Visionary singer Susan Hale believes that early peoples deliberately built their structures to enhance natural vibrations. She takes us around the globe-from Stonehenge and New Grange to Gothic cathedrals and Tibetan stupas in New Mexico-to explore the acoustics of sacred places. But, she says, you don't have to go to the Taj Mahal: The sacred is all around us, and we are all sound chambers resonating with the One Song.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Eleven-year-old Emma doesn’t know that she comes from generations of tree singers, passed from mother to daughter. She doesn’t believe she can sing. Her ailing grandmother has just come to live with the family. Her father is hardly ever at home. Her mother has been acting strange. To add to Emma’s troubles, her mother’s great uncle from England is coming to stay. Then, a strange old woman wearing a hat full of feathers appears mysteriously in her garden. She gives Emma a white swan feather that emits a haunting melody. Emma’s only solace is the oak tree in her garden, which she names Annie Oakley. What she does not yet know is that Annie is part of a network of tree spirits who disguise themselves as old women. These spirits have come to Peachtree City to help Emma remember her mission to sing the Song of Creation and save the Great Mother tree.
One of the first questions asked in examining the root causes of discontent should be:When did you stop singing?or: Why aren't we in touch with this vital part of our being? In such an inquiry lies a journey toward the essential qualities that give happiness to the way we lead our daily lives. ThroughoutSong and Silence,Susan Hale explores the meaning of song and the cultural estrangement from our own voices. She shows us how singing can restore a relationship with ourselves, the natural world, and the many human worlds around us. What belongs to each of us coming into life is an ability to express inner feelings through sound. Using this most basic part of human existence can connect us with our deepest spiritual joys. This insight is often forgotten, but still functions in tribal cultures around the planet. Reaching into our common global matrix, Susan Hale shares experiential truths and lessons of the healing power of sound, song, and silence learned in her own journey as a singer. This book offers a fresh point of view, which leads to simple, yet profound, personal growth.
This book is produced by women's suffrage leaders: the Great Elizabeth Cady Stanton, Susan B. Anthony, Matilda Joslyn Gage & Ida Husted Harper. It presents the complete history of the women's suffrage movement, primarily in the United States. This edition presents the major source for primary documentation about the women's suffrage movement from its beginnings through the ratification of the Nineteenth Amendment to the U.S. Constitution, which enfranchised women in the U.S. in 1920. In addition to the remarkable history of suffrage movements this collection is enriched with the biographies of the most influential figures of American movement for women's suffrage: Elizabeth Cady Stanton, Susan B. Anthony, Anna Howard Shaw, Jane Addams, Lucy Stone, Carrie Chapman Catt and Alice Paul.
Hailed for its timelessness and timeliness, Public Administration in Theory and Practice examines public administration from a normative perspective, and provides students with an understanding of the practice of public administration. Combining historical, contextual and theoretical perspectives, this text give students a truly comprehensive overview of the discipline and focuses on the practical implications of public administration theory. Features Normative perspective focuses on the practice of public administration and helps students understand what public administrators do. Historical, contextual and theoretical perspectives provide comprehensive coverage of the subject matter. A thematic overview reinforces the multiple conceptual frameworks or lens through which we see public administration. Students will learn to think through to practical and realistic solutions that acknowledge an historic precedence and theory. Emphasis on performance measures and assessments
Two Texts by Edward Everett Hale brings together one of the most popular stories of the nineteenth-century, "The Man Without a Country," with its novel-length sequel, Philip Nolan's Friends. As Hsuan Hsu and Susan Kalter show in this critical edition, these engaging works of fiction helped orient nineteenth-century Americans' opinions about citizenship, statelessness, imperialism, and conflicts with Mexico and Native American nations in the U.S. Southwest.
“Technologies have been shaping [our] emotional culture for more than a century, argue computer scientist Luke Fernandez and historian Susan Matt in this original study. Marshalling archival sources and interviews, they trace how norms (say, around loneliness) have shifted with technological change.” —Nature “A powerful story of how new forms of technology are continually integrated into the human experience...Anyone interested in seeing the digital age through a new perspective should be pleased with this rich account.” —Publishers Weekly Facebook makes us lonely. Selfies breed narcissism. On Twitter, hostility reigns. Pundits and psychologists warn that digital technologies substantially alter our emotional states, but in this lively look at our evolving feelings about technology since the advent of the telegraph, we learn that the gadgets we use don’t just affect how we feel—they can profoundly change our sense of self. When we say we’re bored, we don’t mean the same thing as a Victorian dandy. Could it be that political punditry has helped shape a new kind of anger? Luke Fernandez and Susan J. Matt take us back in time to consider how our feelings of loneliness, vanity, and anger have evolved in tandem with new technologies.
Taking the form of two companion volumes, Police Courts in Nineteenth-Century Scotland represents the first major investigation into summary justice in Scottish towns, c.1800 to 1892. Volume 1, with the subtitle Magistrates, Media and the Masses, provides an institutional, social and cultural history of the establishment, development and practice of police courts. It explores their rise, purpose and internal workings, and how justice was administered and experienced by those who attended them in a variety of roles.
The short story has been a staple of American literature since the nineteenth century, taught in virtually every high school and consistently popular among adult readers. But what makes a short story unique? In Reading for Storyness, Susan Lohafer, former president of the Society for the Study of the Short Story, argues that there is much more than length separating short stories from novels and other works of fiction. With its close readings of stories by Kate Chopin, Julio Cortázar, Katherine Mansfield, and others, this book challenges assumptions about the short story and effectively redefines the genre in a fresh and original way. In her analysis, Lohafer combines traditional literary theory with a more unconventional mode of research, monitoring the reactions of readers as they progress through a story—to establish a new poetics of the genre. Singling out the phenomenon of "imminent closure" as the genre's defining trait, she then proceeds to identify "preclosure points," or places where a given story could end, in order to access hidden layers of the reading experience. She expertly harnesses this theory of preclosure to explore interactions between pedagogy and theory, formalism and cultural studies, fiction and nonfiction. Returning to the roots of storyness, Lohafer illuminates the intricacies of classic short stories and experimental forms of surreal, postmodern, and minimalist fiction. She also discusses the impact of social constructions, such as gender, on the identification of preclosure points by individual readers. Reading for Storyness combines cognitive science with literary theory to present a compelling argument for the uniqueness of the short story.
Susan Williams recovers the literary and cultural significance of early photography in an important rereading of American fiction in the decades preceding the Civil War. The rise of photography occurred simultaneously with the rapid expansion of magazine publication in America, and Williams analyzes the particular role that periodicals such as Godey's Lady's Book, Burton's Gentleman's Magazine, and Atkinson's Casket played in defining how photography was received. At the center of the book are readings of a stunning array of fiction by forgotten and canonical writers alike, including Edgar Allan Poe, Louisa May Alcott, and Sarah Hale, as well as extended interpretations of Nathaniel Hawthorne's House of the Seven Gables and The Marble Faun and Herman Melville's Pierre. In a concluding section, Williams offers a view of the fictional portrait in the later nineteenth century, when the proliferation of illustrated books once again transformed the relation between word and image in American culture.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.