Michael Dunne Healy has spent forty years working in a variety of roles with special children, parents, teachers, administrators, and others trying to improve the lives of children from minority parents of poverty to children of wealth in both public and private schools. He has lived in two orphanages and a mansion. His experiences have served him well. He holds a Bachelor of Arts and a Master of Arts in Psychology from San Jose State University, San Jose, California.
Though the phrase "Calvinist humor" may seem to be an oxymoron, Michael Dunne, in highly original and unfailingly interesting readings of major American fiction writers, uncovers and traces two recurrent strands of Calvinist humor descending from Puritan times far into the twentieth century. Calvinist doctrine views mankind as fallen, apt to engage in any number of imperfect behaviors. Calvinist humor, Dunne explains, consists in the perception of this imperfection. When we perceive that only others are imperfect, we participate in the form of Calvinist humor preferred by William Bradford and Nathanael West. When we perceive that others are imperfect, as we all are, we participate in the form preferred by Mark Twain and William Faulkner, for example. Either by noting their characters' inferiority or by observing ways in which we are all far from perfect, Dunne observes, American writers have found much to laugh about and many occasions for Calvinist humor. The two strains of Calvinist humor are alike in making the faults of others more important than their virtues. They differ in terms of what we might think of as the writer/perceiver's disposition: his or her willingness to recognize the same faults in him- or herself. In addition to Bradford, West, Twain and Faulkner, Dunne discovers Calvinist humor in the works of Flannery O'Connor, Herman Melville, Nathaniel Hawthorne, Ernest Hemingway, and many others. For these authors, the world -- and thus their fiction -- is populated with flawed creatures. Even after belief in orthodox Calvinism diminished in the twentieth century, Dunne discovers, American writers continued to mine these veins, irrespective of the authors' religious affiliations -- or lack of them. Dunne notes that even when these writers fail to accept the Calvinist view wholeheartedly, they still have a tendency to see some version of Calvinism as more attractive than an optimistic, idealistic view of life. With an eye for the telling detail and a wry humor of his own, Dunne clearly demonstrates that the fundamental Calvinist assumption -- that human beings are fallen from some putatively better state -- has had a surprising, lingering presence in American literature.
The musical has been called "the most popular form of entertainment in the world." This work examines the subjects, themes, and contemporary relevance of Hollywood musicals through their long popularity, placing each show in historical and political context and analyzing it in detail. A chapter is devoted to how Golddiggers of 1933 (1933) and Stand Up and Cheer (1934) deal with the economic crises of the Depressions. Another addresses race issues by examining the prevalence of blackface minstrelsy in the 1930s and 1940s, looking at productions like Swing Time (1936) and Dixie (1943). Rock and roll culture, which started in the 1950s and threatened America with teenage sex and rebellion, is addressed through such hits as Girl Crazy (1943), Bye Bye Birdie (1963), and Grease (1978). The work also explores dance as a signifier of character, the geography of musicals (such as New York or "the South"), fantasy settings, Fred Astaire and Gene Kelly, and the musical biopic (mentioning biographies of such figures as Ziegfeld, Cohan, Rogers and Hart, Cole Porter, and Jerome Kern). A later chapter discusses intertextuality in such shows as Singin' in the Rain (1952), which refers to many earlier musicals; Kiss Me Kate (1953) which refers to Taming of the Shrew; and All That Jazz (1970) which refers to the life and work of Bob Fosse. The work concludes with an examination of the continuing popularity of the musical with such hits as Moulin Rouge (2001) and Chicago (2002). Instructors considering this book for use in a course may request an examination copy here.
How could one company—General Motors—meet disaster on one continent and achieve explosive growth on another at the very same time? While General Motors was hurtling towards bankruptcy in 2009, GM’s subsidiary in China was setting new sales and profit records. This book reveals how extraordinary people, remarkable decisions and surprising breaks made triumph in China possible for General Motors. It also shows just how vulnerable that winning track record remains. No small part of GM’s success in China springs from its management of shifting business and political relationships. In China, the government makes the rules for—and competes in—the auto industry. GM’s business partner, the City of Shanghai, is both an ally and a competitor. How does such an unnatural relationship work on a day-to-day basis? Where will it go on the future? General Motors also engages in constant battles with other global and Chinese car makers for the hearts of demanding Chinese consumers. Dunne gives us rare glimpses into the mindsets and behavior of this new moneyed set, the worlds newest class of wealthy consumers. China is already the number one car market in the world. During the next ten years, China will export millions of cars and trucks globally, including to the United States. American Wheels, Chinese Roads presents readers with fascinating illustrations of what to expect when Chinese cars, companies, and business people arrive on our shores.
Intertextual encounters occur whenever an author or the author's text recognizes, references, alludes to, imitates, parodies, or otherwise elicits an audience member's familiarity with other texts. F. Scott Fitzgerald and Nathanael West use the fiction of Horatio Alger, Jr., as an intertext in their novels, The Great Gatsby and A Cool Million. Callie Khouri and Ridley Scott use the buddy-road-picture genre as an intertext for their Thelma and Louise. In all these cases, intertextual encounters take place between artists, between texts, between texts and audiences, between artists and audiences. Michael Dunne investigates works from the 1830s to the 1990s and from the canonical American novel to Bugs Bunny and Jerry Seinfeld.
With America's Wetland, award-winning photographer Bevil Knapp and veteran reporter Mike Dunne sound the clarion call of the catastrophic effects of Louisiana's vanishing coastline -- not just for Louisiana but for the nation and the world. This vital landscape known as America's Wetland is currently disappearing at a rate of twenty-four square miles per year and could lose another five to seven hundred square miles in the next fifty years if no action is taken. New Orleans could become "America's Atlantis," one of the country's unique cultures lost forever. Knapp's beautiful, sometimes startling photographs and Dunne's incisive commentary bring the urgency of this problem into full view. Documented here is a way of life that is quickly waning. Fishermen, oyster farmers, cattle ranchers, oil industry workers, shipbuilders, and tugboat captains are all heavily dependent on Louisiana's coastal territory in bringing the people of the United States a host of products and services sometimes taken for granted. Home to nearly two million residents, the state's wetland serves as protection from hurricanes and storm surges and acts as a buffer for the city of New Orleans, identified by the National Hurricane Center as the city most threatened by the loss of America's Wetland. The book makes clear that as coastal erosion in Louisiana worsens at an alarming rate, the nation's economic and energy security is put at ever-higher risk and the environmental repercussions become unthinkable. Aerial photographs show how the oil and gas infrastructure is becoming increasingly exposed to the Gulf. Wells, pipelines, ports, roads, and levees that are key to delivering energy to the nation have been made vulnerable. Louisiana wetlands are the natural nursery ground for much of the country's seafood and the wintering habitat for more than five million waterfowl and migratory birds. Stunning photographs of owls, pelicans, egret, crab, crawfish, and alligators illustrate the vast array of wildlife whose home -- if not very survival -- is endangered by the possible collapse of this intricate ecosystem. America's Wetland not only maps the causes and effects of Louisiana's diminishing coast but also outlines restorative and conservation initiatives such as tree planting, rebuilding fisheries, and setting aside wildlife refuges. With the active support of all Americans, there is still hope that this imperiled border of the country can be saved.
This 5th edition of Retailing, like much of retailing itself, has undergone significant changes from prior editions. In fact, given the influence of the Internet, the continuing growth of the service industry, and the many changes in the world's economic systems, there has never been a more exciting time to study retailing. As a result, every chapter of this edition includes up-to-date coverage on the latest trends and practices in the industry. Once again, the new edition contains the conversational writing style that this text has always had.
Finley Peter Dunne was an American writer and humorist from Chicago. Mr. Dooley was a fictional character who commented of the social and political happenings of the day from his south side Chicago Irish pub. Mr. Dooley poked barbs at Theodore Roosevelt's expense. The weekly column was a barometer of the country to such an extent that it was always read by the White House Cabinet. Mr. Dooley in Peace and War was a collection of pieces first published in 1899. Approximately one third of the 700 Mr. Dooley pieces have been collected in 8 books.
Intertextual encounters occur whenever an author or the author's text recognizes, references, alludes to, imitates, parodies, or otherwise elicits an audience member's familiarity with other texts. F. Scott Fitzgerald and Nathanael West use the fiction of Horatio Alger, Jr., as an intertext in their novels, The Great Gatsby and A Cool Million. Callie Khouri and Ridley Scott use the buddy-road-picture genre as an intertext for their Thelma and Louise. In all these cases, intertextual encounters take place between artists, between texts, between texts and audiences, between artists and audiences. Michael Dunne investigates works from the 1830s to the 1990s and from the canonical American novel to Bugs Bunny and Jerry Seinfeld.
The musical has been called "the most popular form of entertainment in the world." This work examines the subjects, themes, and contemporary relevance of Hollywood musicals through their long popularity, placing each show in historical and political context and analyzing it in detail. A chapter is devoted to how Golddiggers of 1933 (1933) and Stand Up and Cheer (1934) deal with the economic crises of the Depressions. Another addresses race issues by examining the prevalence of blackface minstrelsy in the 1930s and 1940s, looking at productions like Swing Time (1936) and Dixie (1943). Rock and roll culture, which started in the 1950s and threatened America with teenage sex and rebellion, is addressed through such hits as Girl Crazy (1943), Bye Bye Birdie (1963), and Grease (1978). The work also explores dance as a signifier of character, the geography of musicals (such as New York or "the South"), fantasy settings, Fred Astaire and Gene Kelly, and the musical biopic (mentioning biographies of such figures as Ziegfeld, Cohan, Rogers and Hart, Cole Porter, and Jerome Kern). A later chapter discusses intertextuality in such shows as Singin' in the Rain (1952), which refers to many earlier musicals; Kiss Me Kate (1953) which refers to Taming of the Shrew; and All That Jazz (1970) which refers to the life and work of Bob Fosse. The work concludes with an examination of the continuing popularity of the musical with such hits as Moulin Rouge (2001) and Chicago (2002). Instructors considering this book for use in a course may request an examination copy here.
Though the phrase "Calvinist humor" may seem to be an oxymoron, Michael Dunne, in highly original and unfailingly interesting readings of major American fiction writers, uncovers and traces two recurrent strands of Calvinist humor descending from Puritan times far into the twentieth century. Calvinist doctrine views mankind as fallen, apt to engage in any number of imperfect behaviors. Calvinist humor, Dunne explains, consists in the perception of this imperfection. When we perceive that only others are imperfect, we participate in the form of Calvinist humor preferred by William Bradford and Nathanael West. When we perceive that others are imperfect, as we all are, we participate in the form preferred by Mark Twain and William Faulkner, for example. Either by noting their characters' inferiority or by observing ways in which we are all far from perfect, Dunne observes, American writers have found much to laugh about and many occasions for Calvinist humor. The two strains of Calvinist humor are alike in making the faults of others more important than their virtues. They differ in terms of what we might think of as the writer/perceiver's disposition: his or her willingness to recognize the same faults in him- or herself. In addition to Bradford, West, Twain and Faulkner, Dunne discovers Calvinist humor in the works of Flannery O'Connor, Herman Melville, Nathaniel Hawthorne, Ernest Hemingway, and many others. For these authors, the world -- and thus their fiction -- is populated with flawed creatures. Even after belief in orthodox Calvinism diminished in the twentieth century, Dunne discovers, American writers continued to mine these veins, irrespective of the authors' religious affiliations -- or lack of them. Dunne notes that even when these writers fail to accept the Calvinist view wholeheartedly, they still have a tendency to see some version of Calvinism as more attractive than an optimistic, idealistic view of life. With an eye for the telling detail and a wry humor of his own, Dunne clearly demonstrates that the fundamental Calvinist assumption -- that human beings are fallen from some putatively better state -- has had a surprising, lingering presence in American literature.
Varakush is the story of Chem, a down-and-out alien struggling to get by in a deep-space human colony. Mourning the loss of his father and brothers in a mining accident, Chem dreams of becoming a guardian – one of the police officers of the domed city where he lives. When he is the sole surviving witness to the violent kidnapping of a city VIP’s teen daughters, Chem unexpectedly finds his dream job offered to him. All he has to do before he claims his badge is deliver the ransom to an abandoned mining site in the wasteland outside the city and retrieve the two girls from the mass murderers who hold them. But why have the kidnappers asked for Chem by name? Why have they picked the mines where his family was lost for the ransom delivery? And why do they call themselves Varakush, an alien word that translates as freedom but means something more? Varakush is a fast-paced tale blending classic elements of science fiction and hard-bitten crime drama into an intense adventure of secrets and suspicions, trust and betrayal, unthinking prejudice and unexpected love.
This topical book examines the debates around contemporary conflicts between liberal democracies and increasingly vociferous special interest groups within society. It analyses the way a new sense of difference and the growth of multi-culturalism are straining modern notions of citizenship and rights, looking in particular at how ethnic conflicts in Eastern Europe have escalated to international tragedies, while in the US and Canada, race, ethnicity and radical feminism are at the heart of a social conflict which challenges national identity and the unity of the state.
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