Our tale is about , a curious and brave snowflake who dreams of leaving his cloud and falling to the ground below. There is only one problem; no snowflake has ever done this before. Not to be discouraged, he does and the other snowflakes soon follow creating the first snowfall. On their magnificent adventure they discover the ever-changing nature of Nature.
“Is there life after death?” is one of those questions that rarely get answered. I’m one of the fortunate ones to whom the answer have been revealed, but the answer also raised numerous other questions. This book is not only about my life-after-death experience. It also talks about the numerous questions I now have because of that experience. I don’t believe that I would otherwise have thought of asking some of these questions without having had other previous paranormal experiences that lead up to these two main experiences. The search is ongoing, and my opinions on some of my questions are based solely on my inquisitiveness and are not meant to disrespect or to be negative about any other person’s religious or personal beliefs.
Hector Amaya advances into new territory in Latin American and U.S. cinema studies in this innovative analysis of the differing critical receptions of Cuban film in Cuba and the United States during the Cold War. Synthesizing film reviews, magazine articles, and other primary documents, Screening Cuba compares Cuban and U.S. reactions to four Cuban films: Memories of Underdevelopment, Lucia, One Way or Another, and Portrait of Teresa. In examining cultural production through the lens of the Cold War, Amaya reveals how contrasting interpretations of Cuban and U.S. critics are the result of the political cultures in which they operated. While Cuban critics viewed the films as powerful symbols of the social promises of the Cuban revolution, liberal and leftist American critics found meaning in the films as representations of anti-establishment progressive values and Cold War discourses. By contrasting the hermeneutics of Cuban and U.S. culture, criticism, and citizenship, Amaya argues that critical receptions of political films constitute a kind of civic public behavior.
The story of a torture survivor from Colombia who has dedicated his life to healing the pains of others. Shockingly honest, heartbreaking, and vibrantly told, The Blessing Next to the Wound is a passionate and evocative memoir that, amid enormous suffering and loss, is a full-throated affirmation of life.
DIV This first volume of the Critical Documents of 20th-Century Latin American and Latino Art series published by the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, presents 168 crucial texts written by influential artists, critics, curators, journalists, and intellectuals whose writings shed light on questions relating to what it means to be "Latin American" and/or "Latino." Reinforced within a critical framework, the documents address converging issues, including: the construct of "Latin-ness" itself; the persistent longing for a continental identity; notions of Pan–Latin Americanism; the emergence of collections and exhibitions devoted specifically to "Latin American” or "Latino" art; and multicultural critiques of Latin American and Latino essentialism. The selected documents, many of which have never before been published in English, span from the late fifteenth century to the present day. They encompass key protagonists of this comprehensive history as well as unfamiliar figures, revealing previously unknown facets of the questions and issues at play. The book series complements the thousands of seminal documents now available through the ICAA Documents of 20th-Century Latin American and Latino Art digital archive, http://icaadocs.mfah.org. Together they establish a much-needed intellectual foundation for the exhibition, collection, and interpretation of art produced in Latin America and among Latino populations in the United States. /div
Fire and Salt traces the history of how human activities have helped build the littoral landscape of Pacific coastal southern Mesoamerica over the past five thousand years. Evidence comes from airborne lidar, surface reconnaissance and excavation within the mangrove-estuary zone, sediment coring, and a chronological framework encompassing nine ceramic complexes extending from Early Formative to Historic times. In presenting the landscape as it exists today, this volume also describes what may soon be lost. The mangrove forests harbor a record of the human past, a focus of the present volume, but they also shield the coast from storms and tsunamis, provide nurseries for commercially important marine species, and store large amounts of carbon. These threats may pale, however, in comparison to the imminent threat posed by sea-level rise over the coming decades, especially if worst-case scenarios come to pass. By inventorying resources, including cultural resources, this book makes a first step toward mitigating the effects of environmental degradation that appear all but unavoidable.
This new textbook is the definitive evidence-based resource for pediatric critical care. It is the first ostensibly evidence-based pediatric critical care textbook and will prove an invaluable resource for critical care professionals across the globe.
“Is there life after death?” is one of those questions that rarely get answered. I’m one of the fortunate ones to whom the answer have been revealed, but the answer also raised numerous other questions. This book is not only about my life-after-death experience. It also talks about the numerous questions I now have because of that experience. I don’t believe that I would otherwise have thought of asking some of these questions without having had other previous paranormal experiences that lead up to these two main experiences. The search is ongoing, and my opinions on some of my questions are based solely on my inquisitiveness and are not meant to disrespect or to be negative about any other person’s religious or personal beliefs.
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