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Scouse Pop is a journey into the personalities and music of the successful pioneering Liverpool pop bands of the late seventies and eighties. It examines their motivations, their uniqueness and the routes to success which made them into enduring musical innovators. It looks at the reasons why art-pop bands such as OMD, China Crisis, Echo and the Bunnymen, Black and Frankie Goes to Hollywood managed to combine art and commerce with such spectacular success. The bands experienced their own 'revolutions in the head, ' internal revolutions than eventually made many of them household names. The development of these suburban romantics from Liverpool represented a period of intensive creativity and musical romanticism that still resonates today. The spirit of (internal) revolution at the heart of these bands retains a strong fascination for those interested in artistic creation and popular culture. Given the bleak and uninspiring context within which the bands surfaced, how did these musicians achieve great success? Scouse Pop explores this question in detail, and examines the factors that facilitated the transformation of Liverpool teenage dreams into commercial and cultural impact. The music industry, radio and DJs, producers and engineers, the record-buying public and the bands themselves comprise the heart of this account.

The sharp and unforgiving suffering of the morally injured veteran cannot be fully understood, much less effectively addressed, without a comprehensive investigation of moral injury’s underlying causes in American culture and society.And Then Your Soul is Gone exposes the threads of violence that tie together the naturalized dynamics of U.S. ways of war and militarization with collective practices of national distraction and self-deception. It shows how these same threads of violence are also tightly woven and sacralized in the tapestry of U.S. national identity, tragically concealing moral injury from greater consciousness, and sourcing its toxic growth in the very lives of those the nation claims it most highly esteems, our military service members and veterans.Drawing on Claudia Card’s philosophical framework, moral injury here is characterized as an atrocity, “a foreseeable intolerable harm caused by culpable wrongdoing.” These atrocities are shown to be flash-points revealing important truths regarding the unlivable consequences of U.S. war-culture and highlighting the urgent need to rethink the meaning of U.S. nationalism, desacralize violence, and support life.And Then Your Soul is Gone will be of interest to students and scholars of religion and philosophy, military service members and veterans, concerned citizens, chaplains and religious leaders.

The sharp and unforgiving suffering of the morally injured veteran cannot be fully understood, much less effectively addressed, without a comprehensive investigation of moral injury’s underlying causes in American culture and society.And Then Your Soul is Gone exposes the threads of violence that tie together the naturalized dynamics of U.S. ways of war and militarization with collective practices of national distraction and self-deception. It shows how these same threads of violence are also tightly woven and sacralized in the tapestry of U.S. national identity, tragically concealing moral injury from greater consciousness, and sourcing its toxic growth in the very lives of those the nation claims it most highly esteems, our military service members and veterans.Drawing on Claudia Card’s philosophical framework, moral injury here is characterized as an atrocity, “a foreseeable intolerable harm caused by culpable wrongdoing.” These atrocities are shown to be flash-points revealing important truths regarding the unlivable consequences of U.S. war-culture and highlighting the urgent need to rethink the meaning of U.S. nationalism, desacralize violence, and support life.And Then Your Soul is Gone will be of interest to students and scholars of religion and philosophy, military service members and veterans, concerned citizens, chaplains and religious leaders.

This volume explores the interaction between text and image in Indian Buddhist contexts, including not only the complex relationship between verbal stories and visual representations at Indian sites, but also the ways in which visual imagery is used within textual narratives. The chapters are authored by a mixture of textual scholars and art historians, bringing together different disciplinary perspectives in order to seek a richer understanding of how text and art relate, and of the role of narrative imagery in different media and contexts. The book opens with an introduction that explores what narratives and visual narratives are, and why we might want to study narrative images alongside imagery-rich literary narratives. The volume is then divided into three parts. The chapters in Part I: Visual Narratives (Zaghet, Reddy, Zin) explore visual depictions of stories in their own right; those in Part II: Narrative Networks (Mace, Appleton & Clark, Strong) seek to understand the relationship between specific visual and verbal narratives; and those in Part III: Narrative Visions (Gummer, Fiordalis, Walters) primarily investigate how visual imagery and visualisation work in textual narratives. The volume seeks to bridge the divide that traditionally exists between textual scholars and art historians, and to challenge the contributors to think beyond the usual boundaries of our work.

This volume explores the interaction between text and image in Indian Buddhist contexts, including not only the complex relationship between verbal stories and visual representations at Indian sites, but also the ways in which visual imagery is used within textual narratives. The chapters are authored by a mixture of textual scholars and art historians, bringing together different disciplinary perspectives in order to seek a richer understanding of how text and art relate, and of the role of narrative imagery in different media and contexts. The book opens with an introduction that explores what narratives and visual narratives are, and why we might want to study narrative images alongside imagery-rich literary narratives. The volume is then divided into three parts. The chapters in Part I: Visual Narratives (Zaghet, Reddy, Zin) explore visual depictions of stories in their own right; those in Part II: Narrative Networks (Mace, Appleton & Clark, Strong) seek to understand the relationship between specific visual and verbal narratives; and those in Part III: Narrative Visions (Gummer, Fiordalis, Walters) primarily investigate how visual imagery and visualisation work in textual narratives. The volume seeks to bridge the divide that traditionally exists between textual scholars and art historians, and to challenge the contributors to think beyond the usual boundaries of our work.

Stimulated by the vast scholarly output of James Lewis, experts opine on violence, conspiracies, and new religious movements. On violence, Mark Juergensmeyer explains his "epistemic worldview analysis" in interviewing religious terrorists; Michael Barkun describes transnational conspiracy theories such as the Sovereign Citizens Movement and QAnon; David Bromley highlights the "lost cause movement" which built up confederate identity for Southerners long after the Civil War; Mattias Gardell explores the link between bibliocaust and holocaust from 1499 Granada through the National Socialists of WWII to the Qur'an burnings of Rasmus Paladan in contemporary Sweden. On new religious movements, Rebecca Moore critiques the reputed pathology of the leader in "suicide cults," the problem with "monolithic inferences" in examining members' willingness to die, and the elusiveness of comparative new religions to rigid stereotyping; Catherine Wessinger investigates the extraordinary charisma of David Koresh of the Branch Davidians at Waco, 76 of whom died in the 1993 conflagration with U.S. agents. On media and the law, Carole Cusack traces arguments about religious dress codes in liberal versus illiberal societies; Stefano Bigliardi and his students point out the misleading portrayal of religious sects in films; Zang Xinzhang clarifies the Chinese concept of Xie Jiao in application to Falun Gong. Margo Kitts summarizes the stellar contributions in the introduction.