John Haynes – författare

In Style, John Haynes provides a lively introduction to the study of expression in relation to meaning. Style:* introduces readers to the key areas in the study of style through practical exercises* encourages an interest in and sensitivity to words and structures* enables students to recognize contrasts within and between texts* heightens awareness with regards to word choice, meaning, communicative purpose and stylistic convention* examines an enormous variety of text-types; both literary and non-literary, spoken and written* in addition to numerous exercises, contains suggestions for project work.

This book presents a comprehensive re-examination of the cinemas of the Soviet Union and Central and Eastern Europe during the communist era. It argues that, since the end of communism in these countries, film scholars are able to view these cinemas in a different way, no longer bound by an outlook relying on binary Cold War terms. With the opening of archives in Eastern Europe and the former Soviet Union, much more is known about these states and societies; at the same time, the field has been reinvigorated by its opening up to more contemporary concepts, themes and approaches in film studies and adjacent disciplines. Taking stock of these developments, this book presents a rich, varied tapestry, relating specific films to specific national and transnational circumstances, rather than viewing them as a single, monolithic "Cold War Communist" cinema.

Cinema has long been recognised as the privileged bridge between Soviet ideologies and their mass public. Recent feminist-oriented work has drawn out the symbolic role of women in Soviet culture, but, not surprisingly, men too were expected to play their part. In this first full-length study of masculinity in Stalinist Soviet cinema, John Haynes examines the ‘New Soviet Man’ not only as an ideal of masculinity presented to Soviet cinemagoers, but also, precisely, as a man in his specific, and hotly debated social, cultural and political context. A detailed analysis of Stalinist discourse sets the stage for an examination of the imagined relationship between the patriarch Stalin and his ‘model sons’ in the key genre cycles of the era: from the capital to the collective farms, and ultimately to the very borders of the Soviet state. Informed by contemporary and present day debates over the social and cultural significance of cinema and masculinity, New Soviet Man draws on a range of theoretical and comparative material to produce engaging and accessible readings accounting for both the appeal of, and the inherent potential for subversion within, films produced by the Stalinist culture industry. New Soviet Man will be widely read by students and specialists in the fields of film studies, Russian and Soviet studies, gender and modern European history.

Health and Physical Education provides readers with the knowledge, understanding and skills required to successfully teach health and physical education in Australia. With emphasis on the development of movement competence and health literacy from the early years to secondary, this book brings together research, theory, curriculum and pedagogy in an engaging introduction for pre-service teachers. Now in its fourth edition, Health and Physical Education has been thoroughly updated, and features a new chapter covering ethics, morals the and duty of care and their practical application in school health and physical education. Maintaining strong connections to learners of all ages, the text links closely to the Early Years Learning Framework and the recently updated Australian Curriculum: Health and Physical Education. Each chapter is framed by the five propositions of the Australian Curriculum: Health and Physical Education, and includes vignettes, activities and discussion and review questions to encourage reflection and group work.

This book presents a comprehensive re-examination of the cinemas of the Soviet Union and Central and Eastern Europe during the communist era. It argues that, since the end of communism in these countries, film scholars are able to view these cinemas in a different way, no longer bound by an outlook relying on binary Cold War terms. With the opening of archives in Eastern Europe and the former Soviet Union, much more is known about these states and societies; at the same time, the field has been reinvigorated by its opening up to more contemporary concepts, themes and approaches in film studies and adjacent disciplines. Taking stock of these developments, this book presents a rich, varied tapestry, relating specific films to specific national and transnational circumstances, rather than viewing them as a single, monolithic "Cold War Communist" cinema.

In Style, John Haynes provides a lively introduction to the study of expression in relation to meaning. Style:* introduces readers to the key areas in the study of style through practical exercises* encourages an interest in and sensitivity to words and structures* enables students to recognize contrasts within and between texts* heightens awareness with regards to word choice, meaning, communicative purpose and stylistic convention* examines an enormous variety of text-types; both literary and non-literary, spoken and written* in addition to numerous exercises, contains suggestions for project work.

Beginning in the late 1960s, John Earl Haynes and Harvey Klehr say, the study of communism in America was taken over by "revisionists" who have attempted to portray the U.S. as the aggressor in the Cold War and saw suspicion about the American Communist Party (CPUSA) as baseless "paranoia." In this intriguing book, they show how, years after the death of communism, the leading historical journals and many prominent historians continue to teach that America's rejection of the Party was a tragic error, that American Communists were actually unsung heroes working for democratic ideals, and that those anti-Communist liberals and conservatives who drove the CPUSA to the margins of American politics in the 1950s were malicious figures deserving condemnation. The focus of "In Denial" is what the authors call "lying about spying." Haynes and Klehr examine the ways in which revisionist scholars have ignored or distorted new evidence from recently-opened Russian archives about espionage links between Moscow and the CPUSA.They analyze the mythology that continues to suggest, against all evidence, that Alger Hiss, Julius Rosenberg, Harry Dexter White, Lauchlin Currie, and others who betrayed the United States were more sinned against than sinning. They set the record straight about the spies among us. Haynes and Klehr were the first U.S. historians who used the newly opened archives of the former Soviet Union to examine the history of American communism. "In Denial" is the record of what they discovered there. They show that while the international communist movement may be dead, conflict over the meaning of the communist experience in America is still very much with us.

Winner of the 2006 Costa Poetry AwardLetter to Patience is a book-length poem in iambic pentameter, set in 'Patience's Parlour', a small, mud-walled bar in northern Nigeria in 1993 – a time of political unrest. The writer of the letter has returned to Britain, with his Nigerian wife and children, to nurse his dying father.He writes to Patience, the bar's owner, a woman in her 30s who once lectured in politics at Ahmadu Bello University, across the main road from her bar. She gave up her job partly because of junta pressures on radical academics. The town is volatile – the bar was attacked by the so-called Ayatollahs and would have been burnt had it not backed onto the property of her Hausa landlord.There are also thoughtful and elegant digressions thrown up by the multiple narratives. The book is not merely biography or an essay on colonialism and post-colonialism, it is an epic portrayal of a beautiful and troubled country and one man's search for meaning in difficult times."A marvellous book, an exemplar of sorts; as for the virtuosity it is entirely at the service of a vision."George SzirtesJohn Haynes has had a long career in education, and was a lecturer at the Ahmadu Bello University in the 70s and 80s, where he founded the literary journal, Saiwa. After returning to the UK he has continued teaching, writing and publishing and his poems have appeared widely. Sections of Letter to Patience have been published in The London Magazine, Stand, Poetry Review, Ambit, Critical Quarterly and Poetry Wales. Haynes is the author of a number of books: on teaching, language theory, African Poetry and stories for African children, as well as two volumes of poetry. He has won prizes in the Arvon and National Poetry Competitions.

You is the new book-length long poem by Costa-Award winning poet, John Haynes. The 'You' of the title is the narrator's partner, wife of many years and the book is not just a celebration of and meditation on,personal love and devotion, but a record of how such love moves out of a family and is refracted out into the community and the wider world. The tensions inherent in this are compounded by the cross-cultural nature of the union. The narrator is a white British man and his wife was born and raised in Nigeria. Exploring a partnership based on culturally quite different - and in some aspects painfully incompatible - conceptions of 'love', the poem is knit together by philosophical theme of 'I' and 'you' seen from many perspectives. The Nigeria where the couple met is re-created with great sensitivity. Amidst the joy of their early love, we meet a number of characters in the African extended family and village and trace the early mission education of 'You', the death of her father, her family's strongly felt Christianity. The narrator observes and embraces both the harsh facts and the undeniable beauty of the northern Nigerian setting. A 'new' life in Britain offers its own contrasts and problems: exposure to racism, unfamiliar customs, homesickness, cold weather. The bringing up of children in a strange culture adds another thread of complexity to the theme of love. Much love poetry is based in the threat to that love, and in this long poem it is a threat that arises from the potential for misunderstanding posed by two kinds of love, one derived from 'romantic' courtly love, the other from communal values in the homestead, the hoe and the cooking fire. Written in an adaptation of a traditional 'Rhyme Royal' stanza used by Chaucer, Shakespeare, Auden and Yeats, Haynes nevertheless writes in beautifully clear English vernacular and this poem, set out in sections of three stanzas, flows unbroken from beginning to end.