(LINDY WALL)A Musical Parody. It's dusk, and predators and prey animals meet at the water hole. Percival 'Possum sets out on his nightly food forage, as he ponders his solitary life. His story unfolds ... one of love found and lost and found again. Meanwhile, predators brag of their prowess and lineage, provoking a lively discussion of genealogy among all the animals. The would-be prey lament their lot as snack fare, and all consider the general wickedness of humans. Dogs roll in smelly things, cats toss up furballs, and a night and day pass. As evening again approaches, the lonely male opossum is reunited with his lady love and their new babies. The animals' story is told in original, humorous lyrics set to familiar music, pop and show tunes, operatic arias, and bits of classical works. 40 songs, with libretto; cast of 28 animals.
Using case studies from universities throughout the nation, Doing Diversity in Higher Education examines the role faculty play in improving diversity on their campuses. The power of professors to enhance diversity has long been underestimated, their initiatives often hidden from view. Winnifred Brown-Glaude and her contributors uncover major themes and offer faculty and administrators a blueprint for conquering issues facing campuses across the country. Topics include how to dismantle hostile microclimates, sustain and enhance accomplishments, deal with incomplete institutionalization, and collaborate with administrators. The contributors' essays portray working on behalf of diversity as a genuine intellectual project rather than a faculty "service." The rich variety of colleges and universities included provides a wide array of models that faculty can draw upon to inspire institutional change.
First published in 1991, this book contains papers on various topics including the contribution of archaeology for understanding re-Norman London; medieval and Tudor domestic buildings in the city of London; shops and shopping in medieval London; and the Romanesque architecture of Old St Paul's Cathedral.
Classroom-tested lessons, practice problems, examples, games, and resources cover fiction, nonfiction, and poetry, as well as all aspects of writing (including prewriting, editing, and technique). With step-by-step guidelines, helpful tips from the authors, and numerous writing activities, this book offers myriad options for inspiring your students. Everything you need to make your writing program a success has been incorporated into this treasury. Classroom-tested lessons, practice problems, examples, games, and resources cover fiction, nonfiction, and poetry, as well as all aspects of writing (including prewriting, editing, and technique). With step-by-step guidelines, helpful tips from the authors, and numerous writing activities, this book offers myriad options for inspiring your students.
Third in the PI series, Thicker than Water finds Kit O'Malley trying not to become too embroiled in the feud between three Melbourne crime families, while dealing with ghosts from her past, and a strange missing persons case. The women's bar known as Angie's is the last place anyone expected to find the dead body of known-criminal Gerry Anders, and O'Malley soon discovers that helping her family of friends out of trouble can be just as dangerous as facing a deranged killer - only more complicated. She has to deal with an old nemesis from her days of the force; the matriarch of the notorious Riley clan, who takes a liking to her; a troublemaking journalist; and a Romeo and Juliet scenario. Kit's ex-partner, Detective Inspector Jon Marek, is not coping with the ugly reality of his on-going hunt for a serial killer; and, as the Feds are still spying on everyone, Kit's courtship of the gorgeous Alex Cazenove remains under wraps. To cap it all off a good friend and his strange Russian-American client go missing, and suddenly everything points to old grudges and unresolved family tension. Everything, that is, except the very strange connection to Melbourne's Bubble-Wrap Killer.
Book 2 in the Kit O'Malley series. Poison pens can draw blood. And that is exactly why TV presenter Rebecca Jones hires private eye Kit O'Malley to investigate the threats against her. But the trouble with being tenacious, tough, and too smart for her own good is that everybody else wants her on their team. As if trying to keep Rebecca alive and on the air wasn't enough, Kit is beset by a clutch of other people's catastrophes that require her very particular skills to resolve. And, as Kit is the detective who can't say no, before she knows it she is up to her eyes in the worst that Australia's criminal minds can throw her way. Money laundering, sordid sexual shenanigans, abduction, political sleaze, and murder among Melbourne's movers and shakers threaten to swamp Kit as she picks her way through the morass of double-dealing, treachery, and outright greed. As if that's not enough, the beautiful and sexy Alex Casenove sweeps back into her life, reminding Kit that love is almost as deadly as hate and that murder never happens at a convenient time. Bleeding Hearts, the sequel to the highly acclaimed debut Blood Guilt, is a tightly plotted romp through the dark underbelly of Australia's most-cultured city, vibrantly demonstrating that even the heartless bleed.
Agent Capra Jane - cybercop attached to the Melbourne-City HQ of Southern Indian-Pacific Corp - trawls the mean streets of Cy-city and other cyberspace resorts. In a climate-changed future, after the gene and borders wars of the 2060s, and in a world governed by the Alpha-Omega Accord and its Interplanetary Exchange, Capra Jane fights a never-ending battle against crime. Things change in unexpected ways, however, when she is teamed up with the enigmatic and beautiful Zanzibar Black of HomeWorld Security, and Decker, a returned astronaut who's never been in cyberspace.
The Lifestyle-integrated Functional Exercise (LiFE) program is a way of reducing the risk of falls by integrating balance and strength activities into regular daily tasks. Unloading the dishwasher becomes an opportunity to improve strength. Brushing your teeth becomes an opportunity to improve balance. In the LiFE program, every daily task becomes an opportunity to improve balance and strength. This is a different approach to a traditional program where you would be required to complete a series of exercises a certain number of times a day for a set number of days each week. The participant's manual outlines the principles of the LiFE program and provides detailed descriptions of the strength and balance activities in the program. It shows how the activities can be incorporated into an everyday routine and includes several stories of successful participants in the program. The participant's manual should also be read by therapists and trainers so that they are familiar with the LiFE program in its entirety and can teach it effectively to others.
Book 1 in the Kit O'Malley series. Private investigator Kit O'Malley has had more exciting cases than following a wealthy client's husband, but Celia Robinson is paying big money to find out what the libidinous Geoffrey is up to with a blonde, a redhead and entrepreneur Ian Dalkeith and his group of shady businessmen. Enduring a heatwave and fighting the inanimate objects that are out to get her are the hardest parts of Kit's assignment until a body is found in the Robinson's ornamental fish pond and everything takes a turn for the weird and nasty. While the cops do their own thing, Celia's daughter Quinn hires Kit to find the killer and her mother's missing butler. What Kit doesn't count on is Quinn's determination to be involved in the case. To make matters worse she brings along her lawyer, Alexis Cazenove, who is as stunning as she is smart and has an extremely disconcerting effect on Kit's sense of balance. After a near miss with a homicidal driver, Kit knows she's getting close to something - even if the truth seems to be that everyone has a secret. And then there's the question of just who the mysterious Mike Finnigan is following; is it Geoffrey, Dalkeith or Kit herself?
In this wickedly funny cultural critique, the author of the critically acclaimed memoir and Hulu series Shrill exposes misogyny in the #MeToo era. This is a witch hunt. We're witches, and we're hunting you. From the moment powerful men started falling to the #MeToo movement, the lamentations began: this is feminism gone too far, this is injustice, this is a witch hunt. In The Witches Are Coming, firebrand author of the New York Times bestselling memoir and now critically acclaimed Hulu TV series Shrill, Lindy West, turns that refrain on its head. You think this is a witch hunt? Fine. You've got one. In a laugh-out-loud, incisive cultural critique, West extolls the world-changing magic of truth, urging readers to reckon with dark lies in the heart of the American mythos, and unpacking the complicated, and sometimes tragic, politics of not being a white man in the twenty-first century. She tracks the misogyny and propaganda hidden (or not so hidden) in the media she and her peers devoured growing up, a buffet of distortions, delusions, prejudice, and outright bullsh*t that has allowed white male mediocrity to maintain a death grip on American culture and politics-and that delivered us to this precarious, disorienting moment in history. West writes, "We were just a hair's breadth from electing America's first female president to succeed America's first black president. We weren't done, but we were doing it. And then, true to form—like the Balrog's whip catching Gandalf by his little gray bootie, like the husband in a Lifetime movie hissing, 'If I can't have you, no one can'—white American voters shoved an incompetent, racist con man into the White House." We cannot understand how we got here‚—how the land of the free became Trump's America—without examining the chasm between who we are and who we think we are, without fact-checking the stories we tell ourselves about ourselves and each other. The truth can transform us; there is witchcraft in it. Lindy West turns on the light.
This wide-ranging book explores the architecture—principally ecclesiastical—of Normandy from 1120 to 1270, a period of profound social, cultural, and political change. In 1204, control of the duchy of Normandy passed from the hands of the Anglo-Norman/Angevin descendants of William the Conqueror to the Capetian kingdom of France. The book examines the enormous cultural impact of this political change and places the architecture of the time in the context of the Normans’ complicated sense of their own identity. It is the first book to consider the inception and development of gothic architecture in Normandy and the first to establish a reliable chronology of buildings. Lindy Grant extends her investigation beyond the buildings themselves and also offers an account of those who commissioned, built, and used them. The humanized story she tells provides sharp insights not only into Normandy’s medieval architecture, but also into the fascinating society from which it emerged.
This Element offers a comprehensive synthesis of the evidence from the pre-Norman period that situates Old English as one of several living languages that together formed the basis of a vibrant oral and written literary culture in early medieval Britain.
This book looks at Rider Haggard from a different standpoint, his own. It carries a selection of critical appraisals of Haggard's work by his contemporaries up until the early 1950s.
On June 19, 2001, Ryan Corbin, grandson of Pat Boone, accidently stepped through a skylight and fell three stories onto a cement floor. When he broke through that roof, Ryan fell into a very different life from the one he had before as the beloved son of Lindy Boone Michaelis and first grandson of entertainment icon Pat Boone. As Ryan lingered between life and death in intensive care at UCLA Medical Center, Pat and Lindy decided to take action, in a big way; they went on Larry King Live, shared their faith, and asked millions of TV viewers to pray for Ryan. And so, they prayed. Heaven Hears is an unbelievable story of answered prayer—and it’s not over yet. This book will inspire you to look for answers to prayer and to see God’s miracles.
Explore the traces of the rise and fall of Colorado's mountains, volcanic eruptions, shifting seas, wind-blown deserts, and dinosaur haunts. This new destination guide offers understanding of the many unique and spectacular geologic formations of Colorado. 8-page color photo insert. 80 b&w photos. 14 maps.
Based on a fresh reading of primary sources, Lindy Grant's comprehensive biography of Abbot Suger (1081-1151) provides a reassessment of a key figure of the twelfth century. Active in secular and religious affairs alike - Suger was Regent of France and also abbot of one of the most important abbeys in Europe during the time of the Gregorian reforms. But he is primarily remembered as a great artistic patron whose commissions included buildings in the new Gothic style. Lindy Grant reviews him in all these roles - and offers a corrective to the current tendency to exaggerate his role as architect of both French royal power and the new gothic form.
Inhaltsangabe:Introduction: Virginia Woolf is not a popular writer. Despite a fierce pride in her work it was never her ambition to be one. Most people have heard of her work, vaguely associating it with the second wave of the women s liberation movement in the 1970s and the type of fiction that is commonly called difficult , and few people unfamiliar with her work would associate her reputation with humour. These are some of the first impressions of a writer who is now hailed by scholars of English literature as one of the icons of modernism. To speak of first impressions of Virginia Woolf s work is not as fatuous as it may seem. After all Woolf s fiction was initially founded on impressions, and I hope to show that one of the distinctive characteristics of her oeuvre compared to other modernists like T.S. Eliot, W.B. Yeats or James Joyce, is the intensely visual nature of her art. Furthermore, she is often associated with a movement of modern painting in the early twentieth century known as Post-Impressionism , including painters like Cézanne, Picasso and Georges Braque. Finally, laughter in all its registers - whether merry, cruel or parodic - runs like a golden thread throughout the texture of her essays, short stories and novels; as satire does more generally throughout modernism. I have chosen Virginia Woolf s third novel, Jacob s Room (1922), as the focus of my study of Woolf s modernism. It is not her best known novel, as most critical acclaim is reserved for Mrs. Dalloway (1925) or To the Lighthouse (1927). She started writing fiction in 1915 just as the First World War started and, for four reasons, I believe that Jacob s Room is the perfect starting point from which to survey Woolf s particular contribution to the Modernist Movement. Firstly, the social catastrophe associated with the First World War is widely considered to be the decisive historic event in the collective consciousness of early twentieth century Europe, its effects reverberating throughout the literary- and visual arts in the 1920s. Secondly, Jacob s Room was published in a year which falls nicely within the boundaries of the period of High Modernism, which culminated in the decades between 1910 and 1930. Indeed the year of 1922 marks the publication of two other seminal modernist works, T.S. Eliot s Wasteland and James Joyce s Ulysses. Thirdly, Jacob s Room is commonly regarded as Virginia Woolf s first experimental novel in which she, in her own phrase, [...]
In 1980, nine-week-old Azaria Chamberlain was taken by a dingo from her family's tent near Uluru in Australia's remote Northern Territory. Her body was never found. In a terrible miscarriage of justice, her mother Lindy was wrongfully convicted of her daughter's murder and sentenced to life in prison. It was seven years before the conviction was overturned. This is the true story behind a tragedy whose echoes reverberated around the world. "This is the story of a little girl who lived, and breathed, and loved, and was loved. She was part of me. She grew within my body and when she died, part of me died, and nothing will ever alter that fact. This is her story, and mine." – Lindy Chamberlain-Creighton "Page after page demolishes the myth and fables that have been spun around a nation's obsession with the baby's disappearance." – The Sydney Morning Herald "What first struck me on meeting Lindy was her sense of humour and surprising lack of bitterness. Here is a woman who has been under such macabre and intense public scrutiny and yet through all the tabloid hysteria they haven't managed to capture the real Lindy at all. There are so many myths about Lindy and the Chamberlain case that have still not been dispelled and to read this book is to get closer to the truth behind the story that has continued to fascinate Australia for the past 24 years." –Miranda Otto, Actress, Lord of the Rings Trilogy Previously published as Through My Eyes in 2004.
The step-by-step, instructional guide for the most common ophthalmic instruments and procedures has been updated to a second edition. Clinical Skills for the Ophthalmic Examination: Basic Procedures, Second Edition provides details on tests frequently performed in the office and provides instructions on the proper way to perform them. Lindy DuBois focuses on presenting fundamental instruction in a clear and easy-to-use manual. Essential chapters, such as those on patient history, medications, allergies, and refractive surgery have been updated to offer critical information for the ophthalmic professional. New to this edition: An expanded History section with a detailed patient interview to comply with new regulations. Expanded Interim History section to include patients with low vision. New sections on Exophthalmometry and A-Scan Biometry. Make Clinical Skills for the Ophthalmic Examination: Basic Procedures, Second Edition your go-to text for information on the latest procedures and instruments used in the clinic today.
Team building takes on a whole new meaning—when work is the last thing on your mind . . . The Illinois wilderness should be a relaxing change of pace for advertising superstar Ben Stitzer. But he has one goal during this company retreat: proving to his boss how far he’ll go to succeed. Even if it means having to team up with the uber competitive, exasperatingly attractive, woman who has tried to undermine him at every turn . . . Being in the great outdoors is Avery Scottam’s biggest nightmare. And hard as she tries, she can’t even hide her fear from Ben. When one of her especially huge freak-outs gets them lost, they’ll have to rely on each other to survive wild animals, sketchy campers, and their mutual distrust. Yet somewhere between a malevolent crow and a surprising confession, they just might end up something more than friends . . . Will returning to civilization make them forget how truly wild they can be together?
In this study the author conducts a close reading of Virginia Woolf’s first ‘experimental’ novel, Jacob’s Room (1922). Her reading is based on the fundamental premise that the novel is an exploration of fictional form, rather than an exposition of any preconceived idea. Jacob’s Room is an essentially modernist text, and is characterised by extensive genre-mixing typical of the art of fiction in the early 20th century. Throughout her study the author analyses the extent to which the novel transgress the ‘boundaries’ of the novelistic genre. She explores the generic interface between the novel and those genres which are deemed to be innate to Virginia Woolf’s sensibility, i.e. the journalistic essay, biography and impressionist painting. The premise of this study leads the author to read the novel on two levels of significance: On the narrative, ‘surface’ level of the novel, Woolf constructs the tragic life of a promising young Englishman, Jacob Flanders, who dies in the First World War. Simultaneously, on the metafictional level of significance, Woolf, through her garrulous narrator, mocks and evaluates the actions of her characters, experimenting with various points of view in an attempt to define the character of her protagonist. Jacob’s ‘room’ is thus conceived as a ‘mental space’ in which a modern writer’s mind is ‘mapped’. The central aesthetic question which is debated in this room or forum relates to the essential art of modern fiction in general and the efficiency of characterisation in fiction in particular. It is argued that Virginia Woolf probes into the epistemic question of the essence of modern man and, in an attempt to capture the essence of her protagonist, speculates on the corresponding literary question how, and to what extent, the ‘soul’ of man can to be represented in fiction. The author uses this generic approach to the novel as a broad structuring principle for her study of Jacob’s Room. After discussing the socio-political context of modernism in the early 20th century, including the impact of the First World War on modernist writing, she focuses her study on those aspects of Woolf’s fiction which are deemed fundamental to the narrative strategy in Jacob’s Room, i.e. the role and nature of Woolf’s humour within the context of modernism; the ‘nodes’ or clusters of metaphors and symbols recurring in the text; the role of the narrator as ‘toastmaster’ of the debate on character and fiction in Jacob’s Forum; the extent to which the novel parodies the ‘new biography’ of the early twentieth century; and the extent to which Woolf transvaluates the tools of impressionist painting into modernist fiction.
Best known as the author of such works as King Solomon's Mines and She, H. Rider Haggard was one of the most popular writers of the late-Victorian era, and his works continue to be influential today. To a large degree, his novels are captivating because of his image of Africa, and an understanding of his representation of the African landscape is central to a critical reading of his works. This book argues that Haggard created in his African romances a formulaic, ideological geography which provided a canvas onto which he projected his desires and fears, both personal and political, as well as those of his age. The first full-length study of land and landscape in Haggard's African romances, this book approaches his construction of an imaginary African landscape as a product of late-Victorian wishful thinking about Africa, analyzing his African topography as a vast Eden, a wilderness, a dream underworld, a home to ancient white civilizations, and a sexualized metaphor for the human body. While the work looks primarily at his pre-1892 romances, which were his most powerful, it also gives attention to his nonfiction and unpublished papers. Because Haggard's writings embodied the spirit of his age, this book is an essential guide to late-Victorian concepts of Africa, colonization, and the British Empire.
Some evil wants to live forever. Ten years ago a witch sacrificed Britta Orchid's family and turned her into a werewolf. Selena Stone's spell failed, and she was never seen again. Until now. Officer Aaron Labaye has discovered Selena's remains in the house where Britta's family died, and dragged Britta back to Louisiana to aid the investigation, hoping her past will break the case. Britta has a hard time resisting the handsome rookie, especially when he shows her a new drawing by her murdered little brother: Britta in her wolf-form. As an unseen hand sets events in motion, Britta has to help Labaye dig into the murders old and new. The bloodthirsty ghost of her brother, a jealous member from her pack, and a former friend with a serious prejudice against wolves all stand to stop Britta as she fights to finally get the truth about that night ten years ago. But, as she looks harder than ever into her own dark past, Britta will confront more than just her own demons as she fights for peace for herself and for her family. She can't hide anymore, but must find her place in a world she's avoided—and discover what it truly means to be a wolf.
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