Bøger af Martin Bell

Former BBC correspondent's graphic personal account of National Service with the Suffolk Regiment in the 1950s based on the letters he wrote home to his family at the time.

In this beautifully wrought novel, Martin Bell weaves a tale of love, loss, and redemption set against the backdrop of the American South during the turbulent years of the Civil War. The eponymous heroine, Julia Howard, is a brave and passionate young woman who finds herself torn between loyalty to her family and her deepening love for a Union soldier. With its vivid characters, expertly rendered historical setting, and powerful emotional resonance, this book is a standout in the genre of historical romance.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Warum Leichen etwas Wunderbares sind - was den Helden mit dem Fürsten der Finsternis verbindet -- warum seine Geliebte den besten Sex beim Hexen hat - wieso Vampire alkoholfreies Blut bevorzugen - wann Dämonen peinlich berührt sind...Am Beispiel der "Dämonenkiller"-Serie analysiert die Untersuchung Bauformen und Inhalte der 'Trivial'literatur. Statt ihrem Gegenstand einen Sonderstatus zuzuweisen, der ihn jenseits des Literarischen und damit auch jenseits des literatur-wissenschaftlich Fassbaren ansiedelt, nähert sie sich ihm als einem fiktionalen Text, an dem sich die Wirksamkeit des literaturwissenschaftlichen Instrumentariums erproben lässt. Sprache und Erzählstrukturen stehen dabei ebenso im Blickpunkt wie Figurenzeichnung und Handlungsmuster sowie die Ideologeme, die sich in ihnen verwirklichen. "Hervorzuheben ist das stilistische Geschick des Verfassers, das von der ironischen und doch anschaulichen Paraphrase über die scharfsinnige, manchmal brillante Enthüllung von ästhetischer wie ideologischer Bodenlosigkeit bis zu einer Polemik reicht, die sich noch aufs Argumentieren versteht."Professor Bernhard Spies (em.), Deutsches Institut, Mainz"... von hohem intellektuellen Niveau... gewandte, oft sogar brillante Formulierungskunst..."Professor Dieter Kafitz (+), Deutsches Institut, Mainz

Im Mythos von Sisyphos zeichnet der französische Existentialist Albert Camus das Bild des absurden Menschen. Der Mensch fragt, aber die Welt schweigt; er will dauern, aber er muss sterben. Diese Erkenntnis macht jedes Streben, jedes Planen auf eine Zukunft hin sinnlos: Das Dasein ist absurd.Verlangt die Erkenntnis der Sinnlosigkeit, dem Leben ein Ende zu setzen? Camus verneint das. Und entwickelt stattdessen ein Konzept des vivre le plus: so lange und so intensiv wie möglich zu leben - nicht obwohl, sondern weil das Leben sinnlos ist.Allein: Lässt sich diese Schlussfolgerung tatsächlich aus der Idee des Absurden herleiten?

Wenn die Jukebox im Hessischen Rundfunk lief (1986-1990), riefen bis zu 40.000 Hörer im Studio an. Ein sonderbares Format. Denn die Jukebox war de facto eine Wunschmusiksendung ohne Wunschmusik. Mit Gesprächen ohne Gesprächsgrundlage. Mit Anrufern, die kaum etwas über die Lippen brachten. Und mit Moderatoren, die fortwährend redeten - obwohl sie nur versuchten, den Anrufern das Wort zu überlassen.Eine Radioshow als Tummelplatz kurioser Erscheinungen. Auch aus Sicht der Sprachwissenschaft: Martin Bells Gesprächsanalyse fördert eigentümliche Strukturen und unerwartetes Sprachverhalten zutage. Inklusive Textkorpus mit acht verschrifteten Jukebox-Gesprächen.

Following a sixty-year journey from war to peace, from soldier to UNICEF ambassador, Martin Bell reflects on war and peacekeeping, and where they stand today

New Labour failed to keep its promise to be 'whiter than white'. Their record in office and abuse of trust have proved a bitter disappointment for millions who believed this pledge to clean up politics. This book is an analysis of a decade of deception, dishonesty and abuse of power.

Addresses the interaction between human agency and other environmental factors in the landscapes, particularly of the temperate zone. Taking an ecological approach, the authors cover the last 20,000 years during which the climate has shifted from arctic severity to the conditions of the present interglacial environment.

Martin Bell OBE has been many things - an icon of BBC war reporting, Britain's first independent MP for 50 years, a UNICEF ambassador, and 'the man in the white suit' - a tireless campaigner for honesty and accountability in politics.But as For Whom the Bell Tolls reveals, he's also a poet of light verse, and here Bell's poems continue his war by other means on duplicitous politicians, our all-consuming media, the venality of celebrity culture and much more. The earliest poem here was written when Martin was 19; the most recent cover the riots of August 2011, the phone-hacking scandal and the 'Arab spring'.Oscillating between trenchant satire and touching honesty with often poignant autobiography spiced with gentle humour, Bell presents poems on Tony Blair and Iraq, on Serbian war criminal Radovan Karadzic, on his hero, Reuters reporter Kurt Schork, and colourful episodes from his work and life, from the chart-topping calypso written about him in St Lucia to his being a guest at Idi Amin's wedding:'...that by God / Was well worth doing, if distinctly odd.'

The revelations over MPs' expenses that began in May 2009 ranged from petty thieving to outright fraud and sparked a crisis in confidence unprecedented in modern times. This was a 21st-century Peasants' Revolt - an uprising of the people against the political class. Ordinary men and women with political views across the spectrum were by turns amused, incredulous, shocked and then bitterly angry as the disclosures on MPs' expenses flooded out. From Home Secretary Jacqui Smith's bath plug to Conservative MP Sir John Butterfill's 'flipping' of his constituency home - a now-notorious manoeuvre that required him to refund GBP60,000 to the taxpayer - the exposure of MPs' expenses revealed Westminster's culture of quiet corruption like never before. Drawing on his experience as an MP and as a member of the Committee on Standards and Privileges, Martin Bell explains how the expenses crisis arose and, most compellingly, lays out his prescription for healing the deep wounds inflicted by the scandal. As Martin puts it: 'The revolution will not be complete until all the rogues in the House are gone and public confidence in the MPs remaining is restored.' This is truly a once-in-a-lifetime opportunity to revive British politics, and the rebuilding starts here.

Explores how we identify and interpret patterns of movement in prehistory.

One of the outstanding journalists of our time provides a moving, personal account of war and issues an impassioned call to put the substance back in our news

Born in Hampshire in 1918, Martin Bell was the leading member of the 'lost generation' of English poets whose careers were interrupted by the War. He was a prominent member of The Group during the fifties, and a major influence on younger poets like Peter Redgrove and Peter Porter. His poetry reached a wide audience during the sixties through Penguin Modern Poets, and in 1967 he published his Collected Poems,1937-1966, his first and last book. Bell was also a champion and brilliant translator of French Surrealist poets. He died in poverty in Leeds in 1978. Like other 'provincial' working-class contemporaries, Bell wrote fantastical, highly erudite, biting, belligerent poetry. And yet - as Philip Hobsbaum said - he also wrote 'some of the most delicate love poems of our time' as well as 'one of the major war poems in the language'. A. Alvarez called him 'an emotional tightrope walker... He writes a rather bitter, tensely colloquial verse based, it seems, on a radical dislike for both himself and pretty much everything else.'