If the twenty-first century seems an unlikely stage for the return of a 14th-century killer, the authors of Return of the Black Death argue that the plague, which vanquished half of Europe, has only lain dormant, waiting to emerge again—perhaps, in another form. At the heart of their chilling scenario is their contention that the plague was spread by direct human contact (not from rat fleas) and was, in fact, a virus perhaps similar to AIDS and Ebola. Noting the periodic occurrence of plagues throughout history, the authors predict its inevitable re-emergence sometime in the future, transformed by mass mobility and bioterrorism into an even more devastating killer.
Scott's Shadow is the first comprehensive account of the flowering of Scottish fiction between 1802 and 1832, when post-Enlightenment Edinburgh rivaled London as a center for literary and cultural innovation. Ian Duncan shows how Walter Scott became the central figure in these developments, and how he helped redefine the novel as the principal modern genre for the representation of national historical life. Duncan traces the rise of a cultural nationalist ideology and the ascendancy of Scott's Waverley novels in the years after Waterloo. He argues that the key to Scott's achievement and its unprecedented impact was the actualization of a realist aesthetic of fiction, one that offered a socializing model of the imagination as first theorized by Scottish philosopher and historian David Hume. This aesthetic, Duncan contends, provides a powerful novelistic alternative to the Kantian-Coleridgean account of the imagination that has been taken as normative for British Romanticism since the early twentieth century. Duncan goes on to examine in detail how other Scottish writers inspired by Scott's innovations--James Hogg and John Galt in particular--produced in their own novels and tales rival accounts of regional, national, and imperial history. Scott's Shadow illuminates a major but neglected episode of British Romanticism as well as a pivotal moment in the history and development of the novel.
It tells the story of a young fir tree dreaming to be chosen for the Christmas centerpiece at the Rockefeller Center, and her journey to ultimately seeing her dreams come true.
“Get one before one gets you!” Motion Performance’s catchy sales pitch for builder Joel Rosen’s Phase III Specialty Muscle Cars sums up the escalating performance scene in the late 1960s. Special edition muscle cars were essential to keep pace. Joel and other independent car builders (such as Carroll Shelby, George Hurst, Dick Harrell, Mr. Norm, and Jim Wangers) did what the factories couldn’t do: take the muscle car and turn it into a tire-burning monster. Although the Pontiac GTO established the muscle car category in 1964, a host of corporate safety restrictions restrained factories from offering turn-key race cars off the showroom floor. Independent car builders enhanced appearance and amplified performance in an attempt to do what the manufacturers wouldn’t. Motion Performance issued a written guarantee: Phase III cars would run 11.5 at 120 mph down the quarter-mile! Some of the most iconic nameplates in automotive history were applied in this era with names that included Cheetah, Black Panther, Royal Bobcat, Super Hugger, Manta Ray, Super Snake, Deuce, Fast Track, and The Machine. How did manufacturers stealthily promote these special edition muscle cars as “halo cars” while pretending not to endorse them? What happened to these innovators when factories assimilated their ideas? It’s all covered inside. Muscle car historian Duncan Brown takes us through these special edition muscle cars, their creators, and the behind-the-scenes forces that shaped these wild beasts into legends that left a lasting legacy.
More than a century after the Norman Conquest, England remains a colony of foreign warlords. The dissolute Prince John plots to seize his brother's crown, his barons terrorize the country, and the mysterious outlaw Robin Hood haunts the ancient greenwood. The secret return of King Richard and the disinherited Saxon knight, Ivanhoe, heralds the start of a splendid and tumultuous romance, featuring the tournament at Ashby-de-la-Zouche, the siege of Torquilstone, and the clash of wills between the wicked Templar Bois-Guilbert and the sublime Jewess Rebecca. In Ivanhoe Scott fashioned an imperial myth of national cultural identity that has shaped the popular imagination ever since its first appearance at the end of 1819. The most famous of Scottish novelists drew on the conventions of Gothic fiction, including its risky sexual and racial themes, to explore the violent origins and limits of English nationality. This edition uses the 1830 Magnum Opus text, corrected against the Interleaved Set, and incorporates readings from Scott's manuscript. The introduction examines the originality and cultural importance of Ivanhoe, and draws on current work by historians and cultural critics. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
In this controversial book, psychologists Barry Duncan and Scott Miller, cofounders of the Institute for the Study of Therapeutic Change, challenge the traditional focus on diagnosis, "silver bullet" techniques, and magic pills, exposing them as empirically bankrupt practices that only diminish the role of clients and hasten therapy's extinction. Instead, they advocate for the long-ignored but most crucial factor in therapeutic success-the innate resources of the client. Based on extensive clinical research and case studies, The Heroic Client not only shows how to harness the client's powers of regeneration to make therapy effective, but also how to enlist the client as a partner to make therapy accountable. The Heroic Client inspires therapists to boldly rewrite the drama of therapy, recast clients in their rightful role as heroes and heroines of the therapeutic stage, and legitimize their services to third-party payers without the compromises of the medical model.
Is God a puppet master who pulls our strings or are we like Pinocchio, who cut his strings and ventured into the world on his own? Most of us want a middle ground where we can count on God to be in control-but only when we need it. But a middle ground is elusive. For us to rely on an all-powerful, all-knowing Creator is to relinquish freedom. On the other hand, what does it mean for a sovereign Creator if we can go our own way when He wants us to follow Him? The essays in Free to Obey embrace the paradox this raises. To get there, we occasionally set aside the either/or logic of the Western world in favor a feature of the Zen practices Scott followed in his teen years. It is not the Buddhist religion or philosophy that adds value to the debate, but the both/and thinking that Zen employs. However, while Zen makes a case for both/and reasoning, it is not foreign to Christianity-especially in the ancient church that continues in the Orthodox tradition. The essays identify what we can know and then peel away what is unknowable to outline a realm where paradox is the norm. This takes us to where one of the greatest mysteries exists: a place where God gets what He wants and we get what we want. This is not a middle ground but an entirely different view of reality. Scott Duncan lives in Edmond, Oklahoma, with his wife of 49 years. They are blessed that their son, his wife, and 3 boys; and their daughter, husband, and 2 girls and a boy all live nearby. Scott took a break from graduate school to earn some money in financial services, with the idea of returning to school in a few years to complete his Ph.D. This hiatus has continued for more than 40 years. With the exception of earning a Masters in Finance, he never returned to academia; his career has been dedicated to financial planning. Scott has taught many industry seminars, but his joy is teaching at churches and Christian workshops. He only occasionally wonders what life would have been like if he had followed the academic path.
A comprehensive and beautifully illustrated overview to the birds of Maine The first comprehensive overview of Maine’s incredibly rich birdlife in more than seven decades, Birds of Maine is a detailed account of all 464 species recorded in the Pine Tree State. It is also a thoroughly researched, accessible portrait of a region undergoing rapid changes, with southern birds pushing north, northern birds expanding south, and once-absent natives like Atlantic Puffins brought back by innovative conservation techniques pioneered in Maine. Written by the late Peter Vickery in cooperation with a team of leading ornithologists, this guide offers a detailed look at the state’s dynamic avifauna—from the Wild Turkey to the Arctic Tern—with information on migration patterns and timing, current status and changes in bird abundance and distribution, and how Maine's geography and shifting climate mold its birdlife. It delves into the conservation status for Maine's birds, as well as the state's unusually textured ornithological history, involving such famous names as John James Audubon and Theodore Roosevelt, and home-grown experts like Cordelia Stanwood and Ralph Palmer. Sidebars explore diverse topics, including the Old Sow whirlpool that draws multitudes of seabirds and the famed Monhegan Island, a mecca for migrant birds. Gorgeously illustrated with watercolors by Lars Jonsson and scores of line drawings by Barry Van Dusen, Birds of Maine is a remarkable guide that birders will rely on for decades to come. Copublished with the Nuttall Ornithological Club
Modern Romance examines the relationship between the revival of romance form and the ascendancy of the novel in British literary culture, from 1760 to 1850. The revival of romance as the literary embodiment of a national cultural identity provided a metaphor for the 'authenticity' of the novel itself, set against the changing formations of modern life. The material conditions, cultural status and formal repertoire of prose fiction were given a canonical transformation, leading to the form's nineteenth-century heyday, in Scott's Waverley novels. Ian Duncan's illuminating and innovative study begins with the first identification of modern prose fiction with romance form in the late eighteenth-century Gothic novel, and moves through Scott's highly influential dialectical blend of romance and history, to his relations with his successor in the role of national author, Charles Dickens.
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