On December 4, 1957, Miles Davis revolutionized film soundtrack production, improvising the score for Louis Malle's Ascenseur pour l'echafaud. A cinematic harbinger of the French New Wave, Ascenseur challenged mainstream filmmaking conventions, emphasizing experimentation and creative collaboration. It was in this environment during the late 1950s to 1960s, a brief "golden age" for jazz in film, that many independent filmmakers valued improvisational techniques, featuring soundtracks from such seminal figures as John Lewis, Thelonious Monk, and Duke Ellington. But what of jazz in film today? Improvising the Score: Rethinking Modern Film Music through Jazz provides an original, vivid investigation of innovative collaborations between renowned contemporary jazz artists and prominent independent filmmakers. The book explores how these integrative jazz-film productions challenge us to rethink the possibilities of cinematic music production. In-depth case studies include collaborations between Terence Blanchard and Spike Lee (Malcolm X, When the Levees Broke), Dick Hyman and Woody Allen (Hannah and Her Sisters), Antonio Sanchez and Alejandro Gonzalez Inarritu (Birdman), and Mark Isham and Alan Rudolph (Afterglow). The first book of its kind, this study examines jazz artists' work in film from a sociological perspective, offering rich, behind-the-scenes analyses of their unique collaborative relationships with filmmakers. It investigates how jazz artists negotiate their own "creative labor," examining the tensions between improvisation and the conventionally highly regulated structures, hierarchies, and expectations of filmmaking. Grounded in personal interviews and detailed film production analysis, Improvising the Score illustrates the dynamic possibilities of integrative artistic collaborations between jazz, film, and other contemporary media, exemplifying its ripeness for shaping and invigorating twenty-first-century arts, media, and culture.

       Told and re-told throughout the centuries, King Arthur's Court and the days of Camelot still exist in the imaginations of children and adults. I have begun where others have ended. From the scene of the his final battle, Arthur is taken by barge to Avalon to heal his wounds. In Avalon Arthur becomes aware of the forces that made him King and receives words of enlightenment that will guide his self-discovery.       As the mysteries of Avalon unfold, the Swordsman who made Excalibur with his "head, heart, and hands" sends Arthur deeper into the woods to be alone with nature. There in a dream he sees his departed teacher Merlin and realizes that "Merlin and Camelot could exist again in his mind and in his soul, safe within a dream, always there to bring forward whenever he chose." Before Arthur leaves the forest he becomes aware of the ten life stages of man and the truth that has always been available to those who search for it.       "The common folk, as legend had it, believed King Arthur would return again and some say he was sleeping in the Isle of Avalon. He was not asleep, however, but awakening to his true self. He was who he always wanted to be...Arthur...Arthur of Avalon.

To be a virgin or a widow never promised a stable, uniform status to a woman during the Middle Ages. Rather, these positions were areas of contestation, constructions that did and still do create and interrogate notions of gender roles, areas of power, areas of disability. For example, chastity is an apparent given for both positions, but the chastity involved may have a number of possible cultural meanings or uses. The articles in Constructions of Widowhood and Virginity in the Middle Ages address many facets of these two female positions in medieval literature: gender constructions; the body and what it means to make it visible, whether in admiration, torture, or martyrdom; issues of physicality and abjection; creations of literary voice for women who write or create situations for them to be written about. A top-notch group of female scholars examines the meanings behind widowhood and virginity both individually and in relation to each other. The focus on both positions in the same volume makes Constructions of Widowhood and Virginity in the Middle Ages an unprecedented work.

Cable companies are allying with long distance telephone and entertainment companies, telephone companies are allying with equipment suppliers and entertainment companies, multi-media companies are allying with everyone from museums to studios and travel agents. This text explores the shape of these partnerships and how they lower entry fees, consolidate technologies and influence regulatory structure. Randall L. Carlson has surveyed 90 companies involved in the Information Superhighway and looks at the way in which management are developing their organizations to make new technologies and services possible in an increasingly competitive market. His conclusions offer an insight for anyone interested in the Information Superhighway, strategic alliances and the implications of multimedia technologies.

The author tells about his early life, growing up in small Minnesota towns, his education in High School and at Iowa State College. He received a Commission as a Second Lieutenant, Field Artillery after completing the R.O.T.C course and was immediately ordered to active duty in June of 1941. The Pearl Harbor attack meant he was in the war for the duration. This is a story of his role in World War II in desert training, combat in Africa and Sicily, training in England for the invasion of Normandy, landing on Omaha Beach and the campaign through France and Europe, ending in Czechoslovakia. He was overseas just over 3 years serving the entire time with the 62nd Armored Field Artillery Battalion, which was in combat a total of 424 days and was awarded a Unit Citation and several Commendations. He returned with an English bride and attended Dental School at the University of Minnesota, graduating in 1950. He also holds a Bachelor's degree in Forestry from Iowa State University.

This essay constitutes yet another approach to the fields of inquiry variously known as discourse analysis, discourse grammar, text grammar, functional 1 syntax, or text linguistics. An attempt is made to develop a fairly abstract unified theoretical frame work for the description of discourse which actually helps explain concrete facts of the discourse grammar of a naturallanguage.2 This plan is reflected in the division of the study into two parts. In the first part, a semiformal framework for describing conversational discourse is developed in some detail. In the second part, this framework is applied to the functional syntax of English. The relation of the discourse grammar of Part II to the descriptive frame work of Part I can be instructively compared to the relation of Tarskian semantics to model theory. Tarski's semantics defmes a concept of truth of a sentence in a model, an independently identified construct. Analogously, my rules of discourse grammar defme a concept of appropriateness of a sentence to a given context. The task of the first Part of the essay is to characterize the relevant notion of context. Although my original statement of the problem was linguistic - how to describe the meaning, or function, of certain aspects of word order and intonation - Part I is largely an application of various methods and results of philosophical logic. The justification of the interdisciplinary approach is the simplicity and naturalness of the eventual answers to specific linguistic problems in Part II."

The Education of Eros is the first and only comprehensive history of sexuality education and the "problem" of adolescent sexuality from the mid-20th century to the beginning of the 21st. It explores how professional health educators, policy makers, and social and religious conservatives differed in their approaches, and battled over what gets taught about sexuality in schools, but all shared a common understanding of the adolescent body and adolescent desire as a problem that required a regulatory and disciplinary education. It also looks the rise of new social movements in civil society and the academy in the last half of the 20th century that began to re-frame the "problem" of adolescent sexuality in a language of rights, equity, and social justice. Situated within critical social theories of sexuality, this book offers a tool for re-framing the conversation about adolescent sexuality and reconstructing the meaning of sexuality education in a democratic society.

The Education of Eros is the first and only comprehensive history of sexuality education and the "problem" of adolescent sexuality from the mid-20th century to the beginning of the 21st. It explores how professional health educators, policy makers, and social and religious conservatives differed in their approaches, and battled over what gets taught about sexuality in schools, but all shared a common understanding of the adolescent body and adolescent desire as a problem that required a regulatory and disciplinary education. It also looks the rise of new social movements in civil society and the academy in the last half of the 20th century that began to re-frame the "problem" of adolescent sexuality in a language of rights, equity, and social justice. Situated within critical social theories of sexuality, this book offers a tool for re-framing the conversation about adolescent sexuality and reconstructing the meaning of sexuality education in a democratic society.

A working guide to the treatment of survivors of sexual victimization, this book treats rape, incest, and harassment as related forms of sexual abuse. It reviews present literature on the long-term effects of sexual assault and considers the services and support that survivors require. Covering a wide range of issues and treatment approaches, focus is placed on the older adolescent and adult. The phases of recovery followng sexual abuse are described together with the type of assistance most appropriate at each phase. The authors provide numerous case studies and emphasize the individuality of both survivor and response. This guide should be used by both professional and layperson to help the sexually abused transcend feelings of victimization.

"Rape, Incest, and Sexual Harassment" discusses the issues raised by victimization. It then deals with the immediate aftermath of sexual abuse focusing on crisis intervention and advocacy with respect to emotional, medical, and legal needs. One section, devoted to counselors working with long-term effects on survivors, matches interventions to the individual client's needs and offers models for counseling frameworks. Special needs are also addressed. The book concludes with a look at the larger social problems associated with abuse and violence.

This volume raises critical questions about the qualities of democratic educational leadership during a time when the promise of democratic education and public life risks being abandoned, forgotten, and emptied of meaning. A diverse chorus of scholars in education take on this issue by analyzing the cultural context of educational leadership in the age of No Child Left Behind, by offering democratic counter-narratives of educational leadership, and by deconstructing popular culture representations of educational leaders. In doing so, they re-situate leadership within a political context and link it to struggles over social justice and human freedom. The contributing scholars also radically re-think educational leadership in ways that include teachers, university-based educators, and scholars as leaders.

It's no sin to hurt. Thousands of Christians suffer real emotional pain--such as depression, anxiety, obsessiveness. Many other Christians, including prominent leaders, believe emotional problems are the result of sin or bad choices. These attitudes often only add to the suffering of those who hurt. In this book Dwight Carlson marshals recent scientific evidence that demonstrates many emotional problems are just as physical or biological as diabetes, cancer and heart disease. While he never discounts personal responsibility, Carlson shows from both the Bible and up-to-date medicine why it really is no sin to hurt. Understandably and compellingly, Why Do Christians Shoot Their Wounded? brings profound help for those who hurt and those who counsel. For those who suffer, here is a powerful liberation from guilt. For those who care for the suffering, here is vivid proof that those in emotional pain deserve compassion, not condemnation.

This essay constitutes yet another approach to the fields of inquiry variously known as discourse analysis, discourse grammar, text grammar, functional 1 syntax, or text linguistics. An attempt is made to develop a fairly abstract unified theoretical frame work for the description of discourse which actually helps explain concrete facts of the discourse grammar of a naturallanguage.2 This plan is reflected in the division of the study into two parts. In the first part, a semiformal framework for describing conversational discourse is developed in some detail. In the second part, this framework is applied to the functional syntax of English. The relation of the discourse grammar of Part II to the descriptive frame work of Part I can be instructively compared to the relation of Tarskian semantics to model theory. Tarski's semantics defmes a concept of truth of a sentence in a model, an independently identified construct. Analogously, my rules of discourse grammar defme a concept of appropriateness of a sentence to a given context. The task of the first Part of the essay is to characterize the relevant notion of context. Although my original statement of the problem was linguistic - how to describe the meaning, or function, of certain aspects of word order and intonation - Part I is largely an application of various methods and results of philosophical logic. The justification of the interdisciplinary approach is the simplicity and naturalness of the eventual answers to specific linguistic problems in Part II."

Quantitative Methods in Archaeology Using R is the first hands-on guide to using the R statistical computing system written specifically for archaeologists. It shows how to use the system to analyze many types of archaeological data. Part I includes tutorials on R, with applications to real archaeological data showing how to compute descriptive statistics, create tables, and produce a wide variety of charts and graphs. Part II addresses the major multivariate approaches used by archaeologists, including multiple regression (and the generalized linear model); multiple analysis of variance and discriminant analysis; principal components analysis; correspondence analysis; distances and scaling; and cluster analysis. Part III covers specialized topics in archaeology, including intra-site spatial analysis, seriation, and assemblage diversity.

By admiring her finer points and showing that she can take care of herself and have fun even when there's no one else around, a charming pig proves the best friend you can have is yourself.

On December 4, 1957, Miles Davis revolutionized film soundtrack production, improvising the score for Louis Malle's Ascenseur pour l'echafaud. A cinematic harbinger of the French New Wave, Ascenseur challenged mainstream filmmaking conventions, emphasizing experimentation and creative collaboration. It was in this environment during the late 1950s to 1960s, a brief "golden age" for jazz in film, that many independent filmmakers valued improvisational techniques, featuring soundtracks from such seminal figures as John Lewis, Thelonious Monk, and Duke Ellington. But what of jazz in film today? Improvising the Score: Rethinking Modern Film Music through Jazz provides an original, vivid investigation of innovative collaborations between renowned contemporary jazz artists and prominent independent filmmakers. The book explores how these integrative jazz-film productions challenge us to rethink the possibilities of cinematic music production. In-depth case studies include collaborations between Terence Blanchard and Spike Lee (Malcolm X, When the Levees Broke), Dick Hyman and Woody Allen (Hannah and Her Sisters), Antonio Sanchez and Alejandro Gonzalez Inarritu (Birdman), and Mark Isham and Alan Rudolph (Afterglow). The first book of its kind, this study examines jazz artists' work in film from a sociological perspective, offering rich, behind-the-scenes analyses of their unique collaborative relationships with filmmakers. It investigates how jazz artists negotiate their own "creative labor," examining the tensions between improvisation and the conventionally highly regulated structures, hierarchies, and expectations of filmmaking. Grounded in personal interviews and detailed film production analysis, Improvising the Score illustrates the dynamic possibilities of integrative artistic collaborations between jazz, film, and other contemporary media, exemplifying its ripeness for shaping and invigorating twenty-first-century arts, media, and culture.