The authors provide answers to burning questions both teens and parents have in facing the unique challenges of today. Combined, they have more than 50 years experience ministering, counseling, training, and mentoring parents and young people.
In this extensively illustrated book containing over 80 diagrams and images of artworks, David Burrows and Simon O'Sullivan explore the process of fictioning in contemporary art through three focal points: performance fictioning, science fictioning and machine fictioning.
How far does a client's or a child's confidentiality extend on family breakdown? Understand the fundamental importance of legal privilege, privacy and confidentiality in family breakdown and in family court proceedings. Looking at the duties of confidentiality of all practitioners involved in family proceedings, this title puts privilege, privacy and confidentiality in its common law context. It considers and contrasts that family proceedings are almost always heard 'in private'; and explains how this rule sits with common law principles. It singles out the particular issues in care proceedings where there are parallel criminal proceedings and explains the differences in law and on statutory guidance between the duties of confidentiality between lawyers, doctors and social workers. This new title helps you tackle questions such as: Is a child entitled to confidentiality; or is it correct, as Working Together guidance says, that the mature child's confidences should be 'shared'? When can privilege be overridden; and when does it not apply? Does without prejudice immunity cover a mediator? When are closed materials procedures appropriate in children proceedings?
Can you hear the child's voice? The Court of Appeal have commented that the family courts are 'still feeling their way forward in order to determine how best to 'hear the voice of a child'. In this new title David Burrows looks at the jurisprudence surrounding this remark, relates it to European and UN Convention rights and looks at the most recent children case law. It concentrates on: Children in court proceedings, particularly in family proceedings Contrasting the way courts hear children's views with the way their evidence is heard Any rights to which a child is entitled (common law; European Convention 1950; UN Conventions; and EU Directives), such as to confidentiality and to take part (or be heard) in proceedings. The meaning and effect of a child's 'understanding' in court proceedings, and the way that term varies according to a child's age and the issue before the court. Legislation and case law covered and analysed includes: Children Act 1989 and applicable Family Procedure Rules 2010 Human Rights Act 1998 and European Convention 1950 Civil Procedure Rules 1998 LASPO Act 2012 Youth Justice and Criminal Evidence Act 1999 Re D (A Child) (International Recognition) – child's right to be heard Re W (A Child)– rules for child representation in hearings P v A Local Authority (Fam) – legal aid and statutory damages Re W (Children) (Abuse: Oral Evidence) – child's evidence R (D (a minor)) v Camberwell Green Youth Court – safeguards in criminal law for children Protocol and Good Practice Model Disclosure of information in cases of alleged child abuse and linked criminal and care directions hearings – October 2013 Achieving Best Evidence: Guidance on interviewing children March 2011
Drachar, banished by his own people, forges an unholy alliance with the demons by offering them ten thousand souls, but the demons demand one hundred thousand and without quibbling Drachar accepts. War threatens. A war like no other.
Focusing on the life issues facing teens such as drugs, sex, parents, music, peer pressure, this book will help both parents and teenagers communicate.
Vastra is a man possessed. Where other men require food to sustain them, his craving is for power. He seeks an Eldric talisman, ensnaring two men to aid him. Fate guides his hand and, unwittingly, he chooses Kaplyn, who is seeking to escape his own destiny and Lars, shipwrecked and friendless, an outcast on the Allund shore. An unlikely trio, they form a fragile alliance but, recklessly ambitious, Vastra will betray them in a heartbeat. Throughout their journey, there are clear signs that demons are active, stealing souls to slake their hunger. Their journey takes them to a mysterious tower, beset by traps, where Kaplyn triggers a chain of events unleashing the full power of a prophecy that could doom them all. Deep in the heart of a mountain lays a power that not even Vastra has the audacity to envision. But who really is guiding Vastraâs destiny? Kaplyn has the talisman and, for all of Vastraâs threats, he is unwilling to part with it.
Armies are gathering but Astalus, the Thracian court wizard, is in a quandary. Shocking news has arrived from an unlikely source. A spy, arrested brazenly entering the city, claims to be a prince from a royal household that was overthrown, the family members murdered over sixty years ago. Intriguingly, the spy's claim to be from Allund is more than a coincidence, for the army marching against them is also from Allund. Who indeed to trust? The stranger brings with him news of an army from Trosgarth, which can only mean one thing. Drachar's shade has been summoned and the Prophecy is coming to pass. Old alliances are broken and many monarchs slain. No sign yet exists of the king predicted by the Prophecy, who will save them all. Astalus, normally so certain and confident, is suddenly plummeted into his worst nightmare, for soon Thrace could be threatened by demons and, against them, there is no salvation. In a land fraught with betrayal, fear and death, the shadows are deepening.
Can you hear the child's voice? The Court of Appeal have commented that the family courts are 'still feeling their way forward in order to determine how best to 'hear the voice of a child'. In this new title David Burrows looks at the jurisprudence surrounding this remark, relates it to European and UN Convention rights and looks at the most recent children case law. It concentrates on: Children in court proceedings, particularly in family proceedings Contrasting the way courts hear children's views with the way their evidence is heard Any rights to which a child is entitled (common law; European Convention 1950; UN Conventions; and EU Directives), such as to confidentiality and to take part (or be heard) in proceedings. The meaning and effect of a child's 'understanding' in court proceedings, and the way that term varies according to a child's age and the issue before the court. Legislation and case law covered and analysed includes: Children Act 1989 and applicable Family Procedure Rules 2010 Human Rights Act 1998 and European Convention 1950 Civil Procedure Rules 1998 LASPO Act 2012 Youth Justice and Criminal Evidence Act 1999 Re D (A Child) (International Recognition) – child's right to be heard Re W (A Child)– rules for child representation in hearings P v A Local Authority (Fam) – legal aid and statutory damages Re W (Children) (Abuse: Oral Evidence) – child's evidence R (D (a minor)) v Camberwell Green Youth Court – safeguards in criminal law for children Protocol and Good Practice Model Disclosure of information in cases of alleged child abuse and linked criminal and care directions hearings – October 2013 Achieving Best Evidence: Guidance on interviewing children March 2011
Drachar, banished by his own people, forges an unholy alliance with the demons by offering them ten thousand souls, but the demons demand one hundred thousand and without quibbling Drachar accepts. War threatens. A war like no other.
This study deals with time and with music, and the link between the two is the suggestion that music is a modeling of the way we construct time. Time—the now, duration, succession and order of succession; the past, the future—is seen as a resource for managing systemic disequilibrium and as the evolutionary elaboration of the now. As organic dynamical systems humans maintain themselves by means of self-regulatory actions, nows, and these nows are proposed as feeding off a pre-temporal, interindividually accessed energy in nature, an ongoing cosmic proto-present. Speech is a way out of sensory immediacy and a way into a complex shared world where coordination and planning take place away from the distractions of the present as given by the senses. Music is presented as one of a group of behaviors comprising the arts and games that evolved in parallel with language to compensate for its abstractness. Language tends to the complexly abstract and music favors the complex, sensorially concrete: like speech, music operates on a synthetic plane, but provides synthetic occasions for sensory immediacy at a level of complexity to match that of language.
Astalus has returned. He has found an Eldric spell book and, in particular, a spell to summon dragons. The allies march north to confront the Trosgarthâs growing might. Warrior priests can now communicate across the battlefield using their shaol, death knights have been resurrected, and in the air grakyn are supported by a new threat â a demon/dragon hybrid. To make matters worse, Astalus discovers that the power that Kaplyn recovered so long ago can open a permanent gateway to the demon world. Drachar is finally free and his minions will march from the very depths of hell. Astalus knows all of this through a demon that has possessed him. The army marches to its fate, unaware of the trap awaiting them. Prince Fiad leads them. Will he be the armyâs salvation or damnation? The men mutter, uncomfortable in the knowledge that, at the final battle, a king will not lead them against the tides of evil. Drachar is poised, his death knights ready to tear the army apart.
The Prophecy of the Kings is pure escapism. Find yourself engrossed in a world where good and evil strive in an epic battle for domination. It has fast action, tremendous characterisation and a unique plot. Feel remorse for Kaplyn, the hero, as he is taken to the very brink of despair when his world is plunged into nightmare Kaplyn seeks an adventure to impress his brothers but instead his life is ripped apart. In a clash of powers his shaol (guardian spirit), is replaced with the spirit of a dead emperor. Shastlan is evil. He has summoned dragons to his world and then fallen under their spell. With their aid he has destroyed his world and his ghost wanders the land in misery, seeking the companionship of others but shunned by his own realisation of dire deeds that cannot be undone. Kaplyn experiences the horrors of the demon world, and he sees souls damned to eternal horror. And yet, as low as his life has become, Kaplyn is seen as a saviour. He, too, summons a dragon and he fights off a demon attack. But deep down his soul is restless, he senses that dragons are evil, he dare not lead the army, and yet there seems to be no option. The power of the demons and the spirit world far exceeds any defence the people might raise. From the start, Dragon Rider grips the reader. An acolyte is sacrificed to the god Ryoch. A god in name only. A false god. For behind the growing tide of war, Drachar seeks to return. His influence has paved the way and he will lead the demon hoard. Kaplyn will stand against him, broken, his family dead and salvation a false hope.
“Being directed by the Jimmy Burrows, while on Friends, was like hitting the jackpot. I’m delighted that everyone can now share in his incredible insight with this book.”—JENNIFER ANISTON From the director of The Mary Tyler Moore Show, Taxi, Cheers, Frasier, and Will & Grace comes an insightful and nostalgic behind-the-scenes memoir that’s “as difficult to put down as a Friends marathon is to turn off” (The Washington Post). Legendary sitcom director James Burrows has spent five decades making America laugh. Here readers will find never-revealed stories behind the casting of the dozens of great sitcoms he directed, as well as details as to how these memorable shows were created, how they got on the air, and how the cast and crew continued to develop and grow. Burrows also examines his own challenges, career victories, and defeats, and provides advice for aspiring directors, writers, and actors. All this from the man who helped launch the careers of Ted Danson, Kelsey Grammer, Woody Harrelson, Jennifer Aniston, Debra Messing, and Melissa McCarthy, to name a few. Burrows talks fondly about the inspiration he found during his childhood and young adult years, including his father, legendary playwright and Broadway director Abe Burrows. From there he goes on to explain his rigorous work ethic, forged in his early years in theater, where he did everything from stage managing to building sets to, finally, directing. Transitioning to television, Burrows locked into a coveted job with The Mary Tyler Moore Show, where he first observed and then started to apply his craft. Directing most of the episodes of Taxi came next, where he worked closely with writers/producers Glen and Les Charles. The three formed a remarkable creative partnership that helped Burrows achieve his much sought-after goal of ownership and agency over a project, which came with the creating and directing of the seminal and beloved hit Cheers. Burrows has directed more than seventy-five pilots that have gone to series and over a thousand episodes, more than any other director in history. Directed by James Burrows is a heart-and-soul master class in sitcom, revealing what it truly takes to get a laugh.
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