The gaited horse—bred and trained to perform smooth-to-ride, ground-covering alternative gaits (not the trot/jog or canter/lope) that can often be sustained long distances and sometimes at astounding speeds—has steadily gained mainstream popularity as a pleasure or trail mount, in addition to its traditional status as a top-notch show-ring competitor. While generations of careful breeding have instilled a natural ability to "gait" in certain breeds, the "smooth saddle gaits" are not necessarily automatic. This means that riders, whether exploring the backcountry or vying for a championship ribbon, need to train their gaited horse to be able to perform, and then school him to perform well, consistently, and without doing damage to his body. "The best person to develop your gaited horse's smooth saddle gaits is you!" writes renowned gaited-horse trainer and clinician Brenda Imus in The Gaited Horse Bible. "You need to learn only a few basic principles to develop and maintain your horse's gaits. As you do, you will build an important relationship with him (as well as saving trainer's fees). It's a 'win-win' situation all the way around." From the simplest, clearest explanation of the "Gait Spectrum" you'll find, to a discussion of gaited horse breeds (their history, characteristics, and uses) and gaits (running walk, rack, fox trot, tolt, trocha, for example), to an in-depth study of conformation, movement, and soundness—it's all in this terrific resources. Year-by-year basic training and advanced schooling, including flexion, collection, and lateral work to improve natural gaiting ability, is followed by a superb problem-solving section that features simple exercises for alleviating common behavioral problems, avoiding and correcting physical issues, and fixing deviations in a horse's smooth gaits. With a summary of bridles, bits, saddle fit and back dynamics, as well as optimal shoeing and trimming for gaited horses, The Gaited Horse Bible is the perfect how-to package for every gaited horse rider and owner.
The gaited horse—bred and trained to perform smooth-to-ride, ground-covering alternative gaits (not the trot/jog or canter/lope) that can often be sustained long distances and sometimes at astounding speeds—has steadily gained mainstream popularity as a pleasure or trail mount, in addition to its traditional status as a top-notch show-ring competitor. While generations of careful breeding have instilled a natural ability to "gait" in certain breeds, the "smooth saddle gaits" are not necessarily automatic. This means that riders, whether exploring the backcountry or vying for a championship ribbon, need to train their gaited horse to be able to perform, and then school him to perform well, consistently, and without doing damage to his body. "The best person to develop your gaited horse's smooth saddle gaits is you!" writes renowned gaited-horse trainer and clinician Brenda Imus in The Gaited Horse Bible. "You need to learn only a few basic principles to develop and maintain your horse's gaits. As you do, you will build an important relationship with him (as well as saving trainer's fees). It's a 'win-win' situation all the way around." From the simplest, clearest explanation of the "Gait Spectrum" you'll find, to a discussion of gaited horse breeds (their history, characteristics, and uses) and gaits (running walk, rack, fox trot, tolt, trocha, for example), to an in-depth study of conformation, movement, and soundness—it's all in this terrific resources. Year-by-year basic training and advanced schooling, including flexion, collection, and lateral work to improve natural gaiting ability, is followed by a superb problem-solving section that features simple exercises for alleviating common behavioral problems, avoiding and correcting physical issues, and fixing deviations in a horse's smooth gaits. With a summary of bridles, bits, saddle fit and back dynamics, as well as optimal shoeing and trimming for gaited horses, The Gaited Horse Bible is the perfect how-to package for every gaited horse rider and owner.
In this book, Brenda Longfellow examines one of the features of Roman Imperial cities, the monumental civic fountain. Built in cities throughout the Roman Empire during the first through third centuries AD, these fountains were imposing in size, frequently adorned with grand sculptures, and often placed in highly trafficked areas. Over twenty-five of these urban complexes can be associated with emperors. Dr. Longfellow situates each of these examples within its urban environment and investigates the edifice as a product of an individual patron and a particular historical and geographical context. She also considers the role of civic patronage in fostering a dialogue between imperial and provincial elites with the local urban environment. Tracing the development of the genre across the empire, she illuminates the motives and ideologies of imperial and local benefactors in Rome and the provinces and explores the complex interplay of imperial power, patronage, and the local urban environment.
At Treasure Island, a humanly made island in the San Francisco Bay, a performance troupe dressed in hazmat suits articulate gestures that resemble toxic remediation. As they become more attuned to the site and to its history and ecology, enigmatic presences infiltrate their spacetime. Are they from the past, the present, or the future? What is the significance of their sudden arrival? What happens when historical and geological eras converge? Meanwhile, elsewhere, various earth scientists at sites around the globe search for the “golden spike”: a telltale geologic marker that synchronously indicates a definitive time change in the strata—a change from the Holocene epoch to the Anthropocene. Within their data is Earth’s biography, but how is humanity insinuated within this chronology? Throughout Presence, encounter and contact are the major elements of consequence, action, implication, and resounding significance. Encounter and contact between timeframes, cultures, ecologies, persons, intuitions, ways of living, and worlding. At these junctures are the moments of possibility—of violence and/or of budding community.
Whether addressing HIV/AIDS, the policing of bathroom sex, censorship, or anti-globalization movements, John Greyson has imbued his work with cutting humour, eroticism, and postmodern aesthetics. Mashing up high art, opera, community activism, and pop culture, Greyson challenges his audience to consider new ways that images can intervene in both political and public spheres. Emerging on the Toronto scene in the late 1970s, Greyson has produced an eclectic, provocative, and award-winning body of work in film and video. The essays in The Perils of Pedagogy range from personal meditations to provocative textual readings to studies of the historical contexts in which the artist's works intervened politically as well as artistically. Notable writers from a range of disciplines as well as prominent experimental and activist filmmakers tackle questions of documentary ethics, moving image activism, and queer coalitional politics raised by Greyson's work. Close to one hundred frame captures and stills from almost sixty works, along with articles, speeches, and short scripts by Greyson - several never before published - supplement the collection. Celebrating thirty years of passionate, brilliant, and affecting moviemaking, The Perils of Pedagogy will fascinate both specialists and general readers interested in media activism and advocacy, censorship, and freedom of expression.
Many others played starring roles too: doctors like Leo Kanner, who pioneered our understanding of autism; lawyers like Tom Gilhool, who took the families' battle for education to the courtroom; scientists who sparred over how to treat autism; and those with autism, like Temple Grandin, Alex Plank, and Ari Ne'eman, who explained their inner worlds and championed the philosophy of neurodiversity. This is also a story of fierce controversies--from the question of whether there is truly an autism "epidemic," and whether vaccines played a part in it; to scandals involving "facilitated communication," one of many treatments that have proved to be blind alleys; to stark disagreements about whether scientists should pursue a cure for autism.
In 2004, roughly 25 makeover-themed reality shows aired on U.S. television. By 2009, there were more than 250, from What Not to Wear and The Biggest Loser to Dog Whisperer and Pimp My Ride. In Makeover TV, Brenda R. Weber argues that whether depicting transformations of bodies, trucks, finances, relationships, kids, or homes, makeover shows posit a self achievable only in the transition from the “Before-body”—the overweight figure, the decrepit jalopy, the cluttered home—to the “After-body,” one filled with confidence, coded with celebrity, and imbued with a renewed faith in the powers of meritocracy. The rationales and tactics invoked to achieve the After-body vary widely, from the patriotic to the market-based, and from talk therapy to feminist empowerment. The genre is unified by its contradictions: to uncover your “true self,” you must be reinvented; to be empowered, you must surrender to experts; to be special, you must look and act like everyone else. Based on her analysis of more than 2,500 hours of makeover TV, Weber argues that the much-desired After-body speaks to and makes legible broader cultural narratives about selfhood, citizenship, celebrity, and Americanness. Although makeovers are directed at both male and female viewers, their gendered logic requires that feminized subjects submit to the controlling expertise wielded by authorities. The genre does not tolerate ambiguity. Conventional (middle-class, white, ethnically anonymous, heterosexual) femininity is the goal of makeovers for women. When subjects are male, makeovers often compensate for perceived challenges to masculine independence by offering men narrative options for resistance or control. Foregoing a binary model of power and subjugation, Weber provides an account of makeover television that is as appreciative as it is critical. She reveals the makeover show as a rich and complicated text that expresses cultural desires and fears through narratives of selfhood.
The days are long gone when publishing professionals were willing to take on a manuscript simply because it's based on a "good idea" or even because it's well written. With eyes focused on the bottom line, agents and editors now look for skilled and creative authors who come with an established audience, too. You Should Really Write a Book is essential reading for those wanting to write commercially viable memoirs in today's vastly changed publishing industry. It is designed as a guide for writers, editors, and marketing professionals. Brooks and Richardson utilize the newest social networking, marketing and promotional trends and explain how to conceptualize and strategize campaigns that cause buzz, dramatically fueling word-of-mouth and boosting the chances of attracting attention in the publishing world and beyond. Created to give writers a competitive advantage, this handy and concise book focuses on six major memoir categories, explains what sells and why, and teaches writers to think like publishers"--Provided by publisher.
Covering every step of research, writing, and documentation, Writing from Sources provides a complete guide to source-based writing. The book builds from fundamental skills -- such as annotating a passage -- to more demanding ones such as integrating sources smoothly into an original argument. Examples, exercises, and guidance throughout help students gain confidence with essential concepts, while numerous readings drawn from a variety of sources provide models and practice in every skill.
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