Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

In the humorous novel DOMs Need Love Too , a Yale psychology professor encounters a small group of healthy, vigorous, flag-loving seniors at a racquetball and health club and secretly decides to create a case study out of the merry makers, better known as the Day Old Muffins.

Middle-aged Eve is obligated to submit an academic paper titled Men Without Partners to the University at the conclusion of the school year. When she witnesses the senior comrades hitting on a young, pretty maiden with an array of grandiose promises, she is both dismayed and intrigued by their sophomoric behavior. As Eve infiltrates the voyeuristic group to study their chauvinistic attitudes, she wonders if there is such a thing as male menopause-a condition that causes men to overcompensate a diminished libido. Eve is surprised to find the men boast an intellectual depth beyond her expectations and as two Day Old Muffins vie for her attention, jealously, extortion, and love encircle the group, complicating matters even further.

As Eve seeks to uncover the nature of the force which brings the six men together so faithfully, her analytical harness is unleashed, revealing her true womanhood.

This is the first study to compare the allusions to scribal culture found in the Aramaic Story of Ahiqar and the Hebrew Tale of Jeremiah and Baruch's Scroll in Jeremiah 36. It is shown that disguised in the royal propagandistic message of Ahiqar is a sophisticated Aramaic critique on the social practices of Akkadian scribal culture. Jeremiah 36, however, uses loci of scribal activity as well as allusions to scribal interactions and the techniques of the scribal craft to construct a subversive tale. When studied from a comparative perspective it is argued that the Story of Ahiqar, which has long been associated with the well-known court tale genre, is an example of a subgenre which is here called the scribal conflict narrative, and Jeremiah 36 is found to be a second example of or a response to it. This observation is arrived at by means of rigorous manuscript examination combined with narrative analysis, which identified, among other things, the development of autobiographical and biographical styles of the same ancient narrative. This study not only provides new perspectives on scribal culture, Ahiqar studies, and Jeremiah studies, but it may have far reaching implications for other ancient sources.

At a gala evening dinner dance, lovely thirty-five-year-old Butters announces openly on the dance floor to Slats, "The last time I saw you, you were naked." Kevin "Slats" Slattery, a married middle-aged advertising executive with two children, is certain he has never seen this woman before. He is in a tizzy over her outrageous pronouncement. He wonders if Butters is a hustler, kook, bored housewife, or actress. He wonders which of his friends put her up to this stunt.

In spite of how upset he is by Butters' pronouncement, Slats is intrigued by the woman herself-a voluptuous female with teasing eyes and a dazzling smile. Soon, Butters and Slats act on their mutual attraction and begin an affair, both cheating on their spouses. Even though Butters has made Slats feel like a man again, he questions his affair and still feels obligated to Terry, his wife of twenty-five years.

A humorous romance, "The Last Time I Saw You, You Were NAKED " depicts the magnificence of life and delivers the message that adversity can be a powerful motivator. The human spirit can overcome inequities, and individuals can reach within themselves to become survivors. Just add a bit of humor.

Who will be interested in The Heart of a Dad? It's for dads, those who love dads, and those who've wished they had a dad they could love. A man wants to be part of something great, and among the many quests before him; pursuing an education, starting a business, going off to war, architecting a building, inventing a better mousetrap, setting records, saving lives, garnering accolades. the universal gateway to greatness is found in being a father. The Heart of a Dad identifies this drive as a desire to be part of dynasty. What drives fathers? What transforms them from boys into leaders? What is that compulsion that makes even thoughtless and unwise men desire a better, even brilliant future? Their offspring. Fathers want to leave the world a better place than they found it. The Heart of a Dad is a resource that helps dreaming dads reach their goals. It also shows dads who have been tackled and brought down to get back on their feet, so they're ready for the next play. Men from all walks of life will appreciate the illumination this book brings, and their families who read it will better understand what makes him "Dad."

Initially branching out of the European contradance tradition, the danzon first emerged as a distinct form of music and dance among black performers in nineteenth-century Cuba. By the early twentieth-century, it had exploded in popularity throughout the Gulf of Mexico and Caribbean basin. A fundamentally hybrid music and dance complex, it reflects the fusion of European and African elements and had a strong influence on the development of later Latin dance traditions as well as early jazz in New Orleans. Danzon: Circum-Caribbean Dialogues in Music and Dance studies the emergence, hemisphere-wide influence, and historical and contemporary significance of this music and dance phenomenon.
Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, historical, and critical approach to the processes of appropriation of the danzon in new contexts, its changing meanings over time, and its relationship to other musical forms. Delving into its long history of controversial popularization, stylistic development, glorification, decay, and rebirth in a continuous transnational dialogue between Cuba and Mexico as well as New Orleans, the authors explore the production, consumption, and transformation of this Afro-diasporic performance complex in relation to global and local ideological discourses. By focusing on interactions across this entire region as well as specific local scenes, Madrid and Moore underscore the extent of cultural movement and exchange within the Americas during the late nineteenth and early twentieth-centuries, and are thereby able to analyze the danzon, the dance scenes it has generated, and the various discourses of identification surrounding it as elements in broader regional processes. Danzon is a significant addition to the literature on Latin American music, dance, and expressive culture; it is essential reading for scholars, students, and fans of this music alike."

Postcolonial studies has recently made significant inroads into biblical studies, giving rise to numerous conference papers, articles, essays and books. 'Postcolonial Biblical Criticism' is the most in-depth and multifaceted introduction to this emerging field to date. It probes postcolonial biblical criticism from a number of different but interrelated angles in order to bring it into as sharp a focus as possible, so that its promise - and potential pitfalls - can be better appreciated. This volume carefully positions postcolonial biblical criticism in relation to other important political and theoretical currents in contemporary biblical studies: feminism; racial/ethnic studies; poststructuralism; and Marxism. Alternating between hermeneutical and exegetical reflection, the essays cumulatively isolate and evaluate the definitive features of postcolonial biblical criticism. Such a mapping of postcolonial biblical criticism as a whole has never before been undertaken in such explicit and detailed terms. The contributors include Roland Boer, Laura E. Donaldson, David Jobling, Tat-siong Benny Liew, Stephen D. Moore and Fernando F. Segovia.

Critiques and calls for reform have existed for decades within music education, but few publications have offered concrete suggestions as to how things might be done differently. Motivated by a desire to do just that, College Music Curricula for a New Century considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Editor Robin Moore creates a dialogue among faculty, administrators, and students about what the future of college music instruction should be and how teachers, institutions, and organizations can transition to new paradigms. Including contributions from leading figures in ethnomusicology, music education, theory/composition, professional performance, and administration, College Music Curricula for a New Century addresses college-level curriculum reform, focusing primarily on performance and music education degrees, and offer ideas and examples for a more inclusive, dynamic, and socially engaged curriculum of applied musical study. This book will appeal to thoughtful faculty looking for direction on how to enact reform, to graduate students with investment in shaping future music curricula, and to administrators who know change is on the horizon and seek wisdom and practical advice for implementing change. College Music Curricula for a New Century reaches far beyond any musical subdiscipline and addresses issues pertinent to all areas of music study.

In "Overcoming Religious Illiteracy," Harvard professor and Phillips Academy teacher Diane L. Moore argues that though the United States is one of the most religiously diverse nations in the world, the vast majority of citizens are woefully ignorant about religion itself and the basic tenets of the world's major religious traditions. The consequences of this religious illiteracy are profound and include fueling the culture wars, curtailing historical understanding and promoting religious and racial bigotry. In this volume, Moore combines theory with practice to articulate how to incorporate the study of religion into the schools in ways that will invigorate classrooms and enhance democratic discourse in the public sphere.

This study guide explores the origins and reception history of the Book of Revelation and its continuing fascination for readers from both religious and secular backgrounds. Stephen D. Moore examines the transcultural impact Revelation has had, both within and beyond Christianity, not only on imaginings of when and how the world will end, but also on imaginings of the risen Jesus, heaven and hell, Satan, the Antichrist, and even Mary the mother of Jesus. Moore traces Revelation’s remarkable reception through the ages, with special emphasis on its twentieth and twenty-first century appropriations, before resituating the book in its original context of production: Who wrote it, where, when, why, and modelled on what? The study guide culminates with a miniature commentary on the entire text of Revelation, weaving together liberationist, postcolonial, feminist, womanist, queer, and ecological approaches to the book in order to discern what it might mean for contemporary readers and communities concerned with issues of social justice.

Advocates of engaged learning in higher education through programs such as internships, cooperative education, and service-learning make strong claims for its value to students, colleges, and communities. But many mainstream academics either ignore or reject those claims, favoring more conventional forms of curriculum and teaching. Drawing on ethnographies of scores of student-interns and many years of professional practice, Moore tackles the controversy over whether first-hand experience is a legitimate and effective source of learning. He identifies both the pitfalls and the possibilities in engaged pedagogies and suggests conditions under which they might work best.

What is 'addiction'? What does it say about us, our social arrangements and our political preoccupations? Where is it going as an idea and what is at stake in its ongoing production? Drawing on ethnographic research, interviews and media and policy texts, this book traces the remaking of addiction in contemporary Western societies.

For this volume, sequel to The Bible in Three Dimensions, the seven full-time members of the research and teaching faculty in Biblical Studies at Sheffield-Loveday Alexander, David Clines, Meg Davies, Philip Davies, Cheryl Exum, Barry Matlock and Stephen Moore-set themselves a common task: to reflect on what they hope or imagine, as century gives way to century, will be the key areas of research in biblical studies, and to paint themselves, however modestly, into the picture. The volume contains, as well as those seven principal essays, a 75-page 'intellectual biography' of the Department and a revealing sketch of the 'material conditions' of its research and teaching, together with a list of its graduates and the titles of their theses.

Why should a woman be allowed to rule with the same powers as a king? Readers may be surprised to discover that the man who asks this controversial question is none other than Queen Elizabeth's favorite Robert Dudley, Earl of Leicester. On hand to provide answers are statesman and poet Thomas Sackville, Lord Buckhurst; and William Fleetwood, Recorder of London, who reports their 1575 conversation in "Itinerarium ad Windsor." The Name of a Queen presents an annotated edition of "Itinerarium," plus essays by a team of leading scholars who interpret and contextualize Fleetwood's dialogue. This critical edition and the accompanying contextual essays will make available to scholars and students alike this remarkable discussion of the form and nature of English regnant queenship, which provides a valuable tool for gaining a greater understanding of contemporary notions of and underlying fears concerning the efficacy and desirability of female rule in Elizabethan England.

Critiques and calls for reform have existed for decades within music education, but few publications have offered concrete suggestions as to how things might be done differently. Motivated by a desire to do just that, College Music Curricula for a New Century considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Editor Robin Moore creates a dialogue among faculty, administrators, and students about what the future of college music instruction should be and how teachers, institutions, and organizations can transition to new paradigms. Including contributions from leading figures in ethnomusicology, music education, theory/composition, professional performance, and administration, College Music Curricula for a New Century addresses college-level curriculum reform, focusing primarily on performance and music education degrees, and offer ideas and examples for a more inclusive, dynamic, and socially engaged curriculum of applied musical study. This book will appeal to thoughtful faculty looking for direction on how to enact reform, to graduate students with investment in shaping future music curricula, and to administrators who know change is on the horizon and seek wisdom and practical advice for implementing change. College Music Curricula for a New Century reaches far beyond any musical subdiscipline and addresses issues pertinent to all areas of music study.