Sport is supposed to be a serious business, yet few activities are more likely to provide a chuckle or three. With this bumper collection of cracks, true-stories and one-liners from many sports, Aussie cricket legend David Boon has provided fans with plenty of material to re-tell around the bar.
The interconnectedness of communities, organisations, governing bodies, policy and individuals in the field of disaster studies has never been accurately examined or comprehensively modelled. This kind of study is vital for planning policy and emergency responses and assessing individual and community vulnerability, resilience and sustainability as well as mitigation and adaptation to climate change impacts; it therefore deserves attention. Disasters and Social Resilience fills this gap by introducing to the field of disaster studies a fresh methodology and a model for examining and measuring impacts and responses to disasters. Urie Bronfenbrenner’s bioecological systems theory, which is used to look at communities holistically, is outlined and illustrated through a series of chapters, guiding the reader from the theory's underpinnings through research illustrations and applications focused on each level of Bronfenbrenner’s ecosystems, culminating in an integration chapter. The final chapter provides policy recommendations for local and national government bodies and emergency providers to help individuals and communities prepare and withstand the effects of a range of disasters. This book will be of great interest to scholars and students of disaster and emergency management, disaster readiness and risk reduction (DRR), and to scholars and students of more general climate change and sustainability studies.
Assessing how technology contributes to information superiority and decision dominance a major challenge, in part because it demands quantitative measures for what are usually considered qualitative concepts. The authors have developed a mathematical framework to aid these efforts. Additional work, such as data fitting, experimentation, linking decisions and actions, historical analysis, and gaming will further advance knowledge in this area.
Hoping to start over, paramedic Andrea Hunt has come home to Courage Bay. But even she couldn’t have known how her new life would begin—with a tragic accident that leaves her responsible for her nephew. Kevin’s a very special boy who copes with the changes he faces by not talking. His dad, Grant Corbin, feels increasingly desperate about being kept from Kevin. Now he’s come to Courage Bay—and he discovers that his son’s life is more than complete without him. Because Andrea seems to be all Kevin needs. And before long Grant finds himself wondering if his ex-wife’s sister can find room for him in the family.
Julia Vandamme’s nightmare began after she said, “I do.” Her only comfort is her sweet little boy, and she’s stayed in her marriage just for him. Jonathan Cruz is their one chance for escape, but before she and her son can know freedom, Julia has to learn to trust Cruz. But how can she, when she’s not convinced he’s the man he claims to be? To save a friend. To protect a child. To end an evil. Most of us could not bring ourselves to do the unthinkable—even if it was for the greater good. The Operatives do whatever it takes. Because of them, we don’t have to.
Essential for students of theatre studies, Methuen Drama's Decades of Modern British Playwriting series provides a comprehensive survey and study of the theatre produced in each decade from the 1950s to 2009 in six volumes. Each volume features a critical analysis and reevaluation of the work of four key playwrights from that decade authored by a team of experts, together with an extensive commentary on the period . Modern British Playwriting: The 1950s provides an authoritative and stimulating reassessment of the theatre of the decade together with a detailed study of the work of T.S Eliot (by Sarah Bay-Cheng) , Terence Rattigan (David Pattie), John Osborne (Luc Gilleman) and Arnold Wesker (John Bull). The volume sets the context by providing a chronological survey of the 1950s, a period when Britain was changing rapidly and the very fabric of an apparently stable society seemed to be under threat. It explores the crisis in the theatrical climate and activity in the first part of the decade and the shift as the theatre began to document the unease in society, before documenting the early life of the four principal playwrights studied in the volume. Four scholars provide detailed examinations of the playwrights' work during the decade, combining an analysis of their plays with a study of other material such as early play drafts, interviews and the critical receptions of the time. An Afterword reviews what the writers went on to do and provides a summary evaluation of their contribution to British theatre from the perspective of the twenty-first century.
Seeking comfort, Elizabeth spends a night with John, but now she feels guilty for seeking solace while her sister is still missing. Adding to her sense of guilt, a new clue about her sister's whereabouts is found, and it proves that her sister is indeed in trouble. Her wishful thinking that her sister had just taken a trip is shattered. Exhausted to the core, she’s supported by John, who keeps chasing their suspect. But it’s beginning to feel as if the perpetrator is mocking them…
“Get off my farm right now!” Jenni faces a perilous predicament. The farm she and her blind sister have been protecting is in danger and there is only one way to protect it. She must marry her cousin, William, whom she met only once ten years ago! There’s no way a successful New York businessman would ever want to marry someone like her… But just as she is about to give up all hope, a helicopter lands on their property. “I’ve come to retrieve you, my bride!” says an undeniably attractive stranger. Jenni’s heart stutters. “Are you…William?”
Lena McKinney is the Commander. Two years ago, Lena tried to be both a woman and a cop—it didn't work out. Now her ex-fiance is back in town and her SWAT team has been assigned to protect him. Much as she'd like to walk away, Lena will do her duty, keeping her true feelings buried. But that's before the shots are fired….
When Tessa is on a flight to England, she is suddenly proposed to by the man sitting next to her. The man’s name is Lord Charles Cameron, the Earl of Dalston, and if he does not get married within the next six weeks, he won’t get his inheritance. But Tessa has no time for charades. She is too preoccupied with the death of her younger sister and taking care of her nephew. When she tells him her circumstances, Charles unexpectedly decides to help her out. He seems like someone she can rely on. But can she really trust someone who’s only marrying her for his inheritance?
Lena McKinney is the Commander. Two years ago, Lena tried to be both a woman and a cop–it didn't work out. Now her ex-fiance is back in town and her SWAT team has been assigned to protect him. Much as she'd like to walk away, Lena will do her duty, keeping her true feelings buried. But that's before the shots are fired....
Handsome young Luke arrives at rural Bay Beach Children’s Home, his expensive car making him look out of place. He then attempts to hand over his baby sister to the home’s “mother,” Wendy. But Wendy is dealing with her own complications, and she’s quitting her job that very day, so she cannot acquiesce to his demand. Luke will entrust the baby to no one but her, no matter what, so he hires her as a nanny and offers her a place to live with the baby. But before she agrees, Wendy has one condition: he has to live with them!
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