Title first published in 2003. John Macquarrie has been a major contributor in the theological world for more than forty years, but as yet very little secondary material on his work has appeared. This book offers an insightful introduction to Macquarrie's theology, arguing that at its heart is a systematic theology of gift. Tracing the development of his thought from its early existentialism to the social and world-affirming perspectives of later writings, this book shows how these developments emerge in dialogue with contemporary thinkers. Morley demonstrates how Macquarrie's theology mediates between two traditionally opposing theologies of gift and being, centring on the doctrines of God and of human being, and reaching its fullest expression in Christology, with Christ as the focal point of two personal movements of self-giving - divine and human. Macquarrie himself contributes a Foreword.
A dying king, a favoured daughter and a secret hidden in the shadows. The Raven Queen of Rocfeld is expected to be chosen by the gods from amongst the three princesses. One is favoured by the people, one is favoured by the Silent Sisters and one is favoured by her father, but who will be favoured by the gods? The gods will mark their choice with raven hair, but as the days turn into weeks without a new queen, speculation and suspicion grows. The youngest daughter, Meg raised to put her duty first, has determined the gods will make the right decision. But Rocfeld is not what it was. The harder Meg tries to help her kingdom, the more dangerous her world becomes. Her eldest sister makes decisions as though she is already queen. Enemies hide in the shadows whispering of magic and death, and her allies may not be as they appear. If you like epic battles, vengeful gods and determined princesses, then you will love Georgina Makalani’s sword and sorcery series.
Meg was raised to do her duty as the youngest daughter of the king. But when he unexpectedly ties her to the northern nation and then dies, the kingdom assumes she will replace him as the Raven Crown. With the entire world watching and waiting for something to happen, her eldest sister makes decisions as though she is queen. And as her cousins hope for a share of the power, Meg prays her faith is enough to maintain her sense of duty. As Meg’s hair remains resolutely white, the people wonder what her sisters will do to prove themselves more suitable, or remove the competition. An attack on one sister puts another in danger, and Meg doesn’t know who she can trust. Is her faith in the gods to choose wisely just a naïve girl’s dream? Or are the gods more involved than she imagined, and what could they want? Raven’s Dawn is an exciting start to the Raven Crown Series. If you like magic, a temple full of gods and a dash of political intrigue, then you will love Georgina Makalani’s series.
In this Banff history book, Eleanor Luxton, the daughter of one of Banff’s pioneers, presents us with a labour of love – a comprehensive history of Banff National Park from its geological birth, through its exploration and settlement, to its growth as Canada’s first National Park. This story of Rocky Mountains Park is a sensitive portrayal of the natural and human history of the Banff area, weaving together the romantic adventure of the earliest exploration and settlement with the realities of World Wars, depressions, and government influences. It will most surely command rapt attention from both the casual reader and the historian. Publisher's note: Written in 1975 as an historical account and reprinted in 2008, Banff: Canada’s First National Park has itself become a piece of the park’s history. Respecting this significance, we have strived to replicate the original book by re-creating the original cover, leaving the text as it appeared in 1975 (complete with references to places that no longer exist, such as the Buffalo Paddock), and including photographs from Luxton’s private collection.
This work uses narrative research, including accounts of personal experiences, to explore the margins of science and ethics. Boundaries between science and other cultural and disciplinary forms of knowledge are illuminated through studying the inter-relationships between identity, knowledge and power, using narratives both in and as a form of philosophical reflection on educational practice.
Thorough revision of a comprehensive and highly readable textbook on veterinary anaesthesia A popular book amongst veterinary students and veterinary anaesthesia residents, the new edition of Veterinary Anaesthesia: Principles to Practice continues to be a comprehensive textbook covering the key principles of veterinary anaesthesia, encompassing a wide range of species. Fully revised, the information is summarised in a simple, accessible format to help readers navigate and locate relevant information quickly. Filled with technical and species-based chapters, it offers a quick reference guide to analgesic infusions, as well as emergency drug dose charts for canines, felines, and equines. Provides broad coverage of the basics of veterinary anaesthesia and how it is implemented in clinical practice Includes new information on mechanisms of general anaesthesia Features new and improved photographs and line illustrations, plus end of chapter questions to test your knowledge Covers veterinary anaesthesia for a wide range of species, including dogs, cats, horses, rabbits, donkeys, and pigs Expands example case material to increase relevance to day-to-day clinical practice Updated to contain the latest developments in the field, Veterinary Anaesthesia: Principles to Practice is designed specifically for veterinary students and those preparing to take advanced qualifications in veterinary anaesthesia. It is also a useful reference for veterinarians in practice and advanced veterinary nurses and technicians.
From its foundation in 1826, UCL embraced a progressive and pioneering spirit. It was the first university in England to admit students regardless of religion and made higher education affordable and accessible to a much broader section of society. It was also effectively the first university to welcome women on equal terms with men. From the outset UCL showed a commitment to innovative ideas and new methods of teaching and research. This book charts the history of UCL from 1826 through to the present day, highlighting its many contributions to society in Britain and around the world. It covers the expansion of the university through the growth in student numbers and institutional mergers. It documents shifts in governance throughout the years and the changing social and economic context in which UCL operated, including challenging periods of reconstruction after two World Wars. Today UCL is one of the powerhouses of research and teaching, and a truly global university. It is currently seventh in the QS World University Rankings. This completely revised and updated edition features a new chapter based on interviews with key individuals at UCL. It comes at a time of ambitious development for UCL with the establishment of an entirely new campus in East London, UCL East, and Provost Michael Arthur’s ‘UCL 2034’ strategy which aims to secure the university’s long-term future and commits UCL to delivering global impact.
James Joyce and Photography is the first book to explore in-depth James Joyce's personal and professional engagement with photography. Photographs, photographic devices and photographically-inspired techniques appear throughout Joyce's work, from his narrator's furtive proto-photographic framing in Silhouettes (c. 1897), to the aggressively-minded 'Tulloch-Turnbull girl with her coldblood kodak' in Finnegans Wake (1939). Through an exploration of Joyce's manuscripts and photographic and newspaper archival material, as well as the full range of his major works, this book sheds new light on his sustained interest in this visual medium. This project takes Joyce's intention in Dubliners (1914) to 'betray the soul of that hemiplegia or paralysis which many consider a city' as key to his interaction with photography, which in his literature occupies a dual position between stasis and innovation.
The Private Collector’s Museum connects the rising popularity of private museums with evolving models of collecting and philanthropy, and new inter-relationships between private and public space. It examines how contemporary collectors construct museums to frame themselves as cultural arbiters of global distinction. By exploring a range of in-depth contemporary case studies, the book aims for a more complex understanding of the private collector’s museum, assessing how it is realised, funded and understood in a broader cultural context. It examines the ways in which this particular museum model has evolved within a historical Western tradition of collecting and museum-building, and considers how private museums will endure alongside their public counterparts. It also sheds light on the shifting patterns of collecting, such as the transition of personal art collections into the public sphere. The developments are situated within the wider context of private–public engagement in general. Providing a new analysis of philanthropy, public access and the museum, The Private Collector’s Museum is essential reading for scholars and students interested in the private museum, and key reading for those interested in related issues.
Some of the experiences which I have to record are of so unusual a character that I think it will help to a better understanding on the part of my readers if I briefly outline the drift of my existence before I became aware of the women’s movement, and in touch with that section of it known as the “Militant Suffragettes.” My father had been dead fifteen years and I was thirty-nine years old in 1906, when my narrative begins. I lived with my mother in the country. Two sisters and two brothers had left the home when they were young—the sisters to marry, the brothers to train for and enter their professions. I assumed, as did all my friends and relations, that, being past the age when marriage was likely, I should always remain at home. In my early girlhood I had a yearning to take up music professionally; again, after father’s death, when unexpected financial misfortunes caused my mother great anxiety, I had longed to try my hand at journalism; and once more, a few years later, I had the same ambition. But these wishes, finding no favour, had in each case eventually to be repressed, and in 1906 I had neither equipment, training nor inclination for an independent life. I had been more or less of a chronic invalid through the greater part of my youth. An overmastering laziness and a fatalistic submission to events as they befell were guiding factors in my existence. I was passionately fond of animals and of children, music was a great delight to me; otherwise I was not given to intellectual pursuits. So far as I know, I was an average ordinary human being, except perhaps for an exaggerated dislike of society and of publicity in any form. I had many intimate friends, both men and women, and also children. Such mental training as I have known was chiefly due to intercourse with them. I owed to them, as well as to my mother and many members of my family, a happy life, in spite of considerable physical suffering.
Impossible Refuge brings the perspectives of refugees into rapidly emerging dialogues about contemporary situations of mass forced migration, asking: what does it mean to be displaced? Based on multi-sited ethnographic research conducted with refugees from Central Africa living in situations of protracted asylum in Uganda and resettlement in Australia, the book provides a unique comparative analysis of global humanitarian systems and the experiences of refugees whose lives are interwoven with them. The book problematises the solutions that are currently in place to resolve the displacement of refugees, considering that since displacement cannot be reduced to a politico-legal problem but is an experience that resonates at an existential level, it cannot be assumed that politico-legal solutions to displacement automatically resolve what is, fundamentally, an existential state of being. Impossible Refuge therefore offers a new theoretical foundation through which to think about the experiences of refugees, as well as the systems in place to manage and resolve their displacement. The book argues that the refuge provided to refugees through international humanitarian systems is conditional: requiring that they conform to lifestyles that benefit the hegemonic future horizons of the societies that host and receive them. Impossible Refuge calls for new ways of approaching displacement that go beyond the exceptionality of refugee experience, to consider instead how the contestation and control of possible futures makes displacement a general condition of our time. As such, it will appeal to scholars across the social sciences with interests in migration and refugees, humanitarianism and violence, sovereignty and citizenship, cosmology and temporality, and African studies, broadly.
Anthropologist Georgina Born presents one of the first ethnographies of a powerful western cultural organization, the renowned Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) in Paris. As a year-long participant-observer, Born studied the social and cultural economy of an institution for research and production of avant-garde and computer music. She gives a unique portrait of IRCAM's composers, computer scientists, technicians, and secretaries, interrogating the effects of the cultural philosophy of the controversial avant-garde composer, Pierre Boulez, who directed the institute until 1992. Born depicts a major artistic institution trying to maintain its status and legitimacy in an era increasingly dominated by market forces, and in a volatile political and cultural climate. She illuminates the erosion of the legitimacy of art and science in the face of growing commercial and political pressures. By tracing how IRCAM has tried to accomodate these pressures while preserving its autonomy, Born reveals the contradictory effects of institutionalizing an avant-garde. Contrary to those who see postmodernism representing an accord between high and popular culture, Born stresses the continuities between modernism and postmodernism and how postmodernism itself embodies an implicit antagonism toward popular culture.
Don't expect just tulle and toe shoes. In this fascinating insider's tale, NYCB dancer Pazcoguin reveals her world. . . . A striking debut." —People Award-winning New York City Ballet soloist Georgina Pazcoguin, aka the Rogue Ballerina, gives readers a backstage tour of the real world of elite ballet—the gritty, hilarious, sometimes shocking truth you don’t see from the orchestra circle. In this love letter to the art of dance and the sport that has been her livelihood, NYCB’s first Asian American female soloist Georgina Pazcoguin lays bare her unfiltered story of leaving small-town Pennsylvania for New York City and training amid the unique demands of being a hybrid professional athlete/artist, all before finishing high school. She pitches us into the fascinating, whirling shoes of dancers in one of the most revered ballet companies in the world with an unapologetic sense of humor about the cutthroat, survival-of-the-fittest mentality at NYCB. Some swan dives are literal: even in the ballet, there are plenty of face-plants, backstage fights, late-night parties, and raucous company bonding sessions. Rocked by scandal in the wake of the #MeToo movement, NYCB sits at an inflection point, inching toward progress in a strictly traditional culture, and Pazcoguin doesn’t shy away from ballet’s dark side. She continues to be one of the few dancers openly speaking up against the sexual harassment, mental abuse, and racism that in the past went unrecognized or was tacitly accepted as par for the course—all of which she has painfully experienced firsthand. Tying together Pazcoguin’s fight for equality in the ballet with her infectious and deeply moving passion for her craft, Swan Dive is a page-turning, one-of-a-kind account that guarantees you'll never view a ballerina or a ballet the same way again.
Title first published in 2003. John Macquarrie has been a major contributor in the theological world for more than forty years, but as yet very little secondary material on his work has appeared. This book offers an insightful introduction to Macquarrie's theology, arguing that at its heart is a systematic theology of gift. Tracing the development of his thought from its early existentialism to the social and world-affirming perspectives of later writings, this book shows how these developments emerge in dialogue with contemporary thinkers. Morley demonstrates how Macquarrie's theology mediates between two traditionally opposing theologies of gift and being, centring on the doctrines of God and of human being, and reaching its fullest expression in Christology, with Christ as the focal point of two personal movements of self-giving - divine and human. Macquarrie himself contributes a Foreword.
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