Wolfbrother is an against the odds tale of two brothers, Beacan and Bram, who must draw upon all their strength, and all they have been taught, in order to survive the gladiatorial slaughter of the Roman colosseum and find their way back home. The fact that Beacan and Bram are two grey wolves make their journey across late Roman Europe to their home in the forests of Scotland even more difficult. Along the way their faith in their creator, their clan and in each other are tested to the limits. But if they can beat the odds and make it home, can things ever be the same again? Can they ever be the same again?
Criminal Procedure is a comprehensive text that includes the most relevant and contemporary cases and is presented in a stream-lined fashion that makes it more accessible for students. Students and instructors will also appreciate the full range of pedogogical and ancillary features that assist in the learning and understanding of the material. This textbook is primarily geared for a criminal procedure course in undergraduate criminal justice programs.
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This work explores the lyric poem as an indispensable artifact at the intersection of literary and media studies and a critical index of the social history of technological change"--
America's racial odyssey is the subject of this remarkable work of historical imagination. Matthew Frye Jacobson argues that race resides not in nature but in the contingencies of politics and culture. In ever-changing racial categories we glimpse the competing theories of history and collective destiny by which power has been organized and contested in the United States. Capturing the excitement of the new field of "whiteness studies" and linking it to traditional historical inquiry, Jacobson shows that in this nation of immigrants "race" has been at the core of civic assimilation: ethnic minorities, in becoming American, were re-racialized to become Caucasian.
How design can transcend the logics, structures, and subjectivities of capitalism: a framework, theoretical grounding, and practical principles. The designed things, experiences, and symbols that we use to perceive, understand, and perform our everyday lives are much more than just props. They directly shape how we live. In Design after Capitalism, Matthew Wizinsky argues that the world of industrial capitalism that gave birth to modern design has been dramatically transformed. Design today needs to reorient itself toward deliberate transitions of everyday politics, social relations, and economies. Looking at design through the lens of political economy, Wizinsky calls for the field to transcend the logics, structures, and subjectivities of capitalism—to combine design entrepreneurship with social empowerment in order to facilitate new ways of producing those things, symbols, and experiences that make up everyday life. After analyzing the parallel histories of capitalism and design, Wizinsky offers some historical examples of anticapitalist, noncapitalist, and postcapitalist models of design practice. These range from the British Arts and Crafts movement of the nineteenth century to contemporary practices of growing furniture or biotextiles and automated forms of production. Drawing on insights from sociology, philosophy, economics, political science, history, environmental and sustainability studies, and critical theory—fields not usually seen as central to design—he lays out core principles for postcapitalist design; offers strategies for applying these principles to the three layers of project, practice, and discipline; and provides a set of practical guidelines for designers to use as a starting point. The work of postcapitalist design can start today, Wizinsky says—with the next project.
Whole System Working" is an approach that enables people to find sustainable solutions to local problems. It is also a theoretical approach to organizational development that views groups of people who share a common purpose as a "living system". Based on King's Fund work over four years with health agencies and their local partners in housing, local government, the independent sector, transport, and local people, this book describes the founding principles which characterize the approach, gives examples of its application in practice, and answers common questions.
A diplomat and distinguished politician, the English poet Matthew Prior was noted for verses of amusing urbanity and satirical deftness, as well as for writing some of the most elegant love poetry of the late seventeenth century. Prior essayed graver themes in his masterpiece ‘Solomon on the Vanity of the World’ (1718), framed as a disquisition on the vanity of human knowledge. Lastly, Prior was judged by all as the greatest epigrammatist of his age. The Delphi Poets Series offers readers the works of literature’s finest poets, with superior formatting. This volume presents Prior’s complete works, with related illustrations and the usual Delphi bonus material. (Version 1)* Beautifully illustrated with images relating to Prior’s life and works * Concise introduction to Prior’s life and poetry * The complete poetry — text based on the George Bell and Sons 1907 Edition of Prior’s works * Excellent formatting of the poems * Special chronological and alphabetical contents tables for the poetry * Easily locate the poems you want to read * Includes Prior’s rare satirical work ‘The Country Mouse and the City Mouse’, satirising Dryden’s ‘The Hind and the Panther’ — first time in digital print * Rare prose works, including the seminal ‘Dialogues of the Dead’ — appearing here for the first time in digital publishing * Features two biographies, including Dr. Johnson’s famous Life of the poet — discover Prior’s intriguing life * Scholarly ordering of texts into chronological order and literary genresPlease visit www.delphiclassics.com to see our wide range of poet titlesCONTENTS:The Life and Poetry of Matthew Prior Brief Introduction: Matthew Prior by Henry Austin Dobson Complete Poetical Works of Matthew PriorThe Poems List of Poems in Chronological Order List of Poems in Alphabetical OrderThe Satire The Country Mouse and the City MouseThe Prose Essays and Dialogues of the DeadThe Biographies Prior by Samuel Johnson Matthew Prior by Henry Austin DobsonPlease visit www.delphiclassics.com to browse through our range of poetry titles or buy the entire Delphi Poets Series as a Super Set
*The most up-to-date ASP.NET book on the market, written against mature code. Fully based on ASP.NET 1.1, uses the latest version of ADO.NET, and "looks forward" to the ASP.NET 2.0 release. *Absolutely comprehensive, covering everything from basic ASP.NET syntax to performance tuning and security techniques. Includes everything to start creating professional ASP.NET websites. *Written with reader’s aspirations in mind. Emphasizes industry-standard–object-orientation for good coding habits. Readers will ‘graduate’ to Apress ‘Pro’ series books.
At the turn of the twentieth century, soybeans grew on so little of America’s land that nobody bothered to track the total. By the year 2000, they covered upward of 70 million acres, second only to corn, and had become the nation’s largest cash crop. How this little-known Chinese transplant, initially grown chiefly for forage, turned into a ubiquitous component of American farming, culture, and cuisine is the story Matthew Roth tells in Magic Bean: The Rise of Soy in America. The soybean’s journey from one continent into the heart of another was by no means assured or predictable. In Asia, the soybean had been bred and cultivated into a nutritious staple food over the course of centuries. Its adoption by Americans was long in coming— the outcome of migration and innovation, changing tastes and habits, and the transformation of food, farming, breeding, marketing, and indeed the bean itself, during the twentieth century. All come in for scrutiny as Roth traces the ups and downs of the soybean’s journey. Along the way, he uncovers surprising developments, including a series of catastrophic explosions at soy-processing plants in the 1930s, the widespread production of tofu in Japanese-American internment camps during World War II, the decades-long project to improve the blandness of soybean oil, the creation of new southern soybean varieties named after Confederate generals, the role of the San Francisco Bay Area counterculture in popularizing soy foods, and the discovery of soy phytoestrogens in the late 1980s. We also encounter fascinating figures in their own right, such as Yamei Kin, the Chinese American who promoted tofu during World War I, and African American chemist Percy Lavon Julian, who played a critical role in the story of synthetic human hormones derived from soy sterols. A thoroughly engaging work of narrative history, Magic Bean: The Rise of Soy in America is the first comprehensive account of the soybean in America over the entire course of the twentieth century.
Did Shakespeare's original audiences weep? Equally, while it seems obvious that they must have laughed at plays performed in early modern theatres, can we say anything about what their laughter sounded like, about when it occurred, and about how, culturally, it was interpreted? Related to both of these problems of audience behaviour is that of the stage representation of laughing, and weeping, both actions performed with astonishing frequency in early modern drama. Each action is associated with a complex set of non-verbal noises, gestures, and cultural overtones, and each is linked to audience behaviour through one of the axioms of Renaissance dramatic theory: that weeping and laughter on stage cause, respectively, weeping and laughter in the audience. This book is a study of laughter and weeping in English theatres, broadly defined, from around 1550 until their closure in 1642. It is concerned both with the representation of these actions on the stage, and with what can be reconstructed about the laughter and weeping of theatrical audiences themselves, arguing that both actions have a peculiar importance in defining the early modern theatrical experience.
Ouimet argues that the now-famous reforms of Soviet bloc policy of the mid-1980s were not the instigation, but rather the climax of a fundamental transformation in Soviet policy toward Eastern Europe that had its origins in the Brezhnev era.
This book challenges the assumption – just as alive today as it was in the nineteenth century – that the political sphere was an arena of reason in which feelings had no part to play. It shows that feelings were a central, albeit contested, aspect of the political culture of the period. Radical leaders were accused of inflaming the passions; the state and its propertied supporters were charged with callousness; radicals grounded their claims to citizenship in the universalist assumption that workers had the same capacity for feeling as their social betters (denied at this time). It sheds new light on the relationship between protest movements and the state by showing how one of the central issues at stake in the conflict between radicals and their oppressors was the feelings of the propertied classes.
Subscription Theater asks why turn-of-the-century British and Irish citizens spent so much time, money, and effort adding their names to subscription lists. Shining a spotlight on private play-producing clubs, public repertory theaters, amateur drama groups, and theatrical magazines, Matthew Franks locates subscription theaters in a vast constellation of civic subscription initiatives, ranging from voluntary schools and workers' hospitals to soldiers' memorials and Diamond Jubilee funds. Across these enterprises, Franks argues, subscribers created their own spaces for performing social roles from which they had long been excluded. Whether by undermining the authority of the Lord Chamberlain's Examiner of Plays and London's commercial theater producers, or by extending rights to disenfranchised women and property-less men, a diverse cast of subscribers including typists, plumbers, and maids acted as political representatives for their fellow citizens, both inside the theater and far beyond it. Citizens prized a "democratic" or "representative" subscription list as an end in itself, and such lists set the stage for the eventual public subsidy of subscription endeavors. Subscription Theater points to the importance of printed ephemera such as programs, tickets, and prospectuses in questioning any assumption that theatrical collectivity is confined to the live performance event. Drawing on new media as well as old, Franks uses a database of over 23,000 stage productions to reveal that subscribers introduced nearly a third of the plays that were most frequently revived between 1890 and the mid-twentieth century, as well as nearly half of all new translations, and they were instrumental in staging the work of such writers as Shaw and Ibsen, whose plays featured subscription lists as a plot point or prop. Although subscribers often are blamed for being a conservative force in theater, Franks demonstrates that they have been responsible for how we value audience and repertoire today, and their history offers a new account of the relationship between ephemera, drama, and democracy.
Although tea had been known and consumed in China and Japan for centuries, it was only in the seventeenth century that Londoners first began drinking it. Over the next two hundred years, its stimulating properties seduced all of British society, as tea found its way into cottages and castles alike. One of the first truly global commodities and now the world’s most popular drink, tea has also, today, come to epitomize British culture and identity. This impressively detailed book offers a rich cultural history of tea, from its ancient origins in China to its spread around the world. The authors recount tea’s arrival in London and follow its increasing salability and import via the East India Company throughout the eighteenth century, inaugurating the first regular exchange—both commercial and cultural—between China and Britain. They look at European scientists’ struggles to understand tea’s history and medicinal properties, and they recount the ways its delicate flavor and exotic preparation have enchanted poets and artists. Exploring everything from its everyday use in social settings to the political and economic controversies it has stirred—such as the Boston Tea Party and the First Opium War—they offer a multilayered look at what was ultimately an imperial industry, a collusion—and often clash—between the world’s greatest powers over control of a simple beverage that has become an enduring pastime.
In the American Southwest, no two events shaped modern Spanish heritage more profoundly than the San Diego Expositions of 1915-16 and 1935-36. Both San Diego fairs displayed a portrait of the Southwest and its peoples for the American public. The Panama-California Exposition of 1915-16 celebrated Southwestern pluralism and gave rise to future promotional events including the Long Beach Pacific Southwest Exposition of 1928, the Santa Fe Fiesta of the 1920s, and John Steven McGroarty's The Mission Play. The California-Pacific International Exposition of 1935-36 promoted the Pacific Slope and the consumer-oriented society in the making during the 1930s. These San Diego fairs distributed national images of southern California and the Southwest unsurpassed in the early twentieth century. By examining architecture and landscape, American Indian shows, civic pageants, tourist imagery, and the production of history for celebration and exhibition at each fair, Matthew Bokovoy peels back the rhetoric of romance and reveals the legacies of the San Diego World's Fairs to reimagine the Indian and Hispanic Southwest. In tracing how the two fairs reflected civic conflict over an invented San Diego culture, Bokovoy explains the emergence of a myth in which the city embraced and incorporated native peoples, Hispanics, and Anglo settlers to benefit its modern development.
When School's out. And summers in. Everybody at Glass Art. a elite boarding school. Can't wait for summer. Everybody, except for Benny Breezy. A piano prodigy. Who attends Glass Art. With his best friends. Simon, Mallory, Doyle and Nasser. Worried about next year. Since it will be there last year together. Benny sets out to have the best summer ever with his friends. His plans quickly change. After learning that. His, friends. Have other plans for the summer. He decides to go home for the summer. Things turn from bad to worst. When, Benny and Nasser. Who work at The Daily Maglorix Newspaper. As, Investigative Reporters. Along with Simon there photographer. Learn that The Daily Maglorix Newspaper. Is closing. All hope seems lost, until a mysterious person comes to there rescue. When Benny and his friends. Learn that a famous singer. Has been accused of stealing The Ape Skull from The Diamond Museum of Amsterdam. And that. He's offering a reward. To whomever can clear his name. Benny, Simon and Nasser. Along with Mallory and Doyle. Travel to Los Angeles. To interview him. While there in Los Angeles. Benny and his friends. Stay with his estranged Aunt Fanny. Who lives in a penthouse at a circus theme hotel called The Show Mayor. As they investigate. Benny and the gang. Discover that the real culprit who goes by the name of The Mad Ffraid Brat. Is more dangerous than they could ever imagine. And, that this will be the biggest assignment. They have ever had. With help from some new friends. They must race against time. To unmasked The Mad Ffraid Brat.
Frederick Herman von Schomberg was born into a prominent noble family in the Palatinate in 1615. He was a truly international figure: his father negotiated the marriage of Britain's Princess Royal (James I's daughter, Elizabeth) to the Elector Palatine of the Rhine. Having an English mother and a German father, he would go on to marry a French Huguenot lady, and fight in the armies of more than six nations. His career spans the mercenary system of the Thirty Years' War (1618-48) through to the formation of Europe's first true standing national armies during William III's wars in the 1690s. He was involved in the international politics and diplomacy of Louis XIV's reign, and that king's relations with Britain and the Netherlands in particular. He was also deeply concerned in the plight and exile of the Huguenots in France, and their later international presence in the armies of William of Orange. As a committed Protestant, he suffered the same prejudices in France as they, and his feeling for them is a vital comment on the strength of religious feeling among many high-ranking military leaders at the time.
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