution and transformation of this cinematic genre? Coined in the early 1990s to describe a burgeoning film movement, “New Queer Cinema” has turned the attention of film theorists, students, and audiences to the proliferation of intelligent, stylish, and daring work by lesbian and gay filmmakers within independent cinema and to the infiltration of “queer” images and themes into the mainstream.