Discover who’s who and what’s what in the Star Wars universe with this beautifully illustrated guide–now in full color for the first time. When it comes to extraterrestrial life-forms, there’s more to science fiction’s most famous galaxy than just Jawas, Wookiees, Ewoks, and Hutts. From the skylanes of Coruscant to the worlds of the Outer Rim, an untold number of species populate those planets far, far away. And if you confuse Gungans with Gamorreans, or don’t know a bantha from a tauntaun, you definitely need the in-depth data that only this revised, expanded, and updated guide can deliver. This comprehensive overview includes beings from all six of the classic movies–plus the novels, cartoon series, comics, and video games. It’s an even bigger cross section of species than what you’ll find in the Mos Eisley cantina. And each entry, from acklay to Zabrak, from amphibians to vacuum-breathers, features everything you need to know, including • complete physical description and official designation, so you can tell your sentients from your non-sentients, and your humanoids from your insectoids • homeworld: from dry and dusty Tatooine, stormy and waterlogged Kamino, to arctic Hoth, and countless other strange and varied worlds • phonetic pronunciation: Askajian, H’nemthe, Iktotchi, Ssi-ruu, and Xexto/Quermian aren’t as easy to say as they are to, er, spell • notable appearance: a listing of one of the more significant appearances of each species in the teeming Star Wars storyline Plus, this brand-new edition includes a glossary of crucial descriptive terms and a completely original, full color illustration for each of more than one hundred individual species. It’s a big galaxy, and someone has to organize it. Count on Star Wars®: The New Essential Guide to Alien Species–and don’t leave your homeworld without it.
A con artist and seductress, Meredith Spooner lived fast—and died young. But her final scam—embezzling more than a million dollars from a college endowment fund—is coming back to haunt Leonora Hutton. The tainted money is stashed away in an offshore account for Leonora. And while she wants nothing to do with the cash, she discovers two other items in the safe-deposit box: a book about Mirror House—the place where Meredith engineered her final deception and a set of newspaper stories about an unsolved murder that occurred there thirty years ago. Now Leonora has an offer for Thomas Walker, another victim of Meredith’s scams and seductions. She’ll hand over the money—if he helps her figure out what’s going on. Meredith had described Thomas as “a man you can trust.” But in a funhouse-mirror world of illusion and distortion, Leonora may be out of her league…
Beginning with the publication of The Lion, the Witch and the Wardrobe in 1950 and concluding with the appearance of The Last Battle in 1956, C. S. Lewis's seven-book series chronicling the adventures of a group of young people in the fictional land of Narnia has become a worldwide classic of children's literature. This stimulating collection of original essays by critics in a wide range of disciplines explores the past place, present status, and future importance of The Chronicles of Narnia. With essays ranging in focus from textual analysis to film and new media adaptations, to implications of war/trauma and race and gender, this cutting-edge New Casebook encourages readers to think about this much-loved series in fresh and exciting ways.
Seeking Eden promotes an awareness of, and appreciation for, Georgia’s rich garden heritage. Updated and expanded here are the stories of nearly thirty designed landscapes first identified in the early twentieth-century publication Garden History of Georgia, 1733–1933. Seeking Eden records each garden’s evolution and history as well as each garden’s current early twenty-first-century appearance, as beautifully documented in photographs. Dating from the mid-eighteenth to the early twentieth centuries, these publicly and privately owned gardens include nineteenth-century parterres, Colonial Revival gardens, Country Place–era landscapes, rock gardens, historic town squares, college campuses, and an urban conservation garden. Seeking Eden explores the significant impact of the women who envisioned and nurtured many of these special places; the role of professional designers, including J. Neel Reid, Philip Trammel Shutze, William C. Pauley, Robert B. Cridland, the Olmsted Brothers, Hubert Bond Owens, and Clermont Lee; and the influence of the garden club movement in Georgia in the early twentieth century. FEATURED GARDENS: Andrew Low House and Garden | Savannah Ashland Farm | Flintstone Barnsley Gardens | Adairsville Barrington Hall and Bulloch Hall | Roswell Battersby-Hartridge Garden | Savannah Beech Haven | Athens Berry College: Oak Hill and House o’ Dreams | Mount Berry Bradley Olmsted Garden | Columbus Cator Woolford Gardens | Atlanta Coffin-Reynolds Mansion | Sapelo Island Dunaway Gardens | Newnan vicinity Governor’s Mansion | Atlanta Hills and Dales Estate | LaGrange Lullwater Conservation Garden | Atlanta Millpond Plantation | Thomasville vicinity Oakton | Marietta Rock City Gardens | Lookout Mountain Salubrity Hall | Augusta Savannah Squares | Savannah Stephenson-Adams-Land Garden | Atlanta Swan House | Atlanta University of Georgia: North Campus, the President’s House and Garden, and the Founders Memorial Garden | Athens Valley View | Cartersville vicinity Wormsloe and Wormsloe State Historic Site | Savannah vicinity Zahner-Slick Garden | Atlanta
In Coal in Our Veins, Erin Thomas employs historical research, autobiography, and journalism to intertwine the history of coal, her ancestors' lives mining coal, and the societal and environmental impacts of the United States' dependency on coal as an energy source. In the first part of her book, she visits Wales, native ground of British coal mining and of her emigrant ancestors. The Thomases' move to the coal region of Utah—where they witnessed the Winter Quarters and Castle Gate mine explosions, two of the worst mining disasters in American history—and the history of coal development in Utah form the second part. Then Thomas investigates coal mining and communities in West Virginia, near her East Coast home, looking at the Sago Mine collapse and more widespread impacts of mining, including population displacement, mountain top removal, coal dust dispersal, and stream pollution, flooding, and decimation. The book's final part moves from Washington D.C.—and an examination of coal, CO2, and national energy policy—back to Utah, for a tour of a coal mine, and a consideration of the Crandall Canyon mine cave-in, back to Wales and the closing of the oldest operating deep mine in the world and then to a look at energy alternatives, especially wind power, in West Virginia and Pennsylvania.
This volume gathers the writings of thirty-one nineteenth-century women on the stories of women in the Gospels—Mary and Martha, Anna, the Samaritan woman at the well, Herodias and Salome, Mary Magdalene, and more. Retrieving and analyzing rarely read works by Christina Rossetti, Harriet Beecher Stowe, Elizabeth Wordsworth, and many others, Women in the Story of Jesus illuminates the biblical text, recovers a neglected chapter of reception history, and helps us understand and apply Scripture in our present context.
This volume examines the development and use of the Bible from late Antiquity to the Reformation, tracing both its geographical and its intellectual journeys from its homelands throughout the Middle East and Mediterranean and into northern Europe. Richard Marsden and E. Ann Matter's volume provides a balanced treatment of eastern and western biblical traditions, highlighting processes of transmission and modes of exegesis among Roman and Orthodox Christians, Jews and Muslims and illuminating the role of the Bible in medieval inter-religious dialogue. Translations into Ethiopic, Slavic, Armenian and Georgian vernaculars, as well as Romance and Germanic, are treated in detail, along with the theme of allegorized spirituality and established forms of glossing. The chapters take the study of Bible history beyond the cloisters of medieval monasteries and ecclesiastical schools to consider the influence of biblical texts on vernacular poetry, prose, drama, law and the visual arts of East and West.
Bishop Sharon Zimmerman Rader and Dr. Margaret Ann Crain interviewed the women bishops of The United Methodist Church, the first denomination to elect women to the episcopacy. Through the stories they collected, they learned what enabled these women to persevere, claim authority, define leadership in their own ways, and rise to the episcopacy. Their stories reveal how these clergywomen changed the church, blazing leadership trails both before and after their elections. This book shares inspirational stories and pivotal moments that illustrate how these women managed the complexities of family, faith, and authority. Through their histories, women bishops have made––and will continue to make––both realized and unrealized differences in The United Methodist Church.
To Place Our Deeds traces the development of the African American community in Richmond, California, a city on the San Francisco Bay. This readable, extremely well-researched social history, based on numerous oral histories, newspapers, and archival collections, is the first to examine the historical development of one black working-class community over a fifty-year period. Offering a gritty and engaging view of daily life in Richmond, Shirley Ann Wilson Moore examines the process and effect of migration, the rise of a black urban industrial workforce, and the dynamics of community development. She describes the culture that migrants brought with them—including music, food, religion, and sports—and shows how these traditions were adapted to new circumstances. Working-class African Americans in Richmond used their cultural venues—especially the city's legendary blues clubs—as staging grounds from which to challenge the racial status quo, with a steadfast determination not to be "Jim Crowed" in the Golden State. As this important work shows, working-class African Americans often stood at the forefront of the struggle for equality and were linked to larger political, social, and cultural currents that transformed the nation in the postwar period.
Contains alphabetically arranged profiles of published contemporary authors of non-technical works from around the world, each with personal data, addresses, career history, and a list of writings, and in some cases, a list of works in progress, sidelights, and avocational interests; up-to-date through mid-1978.
The history of racism in America is also the history of ordinary Black Americans who accomplished extraordinary things in their pursuit of freedom. Faced with oppression throughout their journey, they built vibrant communities and lived purposeful lives. Pieces of Freedom: The Emancipation Sculptures of Edmonia Lewis and Meta Warrick Fuller brings that history to life by analyzing the first fifty years of Black freedom through the emancipation sculptures of two nineteenth-century African American sculptors, Mary Edmonia Lewis (1844–1909) and Meta Warrick Fuller (1877–1968). Lewis's and Fuller’s sculptures—and their visual narrative of a people’s strength and humanity in the face of oppression—present a textured historical diorama of Black life during an era of transformative, yet sorrowful, events. In this book, Lee Ann Timreck integrates Lewis's and Fuller’s visual narrative with oral narratives of the newly emancipated, all set within the historical context of Reconstruction, segregation, and Jim Crow. The sculptures also reflect the artists’ gendered perspective of emancipation, conveying a strong narrative on the contributions and sacrifices made by newly freed Black women. These emancipation sculptures provide both a historical narrative of the Black emancipation experience and a moral narrative of America’s failure to create a nation where “all men are created equal.” Pieces of Freedom challenges the twenty-first-century reader to learn and accept this history so we might address our nation’s lingering social and economic injustices.
Hundreds of women studied and interpreted the Bible between the years 100–2000 CE, but their stories have remained largely untold. In this book, Schroeder and Taylor introduce readers to the notable contributions of female commentators through the centuries. They unearth fascinating accounts of Jewish and Christian women from diverse communities—rabbinic experts, nuns, mothers, mystics, preachers, teachers, suffragists, and household managers—who interpreted Scripture through their writings. This book recounts the struggles and achievements of women who gained access to education and biblical texts. It tells the story of how their interpretive writings were preserved or, all too often, lost. It also explores how, in many cases, women interpreted Scripture differently from the men of their times. Consequently, Voices Long Silenced makes an important, new contribution to biblical reception history. This book focuses on women's written words and briefly comments on women’s interpretation in media, such as music, visual arts, and textile arts. It includes short, representative excerpts from diverse women’s own writings that demonstrate noteworthy engagement with Scripture. Voices Long Silencedcalls on scholars and religious communities to recognize the contributions of women, past and present, who interpreted Scripture, preached, taught, and exercised a wide variety of ministries in churches and synagogues.
Raoul Walsh (1887--1980) was known as one of Hollywood's most adventurous, iconoclastic, and creative directors. He carved out an illustrious career and made films that transformed the Hollywood studio yarn into a thrilling art form. Walsh belonged to that early generation of directors -- along with John Ford and Howard Hawks -- who worked in the fledgling film industry of the early twentieth century, learning to make movies with shoestring budgets. Walsh's generation invented a Hollywood that made movies seem bigger than life itself. In the first ever full-length biography of Raoul Walsh, author Marilyn Ann Moss recounts Walsh's life and achievements in a career that spanned more than half a century and produced upwards of two hundred films, many of them cinema classics. Walsh originally entered the movie business as an actor, playing the role of John Wilkes Booth in D. W. Griffith's The Birth of a Nation (1915). In the same year, under Griffith's tutelage, Walsh began to direct on his own. Soon he left Griffith's company for Fox Pictures, where he stayed for more than twenty years. It was later, at Warner Bros., that he began his golden period of filmmaking. Walsh was known for his romantic flair and playful persona. Involved in a freak auto accident in 1928, Walsh lost his right eye and began wearing an eye patch, which earned him the suitably dashing moniker "the one-eyed bandit." During his long and illustrious career, he directed such heavyweights as Humphrey Bogart, James Cagney, Errol Flynn, and Marlene Dietrich, and in 1930 he discovered future star John Wayne.
An examination of the interplay between cultural context and artistic practice in the work of Robert Smithson. Robert Smithson (1938-1973) produced his best-known work during the 1960s and early 1970s, a period in which the boundaries of the art world and the objectives of art-making were questioned perhaps more consistently and thoroughly than any time before or since. In Robert Smithson, Ann Reynolds elucidates the complexity of Smithson's work and thought by placing them in their historical context, a context greatly enhanced by the vast archival materials that Smithson's widow, Nancy Holt, donated to the Archives of American Art in 1987. The archive provides Reynolds with the remnants of Smithson's working life—magazines, postcards from other artists, notebooks, and perhaps most important, his library—from which she reconstructs the physical and conceptual world that Smithson inhabited. Reynolds explores the relation of Smithson's art-making, thinking about art-making, writing, and interaction with other artists to the articulated ideology and discreet assumptions that determined the parameters of artistic practice of the time. A central focus of Reynolds's analysis is Smithson's fascination with the blind spots at the center of established ways of seeing and thinking about culture. For Smithson, New Jersey was such a blind spot, and he returned there again and again—alone and with fellow artists—to make art that, through its location alone, undermined assumptions about what and, more important, where, art should be. For those who guarded the integrity of the established art world, New Jersey was "elsewhere"; but for Smithson, "elsewheres" were the defining, if often forgotten, locations on the map of contemporary culture.
Examines the De Lisle hours of Margaret de Beauchamp, the De Bois hours (Dubois hours) of Hawisia de Bois, and the Neville of Hornby hours of Isabel de Byron.
This annotated bibliography constitutes a thoroughly revised and more easily readable study of Behn's publications, of those edited or translated by her, of publications that included her works, and of writings ascribed to her, along with an annotated bibliography of over 1600 works about her from 1671 to 2001, with an unannotated update covering 2002. The augmented primary bibliography describes all known editions and issues of her works to 1702, and adds a catalogue of editions to 2002, including on-line sources. The secondary bibliography adds close to 1000 items published since 1984 to the original 600 of the first edition along with about 175 more from 1671 to 1984, with attention to materials not in English. New appendices include a list of dedicatees, actors, recent productions (with reviews), and provenances. This volume will be invaluable for book dealers, collectors and librarians, as well as students and scholars of Aphra Behn and of Restoration literature.
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