Does The Constitution give kids the right to freedom of speech? And does free speech include wearing a T-shirt with a message on it?Justin Conroy finds out, when he wears a peace T-shirt to school. His dad is in the reserves, fighting in far-off Gazolia, and Justin wants him home. But the school authorities accuse him of being unpatriotic and suspend him. His friend Gwen circulates a petition defending him, which a teacher rips up. When a student journalist interviews the two activists, the teacher in charge of the school newspaper withholds the article. Luckily, their class is studying The Constitution, and their history teacher, Mr. Graham, introduces them to their First Amendment rights. But what's the best way to fight for those rights? How do you speak truth to power? Justin and his friends discover that heroes and heroines come in all shapes and sizes, and the doers of brave deeds can be the most unexpected folks around -- nerdy dweebs, jazz musicians, beauty queens -- they might even be you!
Using meditation and visualization, the author has asked questions of the universe regarding a variety of individual concerns common to us all. The responses came to her from spirit guides in the form of animals and birds. Some of the questions she asked were 'How can I make more money?' 'How can I make more friends?' 'How can I adjust to new surroundings?' 'How can I find a loving partner?' 'How can I get rid of bad habits?' Sometimes funny, sometimes profound, the responses can offer help to others encountering similar dilemmas. Or, drawing from the author's experience, readers may wish to form their own spiritual connection for help in finding their own spiritual path.
Using meditation and visualization, the author has asked questions of the universe regarding a variety of individual concerns common to us all. The responses came to her from spirit guides in the form of animals and birds. Some of the questions she asked were 'How can I make more money?' 'How can I make more friends?' 'How can I adjust to new surroundings?' 'How can I find a loving partner?' 'How can I get rid of bad habits?' Sometimes funny, sometimes profound, the responses can offer help to others encountering similar dilemmas. Or, drawing from the author's experience, readers may wish to form their own spiritual connection for help in finding their own spiritual path.
Does The Constitution give kids the right to freedom of speech? And does free speech include wearing a T-shirt with a message on it?Justin Conroy finds out, when he wears a peace T-shirt to school. His dad is in the reserves, fighting in far-off Gazolia, and Justin wants him home. But the school authorities accuse him of being unpatriotic and suspend him. His friend Gwen circulates a petition defending him, which a teacher rips up. When a student journalist interviews the two activists, the teacher in charge of the school newspaper withholds the article. Luckily, their class is studying The Constitution, and their history teacher, Mr. Graham, introduces them to their First Amendment rights. But what's the best way to fight for those rights? How do you speak truth to power? Justin and his friends discover that heroes and heroines come in all shapes and sizes, and the doers of brave deeds can be the most unexpected folks around -- nerdy dweebs, jazz musicians, beauty queens -- they might even be you!
Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available.
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