If you are into GHOST TOWN adventure stories, then this is the adventure of a lifetime! Experience the EXPLORER boys Journey as they enter the towns and ranches of the real WILD WEST. As you experience the journey, It will seem like you are right there with them. You will want to help them along the way but, you will fi nd they'll have to help them self as they continue through the real WILD GHOST TOWNS and Ranches. In front of you, mysterious creatures or objects might appear to be spooky and dangerous. Th ere are snakes and a witchy bug that might make you sick. You could fall through a trap door and who knows where you will fall into. They will find many interesting things like whats in the chest or box? Could it be gold or rope and light to help them along the way? Keep on. Experience the journey as you go exploring some dangerous Ghost towns and if you go to a ranch to explore; could they be able to help you out? If the wall opens up and youre behind the wall and cannot get out. What are you going to do to get back to the hotel? Is the strange creatures or object like a ghost and a trap door REAL? Experience the journey if you DARE! Are you brave enough to experience the journey? If you DARE to go on. Its a challenge to approach these mysterious creatures or objects!
Jane Austen was the daughter of a clergyman, the sister of two others and the cousin of four more. Her principal acquaintances were clergymen and their families, whose social, intellectual and religious attitudes she shared. Yet while clergymen feature in all her novels, often in major roles, there has been little recognition of their significance. To many readers their status and profession is a mystery, as they appear simply to be a sub-species of gentlemen and never seem to perform any duties. Mr Collins in "Pride and Prejudice" is often regarded as little more than a figure of fun. This work demonstrates the importance of Jane Austen's clerical background in explaining the clergy in her novels, whether Mr Tilney in Northanger Abbey, Mr Elton in Emma, or a less prominent character such as Dr Grant in Mansfield Park. In the book, the author draws on a range of knowledge of the literature and history of the period to describe who the clergy were, both in the novels and in life: how they were educated and appointed; the houses they lived in and the gardens they designed and cultivated; the women they married; their professional and social context; their income, their duties, their moral outlook and their beliefs. The discussion uses the facts of Jane Austen's life and the evidence contained in her letters and novels to give a portrait of the contemporary clergy.
Jane Austen was the daughter of a clergyman, the sister of two others and the cousin of four more. Her principal acquaintances were clergymen and their families, whose social, intellectual and religious attitudes she shared. Yet while clergymen feature in all her novels, often in major roles, there has been little recognition of their significance. To many readers their status and profession is a mystery, as they appear simply to be a sub-species of gentlemen and never seem to perform any duties. Mr Collins in Pride and prejudice is often regarded as little more than a figure of fun. Astonishingly, Jane Austen and the Clergy is the first book to demonstrate the importance of Jane Austen's clerical background and to explain the clergy in her novels, whether Mr Tilney in Northanger Abbey, Mr Elton in Emma, or a less prominent character such as Dr Grant in Mansfield Park. In this exceptionally well-written and enjoyable book, Irene Collins draws on a wide knowledge of the literature and history of the period to describe who the clergy were, both in the novels and in life: how they were educated and appointed the houses they lived in and the gardens they designed and cultivated; the women they married; their professional and social context; their income, their duties, their moral outlook and their beliefs. Jane Austen and the Clergy uses the facts of Jane Austen's life and the evidence contained in her letters and novels to give a vivid and convincing portrait of the contemporary clergy.
In the early 1990’s in the Irish Republic, Stanley is a middle-aged man off to attend his head office monthly meeting. There are 6 visitors staying in his favourite guest house in Wexford and overnight one of them disappears without a trace, a sound or a reason. Even the Gardai are struggling to make sense of the situation as they search through the detritus of a human life as well as the debris left after the huge storm. Then it becomes obvious that, not only is there is an unexplained disappearance from Wexford, but a body is pulled from a river in County Offaly and a missing lad turns up in Roscommon. Are these connected? Is there a serial criminal at work? When a quiet person is pushed to their emotional limit and beyond, are they the same person? Has someone managed to pull off the perfect crime?
Media and Gender Adaptation examines how fans and professionals change the gender of characters when they adapt existing work. Using research into fans, and case studies on Sherlock Holmes, Ghostbusters and Doctor Who, it illustrates the foundation of the process and ways the works engage with and critique media and gender at a political level. The default maleness of narratives in media are reworked to be inclusive of other points of view. Regendering as an adaptational technique relies on audience familiarity with existing works, however it also reveals an increasing trend in aggressive backlash against interpretations of media that include marginalised and minority communities. Combining analysis of fanfiction, television and big budget Hollywood productions, Media and Gender Adaptation also analyses fan responses to regendering in popular media. Through demographic surveys and interviews with fans, creators and broader audiences, a combination of playful and serious attitudes to gender are revealed to be part of how transformative fans (professional or not) adapt work. Specific fanfiction examples are analysed alongside professional works to reveal the depth and breadth of fannish play in regendered work and the constraints that professional adaptations are held to. It also reveals a schism in audiences, and those researching media, where the intersection of gender and race are sites of tension – nostalgia combining with expected representation of gender and race to create an aggressive defence of an original work that reiterates the mainstream hierarchies of gender and race.
Why has the realist novel been persistently understood as promoting liberalism? Can this tendency be reconciled with an equally familiar tendency to see the novel as a national form? In A Probable State, Irene Tucker builds a revisionary argument about liberalism and the realist novel by shifting the focus from the rise of both in the eighteenth century to their breakdown at the end of the nineteenth. Through a series of intricate and absorbing readings, Tucker relates the decline of realism and the eroding logic of liberalism to the question of Jewish characters and writers and to shifting ideas of community and nation. Whereas previous critics have explored the relationship between liberalism and the novel by studying the novel's liberal characters, Tucker argues that the liberal subject is represented not merely within the novel, but in the experience of the novel's form as well. With special attention to George Eliot, Henry James, Oliver Wendell Holmes, and S. Y. Abramovitch, Tucker shows how we can understand liberalism and the novel as modes of recognizing and negotiating with history.
This reference comprises 10 slim volumes and is intended to be accessible to middle and high school students. It covers the early history of the United States from the signing of the Constitution in 1787, to the outbreak of the Civil War early in 1861. Articles range in length from one to about four pages. Extensively illustrated in color. Annotation copyrighted by Book News, Inc., Portland, OR
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