The Murphy's are a normal Kentucky family trying to enjoy a simply mouse life living in the big red barn, but when the farmer comes to get the last bale of hay, they have to find a new home. They go through action, adventure and hardship to finally find a new home that shows them how important it is to have one another and their friends, including a man who they never thought, for any reason, under no circumstance, with no reason at all would become a friend. One way or another they learn to trust, even if everything in their life has told them not to, even if their own life experience has taught them to never believe in another human, they learn that they can understand that some humans can be kind, giving and even trusted.Except from CHAPTER 1The Murphy'sIn the rolling hills of Kentucky there is a big red barn and inside the barn lives a family of mice, named the Murphy's. They were a simple mouse family that lived inside a sweet bale of hay all the way in the back of the barn. All five of them were happy and content living in the barn, up until that first day of fall. It was a morning of misfortune that ended their days of living in the big red barn, and it all started with a loud awakening by the farmer with a job. First there was a great big swoop and then a swirl and then a gigantic thump. The Murphy's warm and comfortable hay bale home had been picked up by the farmer and swung clean out the back door of the barn. It landed on the cold hard ground with a big thump that shook the bale from end to end and awoke the whole family all at once. Each and every one of them tumbled out of their cozy perfect beds and into the chill of a misty morning. Their hay bale home was turned upside down and demolished with one crash. The farmer picked up the hay bale for a second time and it was then that Father Murphy opened his eyes in shock as he looked directly into the eyes of the Farmer himself. He gasped as he held on to the hay bale with one hand and tucked his arm over his head, getting ready for a great big swap from the farmer. But no, Father's feet started dashing so fast right underneath him that he dropped to the ground and flew off in a zip. He moved so fast that the Farmer never even saw him. Mother Murphy grabbed the twins before they even had a chance to open their eyes and ran for the fields. She yelled to her daughter Cynder, "wake up, wake up now, the farmer is upon us." Her daughter Cynder was up before she heard the call and out of the hay bale in a flash. They all ran to the filed just across the road as the farmer tossed their hay bale home up and over the fence and into the pig pen. The whole Murphy family was up and out of the barn in less than two minutes, out into the cold. Father Murphy assured his family. "We'll find a new home, better than that." He said with a big gulp as he watched his wonderful hay bale home get tossed to the pigs. The Murphy's were homeless.Not knowing what direction to go in, they did what any smart Kentucky critter would do, they headed toward the fence. At the fence they all stopped to look back at the big red barn. It was a beautiful sight and, even if they didn't know how to say it, each one of them was happy to have lived a full and comfortable life in the big red barn. Over time the Murphy's had gotten use to moving from home to home and didn't mind the change but somehow the big red barn felt more like a real home than anywhere else they had ever lived before. They had lived there for one full year, a full and happy year. Father Murphy helped Mother with the twins as they all traveled into the big wide field. Mother set the twins down and told them they were going on a long day hike. She was glad to have been tossed out of the barn at such an early hour. The early start would give them all day long to travel and find a new home. She was sad though to have lost all of the things the family had collected over the year, at least she had her family.
Creating an artist income in one hour a week is filled with tools and concepts. The tools require action from you and are business systems to create income and when done consistently they show results. The concepts are perceptions to help artists make lasting change possible by understand the idea of abundance. Together these tools and concepts create confidence with knowledgeable based backing for achieving financial success as an artist.
Have you ever wanted to Paint and Sip or enjoy any afternoon of fun with friends. Well this book can do that for you. This book takes all the hassle out of trying to figure out what to paint and how to paint it. This is a holiday book with six designs focused around the winter holidays; see the table of contents for the pictures. This book is meant for the beginner artist that wants a jump start on learning how to paint. These designs will teach you composition and perspective with fun and easy to follow design; designs you can build on once you get better. Let's face it, if you want to get better at painting you have to do it, but who says you have to make things complicated to make the painting look good. Maybe you're someone who wants to have fun and not make a huge deal out of figuring out the composition. If you're someone who has little interest in vanishing points, grid systems or lines of horizon, then this book is for you. Some people just want to paint and have it look good, or at least in perspective. Some people want to get better and actually learn a system they can use on future work. Either way this book can do that for you.Each one of the designs starts out with one line and quickly unfolds into a complete design after only a few more. Artist will learn about creating a design that looks correct to the eye yet easy to fix if anything looks off. The winter scenes can be done around the Christmas Holidays for great family fun or party time but can also be done as beautiful winter scenes if you are trying to learn how to paint the cold season. The designs are easy enough for anyone to teach and fun enough that everyone will want to follow along and learn how to paint, the easy way. Thank you to all of you wonderful artist who share your stories, you are all so wonderful and talented. I hope these books continue to help you get better at understanding the design and composition without the hassle of perspective.
Have you ever wondered what makes a good friend? Whether you are a dog, cat, bird or a tree, we all like to be, with a good friend. Good friends are those you can hang with and never get tired. those you can howl with and never feel bad. those you can soar with and go as high as you like. Friends are everywhere in this wonderful whimsical children's board book.
Have you ever wanted to Paint and Sip or simply enjoy an afternoon of fun with family or friends. Maybe you just want to experience the relaxation and wonder of painting. Well this book can do that for you. This book takes all the hassle out of trying to figure out how to paint in perspective and jump starts you right into an easy to follow design. Learn to paint six bright and cheerful painting lessons that are packed with tones of tips. This book is not meant to be for the advanced artist but rather for the beginner that just wants to have fun and not make a huge deal out of figuring out the composition, vanishing points or math of the design. So if you're one of those who takes little interest in perspective, grid systems or lines of horizon, but still wants to learn how to paint, then these books are for you. These designs offer a system that is progressive in nature and super easy to follow, so you get better fast and end up with wonderful art. The best part is that you are learning the technique is that you end up learning a system so that eventually you can paint whatever you like. If there had been anything I would have wished for when I decided to be a painter, it would have been this information. It would have saved me tones of time and stopped 90% of the struggle.
Creating an artist income in one hour a week is filled with tools and concepts. The tools require action from you and are business systems to create income and when done consistently they show results. The concepts are perceptions to help artists make lasting change possible by understand the idea of abundance. Together these tools and concepts create confidence with knowledgeable based backing for achieving financial success as an artist.
Holocaust Representations in History is an introduction to critical questions and debates surrounding the depiction, chronicling and memorialization of the Holocaust through the historical analysis of some of the most provocative and significant works of Holocaust representation. In a series of chronologically presented case studies, the book introduces the major themes and issues of Holocaust representation across a variety of media and genres, including film, drama, literature, photography, visual art, television, graphic novels, and memorials. The case studies presented not only include well-known, commercially successful, and canonical works about the Holocaust, such as the film Shoah and Elie Wiesel's memoir Night, but also controversial examples that have drawn accusations of profaning the memory of the genocide. Each work's specific historical and cultural significance is then discussed to provide further insight into the impact of one of the most devastating events of the 20th century and the continued relevance of its memory. Complete with illustrations, a bibliography and suggestions for further reading, key terms and discussion questions, this is an important book for any student keen to know more about the Holocaust and its impact.
This study introduces a genuine, provocative religious vocabulary into the discourse on Modernist art and literature. Mulman looks at key texts and figures of the Modern period, including Henry Roth, Amedeo Modigliani, James Joyce, and Art Spiegelman, revealing a significant engagement with the rituals of Jewish observance and the structure of Talmudic interpretation. While critics often view the formal experimentation of High Modernism as a radical departure from conventional beliefs, this book shows that these aspects of Modernist art are deeply entwined with, and indebted to, the very traditions that they claim to be writing against. As such, the book offers a unique and truly multidisciplinary approach to Modernist studies and a cogent analysis of the ways in which spirituality informs artistic production.
A Dead Exec Found In A Bathroom. Can Ivy Clean Up This Mystery Before Another Body Turns UpAfter being left at the altar, Ivy Amanda McTeague Preston uproots herself and her cat, an Egyptian Mau named Memnet, from her boring and lonely life to start over at the urging of Mayor Conklin, a fellow pedigreed Mau owner. Ready to move in a fresh direction, Adam Thompson, accepts the mayor’s invitation and uproots himself and his beloved Mau, Isis, to open a branch of his trendy bookstore and coffee shop in the small town. When Ivy takes a mysterious message while the mayor is away on business, only her criminology professor mom and Adam believe there’s something rotten in Apple Grove. Then Ivy discovers the community grant money that Adam was allotted to start the store is mysteriously being siphoned off, a dead body surfaces, and the victim’s missing Mau becomes the primary suspect. . .just another day in Ivy’s far-from-boring new life.In love with Apple Grove and with Adam, Ivy hopes to carry on their romance while saving the town from f
Reading Shakespeare Historically is a passionate, provocative book by one of the most renowned and popular Renaissance scholars writing today. Charting ten years of critical development, these challenging, witty essays shed new light on Renaissance studies. It also raises intriguing questions about how the culture and history of the past illuminates the key social and political issues of today. Lisa Jardine re-reads Renaissance drama in its historical and cultural context, from laws of defamation in Othello to the competing loyalties of companionate marriage and male friendship in The Changeling. In doing so she reveals a wealth of new insights, sometimes surprising but always original and engrossing. At the same time, these essays also provide a fascinating account of the rise of feminist scholarship since the 1980s and the diversifying of `new historicist' approaches over the same period. Reading Shakespeare Historically will fascinate and provoke students of shakespeare and his historical age, and general readers with an urge to understand how the culture and history of our past illuminates the key scoial and political issues of today.
This interdisciplinary study of legal and literary narratives argues that the novel's particular power to represent the interior life of its characters both challenges the law's definitions of criminal responsibility and reaffirms them. By means of connecting major novelists with prominent jurists and legal historians of the era, it offers profound new ways of thinking about the Victorian period.
The most influential treatments of Shakespeare's Sonnets have ignored the impact of theology on his poetics, examining instead the poet's "secular" emphasis on psychology and subjectivity. Reading Shakespeare's Will offers the first systematic account of the theology behind the poetry. Investigating the poetic stakes of Christianity's efforts to assimilate Jewish scripture, the book reads Shakespeare through the history of Christian allegory. To "read Shakespeare's will," Freinkel argues, is to read his bequest to and from a literary history saturated by religious doctrine. Freinkel thus challenges the common equation of subjectivity with secularity, and defines Shakespeare's poetic voice in theological rather than psychoanalytic terms. Tracing from Augustine to Luther the religious legacy that informs Shakespeare's work, Freinkel suggests that we cannot properly understand his poetry without recognizing it as a response to Luther's Reformation. Delving into the valences and repercussions of this response, Reading Shakespeare's Will charts the notion of a "theology of figure" that helped to shape the themes, tropes, and formal structures of Renaissance literature and thought.
Magical Transformations on the Early Modern Stage furthers the debate about the cultural work performed by representations of magic on the early modern English stage. It considers the ways in which performances of magic reflect and feed into a sense of national identity, both in the form of magic contests and in its recurrent linkage to national defence; the extent to which magic can trope other concerns, and what these might be; and how magic is staged and what the representational strategies and techniques might mean. The essays range widely over both canonical plays-Macbeth, The Tempest, The Winter’s Tale, The Merry Wives of Windsor, Doctor Faustus, Bartholomew Fair-and notably less canonical ones such as The Birth of Merlin, Fedele and Fortunio, The Merry Devil of Edmonton, The Devil is an Ass, The Late Lancashire Witches and The Witch of Edmonton, putting the two groups into dialogue with each other and also exploring ways in which they can be profitably related to contemporary cases or accusations of witchcraft. Attending to the representational strategies and self-conscious intertextuality of the plays as well as to their treatment of their subject matter, the essays reveal the plays they discuss as actively intervening in contemporary debates about witchcraft and magic in ways which themselves effect transformation rather than simply discussing it. At the heart of all the essays lies an interest in the transformative power of magic, but collectively they show that the idea of transformation applies not only to the objects or even to the subjects of magic, but that the plays themselves can be seen as working to bring about change in the ways that they challenge contemporary assumptions and stereotypes.
Part instruction, part inspiration, this resource shows women that just as mothering is rich in material for writing, writing is an invaluable tool for mothering.
This surprising portrait of the Tudor queen offers an “ambitious re-examination of the intersection of gender and monarchy” (The New York Times Book Review). Queen Elizabeth I was all too happy to play on courtly conventions of gender when it suited her “‘weak and feeble’ woman’s body” to do so for political gain. But in Elizabeth, historian Lisa Hilton offers ample evidence why those famous words should not be taken at face value. With new research out of France, Italy, Russia, and Turkey, Hilton’s fresh interpretation is of a queen who saw herself primarily as a Renaissance prince—an expert in Machiavellian statecraft. Elizabeth depicts a sovereign less constrained by her femininity than most accounts claim, challenging readers to reassess Elizabeth’s reign and the colorful drama and intrigue to which it is always linked. It’s a fascinating journey that shows how a marginalized newly crowned monarch, whose European contemporaries considered her to be the illegitimate ruler of a pariah nation, ultimately adapted to become England’s first recognizably modern head of state.
This comprehensive guide to mastering the German language presents often difficult-to-master information, such as verb tenses, in the approachable Complete Idiot's Guide® format. Readers will discover useful travel-themed chapters, dealing with everything from shopping, renting cars, and making a phone call, to visiting a doctor, going to the post office, and banking. With information on the essentials of German grammar, vocabulary, pronunciation, and conversation, this new edition also includes a supplemental CD with nearly an hour of listen-and-learn exercises that can be used either with or without the book.
English for the Australian Curriculum Book 1 privileges student experience, creative engagement with texts, moments of reflection and deep thinking. Drawing on an inquiry model of learning, it provides opportunities for students to write and create their own texts. Written for the Australian Curriculum, English for the Australian Curriculum Book 1 provides a fully balanced and integrated approach to the study of language, literature and literacy. It actively engages students with texts at a variety of levels: • Develops language skills at word, sentence and text level, with activities in reading, writing, viewing, creating, listening and speaking • Encourages student writing across a variety of contexts, for a variety of purposes and for a variety of audiences • Underlines the importance of visual literacy • Provides opportunities for students to create their own multimodal texts
These days one can hardly say anything about art without confronting the freighted status of the photograph. Many critics have written about the idea of photography by other means or art after photography. And many famous artistsamong them Gerhard Richter, Gillian Wearing and Thomas Struth--have stretched the idea of the truth-value of the photograph by claiming to make actual photographs in other materials, such as paint or video. Saltzman is interested in how photography has functioned to secure identity in the modern period and the implications of that history for us today. While Saltzman s purpose is to look at contemporary adaptations of photography, the story she tells begins even earlier than the invention of the photograph. It starts with the story of Martin Guerre (nee Daguerre) and the idea of what the image may have held as a guarantor of identity in the early modern period. In this way Saltzman establishes a broad, deep historical frame before delving into the art of the present. Each chapter covers a different medium ranging from video, graphic novels, and literature to film. Along the way, she takes on figures of unstable identity fugitive subjects to wit, the mysterious Martin Guerre, Blade Runners, replicants, Henriette Barthes, and W.G. Sebald s characters. She also confronts a range of contemporary critics, artists, and knotty debates about veracity, uncertainty and identity that began to circulate in the nineteenth century with the invention of photography.
Hopkins argues the succession to the throne was a burning topic not only in the final years of Elizabeth but well into the 1630s, and drama, with its disguised identities and oblique relationship to reality, was a safe way to air it. Hopkins analyzes some of the ways in which plays-from Marlowe's and Shakespeare's to Webster's and Ford's-reflect, negotiate and dream the issue of the succession.
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