The Sunday Times bestseller. Stephanie Pratt is the consummate reality star. Since 2007, her life has been lived almost as much on the small screen as off it, and constantly analysed in gossip columns. In Made in Reality, Stephanie gives an exclusive insight into the trials and tribulations of life on reality TV, taking us behind the scenes of The Hills, Made in Chelsea and even the Big Brother House. In her tell- all autobiography, nothing is off-limits, from the drama of her relationship with Spencer Matthews to her issues with her brother Spencer Pratt. For the first time, she shares her struggles with drug addiction, eating disorders, and the pressures of fame in the internet age. Inspiring, fascinating, and insightful throughout, this is an honest account of the truth behind reality.
Ask anyone the world over to identify a figure in buckskins with a feather bonnet, and the answer will be “Indian.” Many works of art produced by non-Native artists have reflected such a limited viewpoint. In American Indians in British Art, 1700–1840, Stephanie Pratt explores for the first time an artistic tradition that avoided simplification and that instead portrayed Native peoples in a surprisingly complex light. During the eighteenth century, the British allied themselves with Indian tribes to counter the American colonial rebellion. In response, British artists produced a large volume of work focusing on American Indians. Although these works depicted their subjects as either noble or ignoble savages, they also represented Indians as active participants in contemporary society. Pratt places artistic works in historical context and traces a movement away from abstraction, where Indians were symbols rather than actual people, to representational art, which portrayed Indians as actors on the colonial stage. But Pratt also argues that to view these images as mere illustrations of historical events or individuals would be reductive. As works of art they contain formal characteristics and ideological content that diminish their documentary value.
Primary care clinicians are called on to care for adolescents in a time with increasing pharmacologic agents that are available in the management of these patients. The emphasis in this book is on the current pharmacologic treatment of common medical disorders in adolescents. Selected topics of practical relevance in adolescent medicine are covered. The goal of this book is to provide a succinct and practical guide specifically written for practicing physicians and allied health professionals who work with adolescents.
Famous entertainers and historical figures whose lives were tragically cut short are detailed in this series. Readers will learn about each person's background, career, legendary contributions, and tragic death. Also covered are controversies and challeng
Cold, hard evidence—a prosecutor's dream, a defense attorney's nightmare Criminal defense lawyer Jackie Flowers got what she wished for...a high-profile murder case. While defending entrepreneur Aaron Best in the grisly slaying of a millionaire's trophy wife, Jackie turns FBI profiling upside down and uncovers a string of killings that could either free or hang her client. But Jackie has one big secret of her own—and it might make her the killer's next target.Someone is stalking women along the Rocky Mountain Front Range, and posing their beheaded bodies in bizarre ways. Will Jackie's unique courtroom talents enable her to strip away the killer's facade—or will her own blind spot expose her? Either way could lead a murderer straight to her door.
This book explores how Romanticism was shaped by practices of popular magic. It seeks to identify the place of occult activity and culture – in the form of curses, spells, future-telling, charms and protective talismans – in everyday life, together with the ways in which such practice figures, and is refigured, in literary and political discourse at a time of revolutionary upheaval. What emerges is a new perspective on literature’s material contexts in the 1790s – from the rhetorical, linguistic and visual jugglery of the revolution controversy, to John Thelwall’s occult turn during a period of autobiographical self-reinvention at the end of the decade. From Wordsworth’s deployment of popular magic as a socially and politically emancipatory agent in Lyrical Ballads, to Coleridge’s anxious engagement with superstition as a despotic system of ‘mental enslavement’, and Robert Southey’s wrestling with an (increasingly alluring) conservatism he associated with a reliance on ultimately incarcerating systems of superstition.
Humans can focus their attention narrowly (e.g., to read this text) or broadly (e.g., to determine which way a large crowd of people are moving). This Element comprehensively considers attentional breadth. Section 1 introduces the concept of attentional breadth, while Section 2 considers measures of attentional breadth. In particular, this section provides a critical discussion of the types of psychometric evidence which should be sought to establish the validity of measures of attentional breadth and reviews the available evidence through this lens. Section 3 considers the visual task performance consequences of attentional breadth, including prescribing several key methodological criteria that studies that manipulate attentional breadth need to meet, as well as a discussion of relevant theories and avenues for future theoretical development. Section 4 discusses the utility of the exogenous-endogenous distinction from covert shifts of attention for understanding the performance consequences of attentional breadth. Finally, Section 5 provides concluding remarks.
Raised to the stature of a leading citizen when a rival dies unexpectedly, Spud Pinkham struggles to earn the respect of his family and apathetic neighbors, from an embittered librarian trapped in an unhappy marriage to a violently jealous older sister. A first novel. 50,000 first printing.
On Election Day in 1960, a classmate of Stephanie Stokes Oliver threatened to beat her up. Why? Because in their class's mock presidential election, Stephanie revealed that she would follow her father's lead and vote for Nixon over Kennedy. Stephanie realized this day that her family was different from most other African Americans at the time: They were Republicans. Song for My Father is Stokes Oliver's memoir of her father, Charles M. Stokes, a prominent member of the National Republican Party. Known as "Stokey," this pioneering black man in the fields of law, legislation, and politics raised three children in the tumultuous 1960s and 70s, when memories of the Republican Party as the party of Abraham Lincoln -- and association of the party with the emancipation of slaves -- had faded. As Stephanie came of age, she and her father disagreed on everything -- especially politics -- but they were bound by mutual love and respect. Born in Kansas in the early twentieth century, Charles M. Stokes established himself in his home state as a lawyer and a Republican leader before moving in 1943 to Seattle, where he was the only black attorney in private practice. He later became Seattle's first black state legislator and served as Washington State's first African-American district court judge. When he ran for lieutenant governor in 1960, Stokes was narrowly defeated in the primary, but his political race blazed a trail for other African Americans in both local and national politics. This is Stokes Oliver's tribute to a larger-than-life father, but it is also the inspiring story of an American family who worked, struggled, dreamed, and succeeded.
In this innovative study of the South Carolina Low Country, author Stephanie McCurry explores the place of the yeomanry in plantation society--the complex web of domestic and public relations within which they were enmeshed, and the contradictory politics of slave society by which that class of small farmers extracted the privileges of masterhood from the region's powerful planters. Insisting on the centrality of women as historical actors and gender as a category of analysis, this work shows how the fateful political choices made by the low-country yeomanry were rooted in the politics of the household, particularly in the customary relations of power male heads of independent households assumed over their dependents, whether slaves or free women and children. Such masterly prerogatives, practiced in the domestic sphere and redeemed in the public, explain the yeomanry's deep commitment to slavery and, ultimately, their ardent embrace of secession. By placing the yeomanry in the center of the drama, McCurry offers a significant reinterpretation of this volatile society on the road to Civil War. Through careful and creative use of a wide variety of archival sources, she brings vividly to life the small worlds of yeoman households, and the larger world of the South Carolina Low Country, the plantation South, and nineteenth-century America.
A globetrotting Gold Rush heiress. An awkward Paris schoolmaster. A celebrated French actor. And a museum of history and art in California’s Central Valley. What do they have in common? They are all connected by an oil painting, a still life called Flowers and Fruit, that may or may not have been painted by the post-Impressionist Paul Gauguin. In the decade that museums began to collect modern art, Flowers and Fruit traveled the art market in Paris and New York. Experts and connoisseurs hailed it as a signature work of Gauguin just as he came to be acknowledged as a master. When it joined the Haggin Museum in Stockton, California, locals treasured it as “the Museum’s Gauguin.” But by 1964, Gauguin scholars and experts in Paris and New York had lost track of the painting and declared it lost. When it resurfaced in 2018, they questioned its authenticity. How could a genuine Gauguin have been hiding in plain sight in a provincial American museum? Is Flowers and Fruit a forgery or is it authentic? Follow along as historian, curator, and professor of museum studies Dr. Stephanie Brown traces the unlikely history of the painting. Using never-before-seen archives and making new connections, Brown writes the biography of a painting—and explores what we mean by authenticity and who gets to define it. Now undergoing technical examination as a result of Dr. Brown’s findings, Flowers and Fruit has embarked on a new chapter of its life. If the painting is authentic, it will be the most valuable painting in the Haggin’s collection—and one of the most important paintings in California. And if the painting is a forgery, who was the forger?
“Five Stars...The fourth and final installment of the Tipsy Collins series...beautifully wraps up the characters’ journeys with a blend of paranormal intrigue and life lessons…” —Readers’ Favorite Things have been going great for Tipsy Collins, the Lowcountry’s favorite clairvoyant artistic genius. Her kids are happy and healthy, she’s producing and selling her celebrated paintings, and she’s engaged to the love of her life, psychiatrist Scott Brandt. Everyone in Tipsy’s life seems content, except Henry Mott, her mercurial supernatural roommate and wannabe literary virtuoso. Henry has been brooding for over a century, but lately, his discontent has gone into overdrive. His famous temper is out of control and he can’t write a single sentence. Henry’s malaise and its accompanying destruction threaten to complicate Tipsy and Scott’s family blending while her ex-husband haplessly navigates a second marriage crisis. As Henry slowly loses his mind, a series of unexplainable events has Tipsy combing through ghostly memories, meeting new friends and reuniting with old ones, exploring and testing the supernatural limits, and, as always, learning some priceless life lessons. True Indigo is the highly anticipated fourth and final installment in the award-winning Tipsy Collins Series.
While prayer is generally understood as "communion with God" modern forms of spirituality prefer "communion" that is non-petitionary and wordless. This preference has unduly influenced modern scholarship on historic methods of prayer particularly concerning Anglo-Saxon spirituality. In Compelling God, Stephanie Clark examines the relationship between prayer, gift giving, the self, and community in Anglo-Saxon England. Clark’s analysis of the works of Bede, Ælfric, and Alfred utilizes anthropologic and economic theories of exchange in order to reveal the ritualized, gift-giving relationship with God that Anglo-Saxon prayer espoused. Anglo-Saxon prayer therefore should be considered not merely within the usual context of contemplation, rumination, and meditation but also within the context of gift exchange, offering, and sacrifice. Compelling God allows us to see how practices of prayer were at the centre of social connections through which Anglo-Saxons conceptualized a sense of their own personal and communal identity.
Gold Medalist for Paranormal Fiction in the 2021 Reader's Favorite Contest "Charleston’s favorite ghost-talking divorcée returns in Alexander’s latest supernatural mystery... A well-told, deeply felt addition to a ghostly mystery series." — Kirkus "... a highly engaging paranormal mystery filled with frolic, fun, and genuine nail-biting moments... a really fresh take on the paranormal genre, setting this novel apart from others...." — Readers' Favorite Clairvoyant single mom Tipsy Collins is easing into a post-divorce new normal. She’s solved a century-old murder mystery and brought peace to her house. She’s rebuilding her artistic career and co-parenting with her ornery ex-husband. She’s hopeful that her boyfriend is Mr. Right. Mercurial phantom Henry Mott still haunts her house, but he’s become a dear friend. Tipsy plans to return to her lifelong habit of ignoring restless spirits. A series of sudden financial and personal setbacks leave her feeling like she's back to square one, until a new friendship offers unexpected financial salvation. Ivy More has been haunting a Sullivan's Island cottage since the 1940s. Ivy's eccentric granddaughter, Pamella Brewton, will pay big bucks if Tipsy can figure out how to free her moody, volatile Meemaw. It turns out there was more to Ivy’s death than a simple swan dive off the dock at low tide. To complicate matters, Ivy had a secret lover. Shockingly, he's someone Tipsy has seen before. As Tipsy struggles with heartbreak, her ex-husband's shenanigans, and a growing sense of frustration with life, she turns to Henry for help solving Ivy's mystery. She finds herself learning from her brooding housemate, but also from Ivy, who has far more in common with Tipsy than either of them expect.
Creative workers have been celebrated internationally for their flexibility in new labour markets centred on culture, creativity and, most recently, innovation. This book draws on research with novice and established workers in a range of specializations in order to explore the meanings, aspirations and practical difficulties associated with a creative identification. It investigates the difficulties and attractions of creative work as a personalized, affect-laden project of self-making, perpetually open and oriented to possibility, uncertain in its trajectory or rewards. Employing a cross-disciplinary methodology and analytic approach, the book investigates the new cultural meanings in play around a creative career. It shows how classic ideals of design and the creative arts, re-interpreted and promoted within contemporary art schools, validate the lived experience of precarious working in the global sectors of the creative and cultural industries, yet also contribute to its conflicts. 'Contemporary Identities of Creativity and Creative Work' presents a distinctive study and original findings which make it essential reading for social scientists, including social psychologists, with an interest in cultural and media studies, creativity, identity, work and contemporary careers.
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