Cottrell's Neuroanesthesia 5th Edition, edited by James E. Cottrell, MD, FRCA and William L. Young, MD, delivers the complete and authoritative guidance you need to ensure optimal perioperative safety for neurosurgical patients. Integrating current scientific principles with the newest clinical applications, it not only explains what to do under any set of circumstances but also why to do it and how to avoid complications. Comprehensive updates reflect all of the latest developments in neurosurgical anesthesia, and contributions from many new experts provide fresh insights into overcoming tough clinical challenges. New co-editor William L. Young, MD joins James E. Cottrell, MD, FRCA at the book's editorial helm, providing additional, complementary expertise and further enhancing the book's authority. New chapters keep you current on interventional neuroradiology, anesthetic management of patients with arteriovenous malformations and aneurysms, awake craniotomy, epilepsy, minimally invasive and robotic surgery, and pregnancy and neurologic disease. Comprehensive updates reflect all of the latest developments in neurosurgical anesthesia, and contributions from many new experts provide fresh insights into overcoming tough clinical challenges. Comprehensive and broad coverage of all important aspects of neuroanesthesia, including special patient populations, enables you to find reliable answers to any clinical question. Chapters written by neurointensivists, neurosurgeons, and radiologists provide well-rounded perspectives on each topic. A consistent, logical organization to every chapter makes answers easy to find quickly. Clear conceptual illustrations make complex concepts easier to understand at a glance.
Study of how historical memory and understanding are created in Holocaust diaries, memoirs, fiction, poetry, drama video testimony and memorials. Explores the consequences of narrative understanding for the victims, the survivors, and subsequent generations. Annotation copyrighted by Book News, Inc., Portland, OR
This book explores the roots of the Miller/Lewis family. From colonial America, the formation of the Church of Jesus Christ of Latter-day Saints, the expultions and forced migrations of the early Mormon saints, to the settlement and development of the state of Utah, we learn who we are by seeing who we were. We also learn what great potential we have, for we have been blessed with a heritage rich in sacrifice, hard work and vision.
How should Germany commemorate the mass murder of Jews once committed in its name? In 1997, James E. Young was invited to join a German commission appointed to find an appropriate design for a national memorial in Berlin to the European Jews killed in World War II. As the only foreigner and only Jew on the panel, Young gained a unique perspective on Germany's fraught efforts to memorialize the Holocaust. In this book, he tells for the first time the inside story of Germany's national Holocaust memorial and his own role in it. In exploring Germany's memorial crisis, Young also asks the more general question of how a generation of contemporary artists can remember an event like the Holocaust, which it never knew directly. Young examines the works of a number of vanguard artists in America and Europe--including Art Spiegelman, Shimon Attie, David Levinthal, and Rachel Whiteread--all born after the Holocaust but indelibly shaped by its memory as passed down through memoirs, film, photographs, and museums. In the context of the moral and aesthetic questions raised by these avant-garde projects, Young offers fascinating insights into the controversy surrounding Berlin's newly opened Jewish museum, designed by Daniel Libeskind, as well as Germany's soon-to-be-built national Holocaust memorial, designed by Peter Eisenman. Illustrated with striking images in color and black-and-white, At Memory's Edge is the first book in any language to chronicle these projects and to show how we remember the Holocaust in the after-images of its history.
Thomas Gray's An Elegy Written in a Country Churchyard enjoyed extraordinary popular success in Europe, where it was widely translated, imitated, adapted, and in various ways assimilated into the continental literatures. The history of the Elegy's circulation on the continent demonstrates the importance of the poem to the romantic generation of European poets, while appreciation of this history serves to illuminate modern critical approaches to the poem's often uncertain or ambiguous meaning.
This is an impressive and lucid survey of eighteenth-century intellectual life, providing a real sense of the complexity of the age and of the cultural and intellectual climate in which imaginative literature flourished. It reflects on some of the dominant themes of the period, arguing against such labels as 'Augustan Age', 'Age of Enlightenment' and 'Age of Reason', which have been attached to the eighteenth-century by critics and historians.
Samuel Johnson's Journey to the Western Islands of Scotland and James Boswell's Journal of a Tour to the Hebrides are widely regarded as among the best pieces of travel writing ever produced. Johnson and Boswell spent the autumn of 1773 touring Scotland as far west as the islands of Skye, Raasay, Coll, Mull, Ulva, Inchkenneth and Iona. Highly readable, often profound, and at times very funny, their accounts of the 'jaunt' are above all a valuable record of a society undergoing rapid change. In this pioneering new edition, Ronald Black brings together the two men's starkly contrasting accounts of each of the thirteen stages of the journey. He also restores to Boswell's text 20,000 words from his journal which were denied entry to his book because they were intimate, defamatory, or about the islands rather than Johnson. The endnotes incorporate Boswell's footnotes, translations of Latin passages, a clear summary of pre-existing information on the two texts, and a fresh focus on what the two men actually found on their trip. To the Hebrides also includes contemporary prints by Thomas Rowlandson, seventeen new maps and a comprehensive index.
Gothic literature imagines the return of ghosts from the past. But what about the ghosts of the classical past? Spectres of Antiquity is the first full-length study to describe the relationship between Greek and Roman culture and the Gothic novels, poetry, and drama of the eighteenth and early nineteenth centuries. Rather than simply representing the opposite of classical aesthetics and ideas, the Gothic emerged from an awareness of the lingering power of antiquity. The Gothic reflects a new and darker vision of the ancient world: no longer inspiring modernity through its examples, antiquity has become a ghost, haunting contemporary minds rather than guiding them. Through readings of works by authors including Horace Walpole, Ann Radcliffe, Matthew Lewis, Charles Brockden Brown, and Mary Shelley, Spectres of Antiquity argues that these authors' plots and ideas preserve the remembered traces of Greece and Rome. James Uden provides evidence for many allusions to ancient texts that have never previously been noted in scholarship, and he offers an accessible guide both to the Gothic genre and to the classical world to which it responds. In fascinating and compelling detail, Spectres of Antiquity rewrites the history of the Gothic, demonstrating that the genre was haunted by a far deeper sense of history than has previously been assumed.
In the nineteenth century, many American Protestants expected almost limitless, orderly progress as Christianity and democracy spread and as technology and prosperity increased. Yet they also believed that, many centuries hence, after progress had run its course, the Second Coming of Jesus and a supernatural End to the world would occur. If these Protestants had one foot in the world of steamships and the telegraph, the other remained firmly planted in the cosmos of the Apocalype--a universe where angels poured out vials of wrath, where the dead would rise again, and where the wicked would be cast forever into a lake of burning fire.
First published in 1764, The Sugar-Cane is a major work in the history of Anglophone Caribbean literature. It is the only poem written in the Caribbean before the Twentieth Century to achieve a place in the Western 'canon'. Grainger sought to interpret his personal experience of the Caribbean through his wide and deep reading in literature, from the Greeks to Milton. Grainger wrote a 'West India Georgic', challenging assumptions about poetic diction and the proper subject matter of poetry, and boldly asserting the importance of the Caribbean to the Eighteenth Century British empire.. This is the first reliable text and critical study of the poem, setting it within the context of Grainger's life and work.
Rabbit, Rabbit, Rabbit is a pantomime written by amateurs for amateurs, and with a degree of flexibility. It can be acted by a cast of any size and ability - or no ability at all. It does not contain any adult humour.
Theological interest in art is at a premium. However, theological engagement with art is often enacted without a clear sense of method. This text argues for a theological methodology in engaging the arts, and, specifically, the author puts forward a theological model for understanding human creativity in the light of Jesus’ sacrificial redemption. In dialogue with theology, philosophy, psychology, and art theory, the author establishes the relevance and applicability of an incarnational and sacrificial model of human creativity. Theological models also do more than provide a conceptual framework for theological inquiries. They engage the imagination. A theological model for human creativity is like an invitation to join in the creative vision God has for the world, and to embody this vision in one’s own creative work. Therefore, Creativity as Sacrifice does not merely articulate a conceptual framework for human creativity; it also casts a vision for human life as a creative response to the gracious gifts of a creative God.
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