Attorney Robert D. Blasier was on the O.J. Simpson Dream Team. Bob represented the Unabomber and hundreds of other high profile clients. Bob is a graduate of Harvard Law School and he says, "Sherman D. Manning is a student of the youth revolution. Sherman was mentored by Ambassador Andrew Young, Reverend Hosea Williams and other famous Americans. Sherman went from preaching in Switzerland and walking with Jesse Jackson to living in a jail-cell. Prison is a dark place " Blasier continues, "But in that dark and dangerous place Sherman was mentored by Chief Deputy Warden Terry L. Rosario and Patricia Kennedy, Captain Steve Vance, Associate Warden Fred Schroeder and Warden James "Jimbo" Walker. And with their guidance (via arguments, lectures and conferences, etc.) Sherman built Gang Bangers for God (G.B.G.) and HEART (Helping Educate at Risk Teens) from the ground up... G.B.G. is backed by Senate president Pro-Tem (Ret.) John Burton. Sherman's advisory board is directed by Franklin Curren, M.D. (a graduate of Harvard). A brilliant team of psychiatrists (i.e. C. Solis, M.D. and Jennifer Heitkamp, M.D.) and psychologists leads his team.... This book is a bright portrait of youths in prison, written and developed in Sherman's dark room ... Read this book "

In the last decade, reports of incest have exploded into the national consciousness. Magazines, talk shows, and mass market paperbacks have taken on the subject as many Americans, primarily women, have come forward with graphic memories of childhood abuse. Making Monsters examines the methods of therapists who treat patients for depression by working to draw out memories or, with the use of hypnosis, to encourage fantasies of childhood abuse the patients are told they have repressed. Since this therapy may leave the patient more depressed and alienated than before, questions are appropriately raised here about the ethics and efficacy of such treatment. In the last decade, reports of incest have exploded into the national consciousness. Magazines, talk shows, and mass market paperbacks have taken on the subject as many Americans, primarily women, have come forward with graphic memories of childhood abuse. Making Monsters examines the methods of therapists who treat patients for depression by working to draw out memories or, with the use of hypnosis, to encourage fantasies of childhood abuse the patients are told they have repressed. Since this therapy may leave the patient more depressed and alienated than before, questions are appropriately raised here about the ethics and efficacy of such treatment.

A leading scholar explores what it means to dehumanize othersÑand how and why we do it. ÒI wouldnÕt have accepted that they were human beings. You would see an infant whoÕs just learning to smile, and it smiles at you, but you still kill it.Ó So a Hutu man explained to an incredulous researcher, when asked to recall how he felt slaughtering Tutsis in Rwanda in 1994. Such statements are shocking, yet we recognize them; we hear their echoes in accounts of genocides, massacres, and pogroms throughout history. How do some people come to believe that their enemies are monsters, and therefore easy to kill? In Making Monsters David Livingstone Smith offers a poignant meditation on the philosophical and psychological roots of dehumanization. Drawing on harrowing accounts of lynchings, Smith establishes what dehumanization is and what it isnÕt. When we dehumanize our enemy, we hold two incongruous beliefs at the same time: we believe our enemy is at once subhuman and fully human. To call someone a monster, then, is not merely a resort to metaphorÑdehumanization really does happen in our minds. Turning to an abundance of historical examples, Smith explores the relationship between dehumanization and racism, the psychology of hierarchy, what it means to regard others as human beings, and why dehumanizing others transforms them into something so terrifying that they must be destroyed. Meticulous but highly readable, Making Monsters suggests that the process of dehumanization is deeply seated in our psychology. It is precisely because we are all human that we are vulnerable to the manipulations of those trading in the politics of demonization and violence.

We have always made monsters: in art, in myth, in religion; out of clay or bronze, pixels or hybrid flesh; from the stuff of human nightmares; by cursing women with bestial traits. This anthology brings together fiction and accessible academic writing in conversation about monsters and their roles in our lives-and ours in theirs.

About Making Monsters A political undercurrent exists that resembles cyberpunk. Sci-fi elements remain near future and fuse with horror fiction. Some tales have what may appear to be shock tactics, but these passages also build the story as a whole. The stories vary in length from short-short to tales at long story or short novella length. The book would be about 520 pages in regular paperback.

A study of the gruesome game characters we love to beat—and what they tell us about ourselves. Since the early days of video games, monsters have played pivotal roles as dangers to be avoided, level bosses to be defeated, or targets to be destroyed for extra points. But why is the figure of the monster so important in gaming, and how have video games come to shape our culture’s conceptions of monstrosity? To answer these questions, Player vs. Monster explores the past half-century of monsters in games, from the dragons of early tabletop role-playing games and the pixelated aliens of Space Invaders to the malformed mutants of The Last of Us and the bizarre beasts of Bloodborne, and reveals the common threads among them. Covering examples from aliens to zombies, Jaroslav Švelch explores the art of monster design and traces its influences from mythology, visual arts, popular culture, and tabletop role-playing games. At the same time, he shows that video games follow the Cold War–era notion of clearly defined, calculable enemies, portraying monsters as figures that are irredeemably evil yet invariably vulnerable to defeat. He explains the appeal of such simplistic video game monsters, but also explores how the medium could evolve to present more nuanced depictions of monstrosity.

A 2018 New York Times/New York Public Library Best Illustrated Children's Books On the bicentennial of Frankenstein, join Mary Shelley on the night she created the most frightening monster the world has ever seen. On a stormy night two hundred years ago, a young woman sat in a dark house and dreamed of her life as a writer. She longed to follow the path her own mother, Mary Wollstonecraft, had started down, but young Mary Shelley had yet to be inspired. As the night wore on, Mary grew more anxious. The next day was the deadline that her friend, the poet Lord Byron, had set for writing the best ghost story. After much talk of science and the secrets of life, Mary had gone to bed exhausted and frustrated that nothing she could think of was scary enough. But as she drifted off to sleep, she dreamed of a man that was not a man. He was a monster. This fascinating story gives readers insight into the tale behind one of the world's most celebrated novels and the creation of an indelible figure that is recognizable to readers of all ages. "Eye-catching artwork and engaging storytelling give this biography of a fascinating woman even more appeal."--Booklist

The Patristic Understanding of Creation encapsulates what the Church Fathers had to say, in their own words, on the topic of creation. Going back to Roman and Byzantine times, the writings of the Church Fathers are basic to Christian theology and provide a benchmark for how Christians have traditionally understood creation. This understanding of creation, however, faces tremendous challenges in our day, especially in discussions at the intersection of science and religion. Process theology and other efforts to reconceptualize creation have explicitly opposed key elements of the Christian doctrine of creation: creation ex nihilo, the transcendence and immanence of God in creation, “the absolute creatureliness and non-self-sufficiency of the world" (to use a phrase of Fr. Georges Florovsky), the goodness of creation, and the openness of the world to divine action. All of these the Church Fathers not only held but also ably defended. This anthology is therefore not merely of academic or historical interest. In reasserting a theologically sound understanding of creation, this anthology fills a need that is both practical and urgent.

The Routledge Companion to Cinema and Politics brings together forty essays by leading film scholars and filmmakers in order to discuss the complex relationship between cinema and politics. Organised into eight sections - Approaches to Film and Politics; Film, Activism and Opposition; Film, Propaganda, Ideology and the State; The Politics of Mobility; Political Hollywood; Alternative and Independent Film and Politics; The Politics of Cine-geographies and The Politics of Documentary - this collection covers a broad range of topics, including: third cinema, cinema after 9/11, eco-activism, human rights, independent Chinese documentary, film festivals, manifestoes, film policies, film as a response to the post-2008 financial crisis, Soviet propaganda, the impact of neoliberalism on cinema, and many others. It foregrounds the key debates, concepts, approaches and case studies that critique and explain the complex relationship between politics and cinema, discussing films from around the world and including examples from film history as well as contemporary cinema. It also explores the wider relationship between politics and entertainment, examines cinema’s response to political and social transformations and questions the extent to which filmmaking, itself, is a political act.

Draws on recent scientific discoveries to analyze canine character, in a reference that explains how to assess a dog's specific traits and promote desirable behavior.