A triple bill of the 'Look Who's Talking' films. In 'Look Who's Talking' (1989), Mollie (Kirstie Alley) is pregnant by Albert (George Segal), a married man who won't leave his wife. When her contractions start, she leaps into a taxi, driven by James (John Travolta) who accompanies her not only to the hospital but into the delivery room. Mollie gives birth to a healthy boy, Mikey (voice of Bruce Willis), and soon James is baby-sitting for her while she goes in search of a suitable father. The sequel, 'Look Who's Talking Too' (1990), picks up where the first film left off, with James and Mollie having another baby. Meanwhile, Mikey deals with growing up, the intrusion of a new baby sister Julie (voice of Roseanne Barr) and that daunting rite of passage - toilet training. In 'Look Who's Talking Now' (1993), Mollie is fired from her job, and takes a position in a toy department as a Christmas elf and James lands a job as a private pilot for the vampy socialite Samantha (Lysette Anthony). When the local street dog Rocks (voice of Danny DeVito) is taken home for son Mikey (David Gallagher), Samantha also turns up with her pampered poodle Daphne (voice of Diane Keaton) who Julie (Tabitha Lupien) instantly takes to. The dogs take an instant dislike to each other, but the parents are too tied up with their own problems to notice. When Mollie discovers that Samantha has whisked her husband off for a secret rendezvous on Christmas Eve, she determines to intercept them with kids and dogs in tow.

A thoroughly contemporary approach to teaching essential engineering graphics skills has made Fundamentals of Solid Modeling and Graphics Communication the leading textbook in introductory engineering graphics courses. The seventh edition continues to integrate design concepts and the use of 3D CAD modeling into its outstanding coverage of the basic visualization and sketching techniques that enable students to create and communicate graphic ideas effectively. The primary goal of this text is to help the engineering and technology student learn the techniques and standard practices of technical graphics, so that design ideas can be adequately communicated and produced. As in past editions, the authors have included many examples of how graphics communication pertains to "real-world" engineering design, including current industry practices and breakthroughs.

In the ancient Mediterranean world, the sea was an essential domain for trade, cultural exchange, communication, exploration, and colonisation. In tandem with the lived reality of this maritime space, a parallel experience of the sea emerged in narrative representations from ancient Greece and Rome, of the sea as a cultural imaginary. This imaginary seems often to oscillate between two extremes: the utopian and the catastrophic; such representations can be found in narratives from ancient history, philosophy, society, and literature, as well as in their post-classical receptions. Utopia can be found in some imaginary island paradise far away and across the distant sea; the sea can hold an unknown, mysterious, divine wealth below its surface; and the sea itself as a powerful watery body can hold a liberating potential. The utopian quality of the sea and seafaring can become a powerful metaphor for articulating political notions of the ideal state or for expressing an individual's sense of hope and subjectivity. Yet the catastrophic sea balances any perfective imaginings: the sea threatens coastal inhabitants with floods, tsunamis, and earthquakes and sailors with storms and the accompanying monsters. From symbolic perspectives, the catastrophic sea represents violence, instability, the savage, and even cosmological chaos. The twelve papers in this volume explore the themes of utopia and catastrophe in the liminal environment of the sea, through the lens of history, philosophy, literature and classical reception. Contributors: Manuel Alvarez-Marti-Aguilar, Vilius Bartninkas, Aaron L. Beek, Ross Clare, Gabriele Cornelli, Isaia Crosson, Ryan Denson, Rhiannon Easterbrook, Emilia Mataix Ferrandiz, Georgia L. Irby, Simona Martorana, Guy Middleton, Hamish Williams.

First published in 1853, this book chronicles the personal experience of the 'Kaffir' war of 1851 2 (now known as the eighth Xhosa or frontier war), between the European settlers and the native inhabitants of the Eastern Cape in South Africa. Serving as a lieutenant, William Ross King (1822 90) sailed to South Africa from Cork with the 74th Highlanders in March 1851 and remained there until late 1852. His memoir was not intended as a detailed history of military operations in the Kaffir war and in fact encompasses all of King's experiences in South Africa rather than focusing solely on the conflict. The book is especially notable for its extremely one-sided account of events: King exhibits a particularly scathing attitude towards the Xhosa people, who were 'committing the most deliberate outrages and murders' and displaying 'cowardly treachery' towards the European settlers.