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  United Arab Emirates Conquering...

  Sébastien Boussois

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  The United Arab Emirates has emerged in a few decades to sell itself as an enlightened, modern, liberal beacon in the midst of a dark and chaotic Arab world. As the first country in the region to implement a "Vision" (Abu Dhabi Vision 2030), the UAE quickly became a resounding success beyond its borders. This is the bright side. 
  The dark side: the UAE contributes to the stifling of democracies in Muslim countries. When they are not waging war, as in Yemen, they interfere, as no Arab power has done before, in the affairs of other countries, namely, Algeria, Egypt, Syria, Sudan, Tunisia. 
  Abu Dhabi does not care about the Arab revolutions - for ten years, the country has engaged in a powder keg policy, which heralds new dangers for the region's equilibrium.

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  Francisco Pizarro: A short...

  5 Minutes, 5 Minute Biographies,...

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  Francisco Pizarro, Spanish explorer and conqueror: Life and work in a short biography! Everything you need to know, brief and concise. Infotainment, education and entertainment at its best!

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  It Can’t Rain All the Time - The...

  Alisha Mughal

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  A passionate analysis of the ill-fated 1994 film starring the late Brandon Lee and its long-lasting influence on action movies, cinematic grief, and emotional masculinity
  		 
  Released in 1994, The Crow first drew in audiences thanks to the well-publicized tragedy that loomed over the film: lead actor Brandon Lee had died on set due to a mishandled prop gun. But it soon became clear that The Crow was more than just an accumulation of its tragic parts. The celebrated critic Roger Ebert wrote that Lee’s performance was “more of a screen achievement than any of the films of his father, Bruce Lee.”
  		 
  In It Can’t Rain All the Time, Alisha Mughal argues that The Crow has transcended Brandon Lee’s death by exposing the most challenging human emotions in all their dark, dramatic, and visceral glory, so much so that it has spawned three sequels, a remake, and an intense fandom. Eric, our back-from-the-dead, grieving protagonist, shows us that there is no solution to depression or loss, there is only our own internal, messy work. By the end of the movie, we realize that Eric has presented us with a vast range of emotions and that masculinity doesn’t need to be hard and impenetrable.
  		 
  Through her memories of seeking solace in the film during her own grieving period, Alisha brilliantly shows that, for all its gothic sadness, The Crow is, surprisingly and touchingly, a movie about redemption and hope.
  		 
  About the Pop Classics Series
  		 
  Short books that pack a big punch, Pop Classics offer intelligent, fun, and accessible arguments about why a particular pop phenomenon matters.

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  Why Do We Want to Dominate Or Be...

  Jiddu Krishnamurti

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  "Why do we want to dominate or be subservient to another? - 20 August 1949  
  • Why is it that we dominate, consciously or unconsciously? 
  • To submit oneself to another is the negative form of domination. We shall not 
  be able to solve this problem by thinking in terms of opposites. 
  • Is not domination a process of isolation, which denies relationship? 
  • Can there be relationship between two people if there is any sense of 
  domination or submissiveness? 
  • Q: Is not the experience of the past a help towards freedom and right action in 
  the present? 
  • Q: Is my believing in survival after death a hindrance to liberation through self- 
  knowledge? 
  • Q: Why is it certain individuals identify themselves with you or with your state 
  of being and thereby gain authority for themselves?"

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  Edvard Munch: A short biography...

  5 Minutes, 5 Minute Biographies,...

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  Edvard Munch, Norwegian painter and creator of the "Scream": Life and work in a short biography! Everything you need to know, brief and concise. Infotainment, education and entertainment at its best!

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  The Revolutionary Self - Social...

  Lynn Hunt

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  An illuminating exploration of the tensions between self and society in the age of revolutions. 
   
   
   
  The eighteenth century was a time of cultural friction: individuals began to assert greater independence and there was a new emphasis on social equality. In this surprising history, Lynn Hunt examines women's expanding societal roles, such as using tea to facilitate conversation between the sexes in Britain. In France, women also pushed boundaries by becoming artists, and printmakers' satiric takes on the elite gave the lower classes a chance to laugh at the upper classes and imagine the potential of political upheaval. Hunt also explores how promotion in French revolutionary armies was based on men's singular capabilities, rather than noble blood, and how the invention of financial instruments such as life insurance and national debt related to a changing idea of national identity. Wide-ranging and thought-provoking, The Revolutionary Self is a fascinating exploration of the conflict between individualism and the group ties that continues to shape our lives today.

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