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.

All 23 episodes from the fifth season of the American crime drama following an elite team of FBI profilers as they analyse the country's most twisted criminal minds, anticipating their next moves before they strike again. Episodes are: 'Faceless, Nameless', 'Haunted', 'Reckoner', 'Hopeless', 'Cradle to Grave', 'The Eyes Have It', 'The Performer', 'Outfoxed', '100', 'The Slave of Duty', 'Retaliation', 'The Uncanny Valley', 'Risky Business', 'Parasite', 'Public Enemy', 'Mosley Lane', 'Solitary Man', 'The Fight', 'Rite of Passage', '...A Thousand Words', 'Exit Wounds', 'The Internet Is Forever' and 'Our Darkest Hour'.

Most scholars of the Hebrew Bible/Old Testament recognize Ruth's simplicity and beauty, yet there has been little consensus in critical scholarship related to the book's origin and purpose. Opinions on the text's date range from the early monarchic period down to the Post-Exilic period, and interpreters argue over whether the narrative served to whitewash David's lineage, or if it held Ruth out as a positive example of Gentile inclusion in the Judean community. With an eclectic approach drawing on traditional exegesis, analysis of inner-biblical allusions, comparisons of legal and linguistic data, and modern refugee research, Edward Allen Jones III argues that Ruth is, indeed, best understood as a call for an inclusive attitude toward any Jew or Gentile who desired to join the Judean community in the early Post-Exilic period. Within the narrative's world, only Boaz welcomes Ruth into the Bethlehemite community, yet the text's re-use of other biblical narratives makes it clear that Ruth stands on par with Israel's great matriarchs. Though certain segments of the Judean community sought to purify their nation by expelling foreign elements in the Restoration period, Yhwh's loving-kindness in Ruth's life demonstrates his willingness to use any person to build up his people.

This book clarifies the advent of Liangzhu Culture and analyses the morphology, structure and internal social organization of grass-root settlements, medium-size settlements and the ancient city of Liangzhu, as well as the religious beliefs, ideology and power mechanisms represented by jade. Further, the book explains how the low-lying location and humid environment in the water-net plain area prompted the creation of man-made platforms or pillars, forming small and densely settled residential areas, and ultimately the water villages of southern China. Developments between man and nature accelerated the process of civilization, leading to the polarization of social classes and pyramid-shaped residential structures containing cities, towns and villages. Offering unique insights into the social vitality and structure of Liangzhu society, the book is one of the most important academic works on interpreting the origins of Liangzhu Civilization and investigating Chinese Civilization.

What do we mean when call something a lyric poem? How many kinds of lyric are there? Are there fewer now than there were in 1920 or 1820 or 1620? The purpose of Forms of Late Modernist Lyric is to show that our oldest styles of poetic articulation - the elegy, the ode, the hymn - have figured all too briefly in modern genealogies of lyric, and that they have proved especially seductive, curiously enough, to avant-garde practitioners in the Anglophone tradition. The poets in question - Jorie Graham, Frank O'Hara, Michael Haslam, J. H. Prynne, Claudia Rankine, and others - have thickened the texture of lyric practice at a time when the growing tendency in critical circles has been to dissolve points of difference within the genre itself. The broader aim of this volume is to demonstrate that experimental poets since 1945 have not always been rebarbative and anti-traditional, but rather that their recourse to familiar forms and shapes of thought should prompt us to reconsider late modernism as a crucial phase in the evolving history of lyric. CONTRIBUTORS: Ruth Abbott, Edward Allen, Gareth Farmer, Fiona Green, Drew Milne, Jeremy Noel-Tod, Sophie Read, Matthew Sperling, Esther Osorio Whewell, John Wilkinson