A young girl, kidnapped from her planet, is left stranded on Earth. She manages to survive, then tries to blend in with earthpeople and still remain anonymous, for earthpeople hate aliens. After her true identity is discovered she goes from one adventure to another as she flees her pursuers, people who want to capture her for their own selfish reasons and those who want to save the world from extra-terrestrials. The U.S. government becomes involved in the pursuit. Leading the chase is Major John Andrews, who believes in alien abductions. The abductors have tormented him for years. She soon realizes that the only person who can help her is her worst enemy, Major Andrews. He suspects that she is the only person who can save him. Her goal is to go home, not save the world from their own foolishness, and certainly, not to fall in love.
How does structural economic change look and feel? How are such changes normalized? Who represents hope? Who are the cautionary tales? Unfinished Business argues that U.S. deindustrialization cannot be understood apart from issues of race, and specifically apart from images of, and works by and about African Americans that represent or resist normative or aberrant relationships to work and capital in transitional times. It insists that Michael Jackson's performances and coverage of his life, plays featuring Detroit, plans for the city's postindustrial revitalization, and Detroit installations The Heidelberg Project and Mobile Homestead have something valuable to teach us about three decades of structural economic transition in the U.S., particularly about the changing nature of work and capitalism between the mid 1980s and 2016. Jackson and Detroit offer examples of the racialization of deindustrialization, how it operates as a structure of feeling and as representations as well as a shift in the dominant mode of production, and how industrialization's successor mode, financialization, uses imagery both very similar to and very different from its predecessor.
In this first anthropological study of Muslim and Hindu lives in urban Myanmar today, Judith Beyer develops the concept of “we-formation” to demonstrate that individuals are always more than members of wider groups. “We-formation” complements her rich political, legal, and historical analysis of “community,” a term used by Beyer’s interlocutors themselves, even as it reinforces ethno-religious stereotypes and their own minority status. The book also offers an interpretation of the dynamics of resistance to the attempted military coup of 2021.
This book is an outgrowth of classes given at the University of California, Santa Barbara, mainly for students who had little mathematical background. Many of the students indicated they never understood what mathematics was all about (beyond what they learned in algebra and geometry). Was there any more math-ematics to be discovered or created? How could one actually discover or create new mathematics? In order to give these students some sort of answers to such questions, we designed a course in which the students could actually participate in the discovery of mathematics.
Synthesizing decades of work, but up-to-date, this book focuses on organism-level responses to pollutants by marine animals, mainly crustaceans, molluscs, and fishes. Emphasizing effects on physiological processes (feeding/digestion, respiration, osmoregulation), life-cycle (reproduction [including endocrine disruption], embryo development, larval development, developmental processes later in life (growth, regeneration, molting, calcification, cancer), and behaviour, the book also covers bioaccumulation and detoxification of contaminants, and the development of tolerance. The major pollutants covered are metals, organic compounds (oil, pesticides, industrial chemicals), nutrients and hypoxia, contaminants of emerging concern, and ocean acidification. Some attention is also devoted to marine debris and noise pollution.
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This catalogue accompanies the exhibition "Judith Godwin: Paintings, 1954-2002." It includes color illustrations of the eighteen works included in the show, an introduction by Ira Spanierman, and essays by Lowery Stokes Sims and David Ebony.
The Old English translation of the biblical Judith is preserved in only 1 manuscript, the 'B.L. Cotton Vitellius A.XV'. Even though the extant text is incomplete at the beginning and possibly at the end, the poem is an exceptionally fine piece of Old English writing. This study considers all different aspects of its composition and reception.
Reprint of the original, first published in 1859. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
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