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The M. H. Ross Papers contain information pertaining to labor, politics, social issues of the twentieth century, coal mining and its resulting lifestyle, as well as photographs and audio materials. The collection is made up of five different accessions; L2001-05, which is contained in boxes one through 104, L2002-09 in boxes 106 through 120, L2006-16 in boxes 105 and 120, L2001-01 in boxes 120-121, and L2012-20 in boxes 122-125. The campaign materials consist of items from the 1940 and 1948 political campaigns in which Ross participated. These items include campaign cards, posters, speech transcripts, news clippings, rally materials, letters to voters, and fliers. Organizing and arbitration materials covers labor organizing events from "Operation Dixie" in Georgia, the furniture workers in North Carolina, and the Mine-Mill workers in the Western United States. Organizing materials include fliers, correspondence, news articles, radio transcripts, and some related photos. Arbitration files consist of agreements, decisions, and agreement booklets. The social and political research files cover a wide time period (1930's to the late 1970's/early 1980's). The topics include mainly the Ku Klux Klan, racism, Communism, Red Scare, red baiting, United States history, and literature. These files consist mostly of news and journal articles. Ross interacted with coal miners while doing work for the United Mine Workers Association (UMWA) and while working at the Fairmont Clinic in West Virginia. Included in these related files are books, news articles, journals, UMWA reports, and coal miner oral histories conducted by Ross. Tying in to all of the activities Ross participated in during his life were his research and manuscript files. He wrote numerous newspaper and journal articles on history and labor. Later, as he worked for the UMWA and at the Fairmont Clinic, he wrote more in-depth articles about coal miners, their lifestyle, and medical problems they faced (while the Southern Labor Archives has many of Ross's coal mining and lifestyle articles, it does not have any of his medical articles). Along with these articles are the research files Ross collected to write them, which consist of notes, books, and newspaper and journal articles. In additional to his professional career, Ross was adamant about documenting his and his wife's family history in the oral history format. Of particular interest are the recordings of his interviews with his wife's family - they were workers, musicians, and singers of labor and folk songs. Finally, in this collection are a number of photographs and slides, which include images of organizing, coal mining (from the late 19th through 20th centuries), and Appalachia. Of note is a small photo album from the 1930s which contains images from the Summer School for Workers, and more labor organizing. A few audio items are available as well, such as Ross political speeches and an oral history in which Ross was interviewed by his daughter, Jane Ross Davis in 1986. All photographic and audio-visual materials are at the end of their respective series. ; Myron Howard "Mike" Ross was born November 9, 1919 in New York City. He dropped out of school when he was seventeen and moved to Texas, where he worked on a farm. From 1936 until 1939, Ross worked in a bakery in North Carolina. In the summer of 1938, he attended the Southern School for Workers in Asheville, North Carolina. During the fall of 1938, Ross would attend the first Southern Conference on Human Welfare in Birmingham, Alabama. He would attend this conference again in 1940 in Chattanooga, Tennessee. From 1939 to 1940, Ross worked for the United Mine Workers Non-Partisan League in North Carolina, working under John L. Lewis. He was hired as a union organizer by the United Mine Workers of America, and sent to Saltville, Virginia and Rockwood, Tennessee. In 1940, Ross ran for a seat on city council on the People's Platform in Charlotte, North Carolina. During this time, he also married Anne "Buddie" West of Kennesaw, Georgia. From 1941 until 1945, Ross served as an infantryman for the United States Army. He sustained injuries near the Battle of the Bulge in the winter of 1944. From 1945 until 1949, Ross worked for the International Union of Mine, Mill and Smelter Workers, then part of the Congress of Industrial Organizations (CIO), as a union organizer. He was sent to Macon, Georgia, Savannah, Georgia and to Winston-Salem, North Carolina, where he worked with the United Furniture Workers Union. He began handling arbitration for the unions. In 1948, Ross ran for United States Congress on the Progressive Party ticket in North Carolina. He also served as the secretary for the North Carolina Progressive Party. Ross attended the University of North Carolina law school from 1949 to 1952. He graduated with honors but was denied the bar on the grounds of "character." From 1952 until 1955, he worked for the Mine, Mill and Smelter Workers as a union organizer, first in New Mexico (potash mines) and then in Arizona (copper mines). From 1955 to 1957, Ross attended the Columbia University School of Public Health. He worked for the United Mine Workers of America Welfare and Retirement Fund from 1957 to 1958, where he represented the union in expenditure of health care for mining workers. By 1958, Ross began plans for what would become the Fairmont Clinic, a prepaid group practice in Fairmont, West Virginia, which had the mission of providing high quality medical care for miners and their families. From 1958 until 1978, Ross served as administrator of the Fairmont Clinic. As a result of this work, Ross began researching coal mining, especially coal mining lifestyle, heritage and history of coal mining and disasters. He would interview over one hundred miners (coal miners). Eventually, Ross began writing a manuscript about the history of coal mining. Working for the Rural Practice Program of the University of North Carolina from 1980 until 1987, Ross taught in the medical school. M. H. Ross died on January 31, 1987 in Chapel Hill, North Carolina. ; Digitization of the M. H. Ross Papers was funded by the National Historical Publications and Records Commission.

Der Beitrag untersucht den Heldenmythos, der im Irakkrieg von 2003 um die US-Soldatin Jessica Lynch gesponnen wurde. Dabei war die Tatsache, dass Jessica Lynch nicht nur jung, sondern auch blond und hübsch ist, ein wesentliches Element des Propaganda-Erfolges. Die Parameter des Umfeldes, in dem "Jessica Lynch" zu einer Schöpfung der Kriegspropagandisten gemacht werden konnte, werden erläutert. Das Propaganda-Instrument "Lüge" und der Topos des Helden, gefolgt von den strategischen Maßnahmen, um die Lüge als wahr erscheinen zu lassen, bilden den Begründungszusammenhang für das Erscheinen der "Heldin". In der Person von Jessica Lynch trafen verschiedene Topoi zusammen und erklären das hohe Maß an Aufmerksamkeit, das ihr zuteil wurde. Sie war für die Propaganda-Experten der ideale "Schlüsselreiz", um positive Aufmerksamkeit für den Krieg zu bekommen. "Jessica Lynch repräsentiert die Figur der 'Anima' als junge Frau auf vollendete Weise. Der Eindruck dieser Gestalt, mit allem was sie verbal und nonverbal kommuniziert hat, war in der Atmosphäre eines von Angst vor weiteren Terroranschlägen überlagerten Patriotismus wahrscheinlich noch stärker als mit den gegebenen analytischen Mitteln erfasst werden konnte. (UN)

Niel Lynch discusses his career in politics including a positive experience with the Anaconda Company, lobbyists like Lloyd Crippen, his relationships with governors including Forrest Anderson and Tom Judge, serving as the Montana Senate majority leader, and legislators he knew such as Gordon McOmber and Dave Manning. ; https://scholarworks.umt.edu/brown/1035/thumbnail.jpg

From his cult classic television series Twin Peaks to his most recent film Inland Empire (2006), David Lynch is best known for his unorthodox narrative style. An award-winning director, producer, and writer, Lynch distorts and disrupts traditional storylines and offers viewers a surreal, often nightmarish perspective. His unique approach to filmmaking has made his work familiar to critics and audiences worldwide, and he earned Academy Award nominations for Best Director for The Elephant Man (1980), Blue Velvet (1986), and Mulholland Drive (2001). Lynch creates a new reality for both characters and audience by focusing on the individual and embracing existentialism. In The Philosophy of David Lynch, editors William J. Devlin and Shai Biderman have compiled an impressive list of contributors to explore the philosophy at the core of the filmmaker's work. Lynch is examined as a postmodern artist, and the themes of darkness, logic, and time are discussed in depth. Other prominent issues in Lynch's films, such as Bad faith and freedom, ethics, politics, and religion, are also considered. Investigating myriad aspects of Lynch's influential and innovative work, The Philosophy of David Lynch provides a fascinating look at the philosophical underpinnings of the famous cult director. ; https://vc.bridgew.edu/fac_books/1111/thumbnail.jpg

Kevin Lynchs Studie "The Image of the City" (erschienen 1960, deutsch 1965 als "Das Bild der Stadt", Bauwelt Fundamente Bd. 16, seither mehrfach wiederaufgelegt) gilt als bahnbrechend. Sie thematisiert die Stadt aus der Perspektive ihrer Bewohner. Der Autor hat weit über seine eigene Disziplin hinaus gewirkt und unter anderem Forschungsdebatten in der kognitiven Psychologie und der Wahrnehmungsgeographie maßgeblich geprägt.Die Frage, warum "The Image of the City" auch 50 Jahre nach seiner Erstveröffentlichung nicht nur für Fachhistoriker wichtig ist, beantwortet Jörg Seifert in seiner eingehenden Re-Lektüre des Buches. Der von heute aktuellen Fragen ausgehende Blick zurück vergegenwärtigt nicht nur ein wichtiges Kapitel internationaler Städtebaugeschichte, er liefert auch Erkenntnisse zur gesellschaftlichen Verortung von Architektur und Urban Design im 21. Jahrhundert.Jörg Seifert stützt sich auf Lynchs umfassenden wissenschaftlichen Nachlass, auf externe Studien und Archivmaterialien aus dem Massachusetts Institute of Technology (MIT): auf Kartenskizzen, Briefwechsel, Fotodokumentationen und Interviewfragmente, die in Teilen eine Neubewertung von Lynchs Arbeit nahelegen.

Wird Zeit aus der engen Form des linearen Zeitverlaufs entlassen, dann folgen Ereignisse nicht mehr aufeinander und Wirkungen nicht mehr auf Ursachen - dann weicht die Eindeutigkeit des Geschehens einem Spiel der Möglichkeiten. Diese Idee kennzeichnet sowohl das Denken von Henri Bergson und Gilles Deleuze als auch das Filmschaffen von David Lynch. Kerstin Volland stellt am Beispiel dieses Denkens Theorie, Methode und Forschungsweise der Filmanalyse dar. Aus medienpädagogischer Sicht zeigt sie auf, wie sich Zeit im Film ausschließlich durch das subjektive Erleben offenbart.