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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.
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.
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.
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.
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.
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.
After listening to me tell of the events of my life, my
granddaughter, Alison, would say, "Grandma, please write these
things down so I won't lose them." At the age of ninety, I started
writing the events of my journey down the road long traveled.
Alison and I invite you to travel with us through laughter, tears,
hardships, the Great Depression, World War II, love and romance,
and sickness and sorrow, to doors that closed, through doors that
opened with faith, and much happiness along the way.
My book came into being quite by accident. My sister, Madeline
F. Sparrow, needed some cards to send to her shut-ins. She had over
eighty at the time. She had used all that she could find. I said,
"Why don't I try to write a note of cheer?" I always thought about
writing short stories. So I started writing verses. Each month, I
would sit on my porch or at the kitchen window and think about God
and how I felt on the day. I always looked at nature, the birds,
squirrels, deer, etc. I wrote how I felt about the changes of the
weather and the seasons. Many of those who received these verses
responded with notes of thanks for lifting their day. Others were
placed on the doors of nursing homes. Several suggested we have
them printed into a book.
The Green Thread: Dialogues with the Vegetal World is an
interdisciplinary collection of essays in the emerging field of
Plant Studies. The volume is the first of its kind to bring
together a dynamic body of scholarship that shares a critique of
long-standing human perceptions of plants as lacking autonomy,
agency, consciousness, and, intelligence. The leading metaphor of
the book-"the green thread", echoing poet Dylan Thomas' phrase "the
green fuse"-carries multiple meanings. On a more apparent level,
"the green thread" is what weaves together the diverse approaches
of this collection: an interest in the vegetal that goes beyond
single disciplines and specialist discourses, and one that not only
encourages but necessitates interdisciplinary and even interspecies
dialogue. On another level, "the green thread" links creative and
historical productions to the materiality of the vegetal-a reality
reflecting our symbiosis with oxygen-producing beings. In short,
The Green Thread refers to the conversations about plants that
transcend strict disciplinary boundaries as well as to the
possibility of dialogue with plants.
Effective Practice in the Early Years supports students of
degrees and foundation degrees in Early years, Early Childhood and
related disciplines studying professional practice in the early
years. *Focused on the knowledge and learning students need for all
practice focused, professional practice and placements modules.
*Supports students with their written assignments and assessments
linking theory and practice. *Includes case studies, reflective
tools, template examples and explores good practice. *Offers
practical support and guidance for students working and learning in
early years settings.
Emotion and Postmodernism: is it possible to imagine an odder
couple, stranger bedfellows, less bad company? The Emotional Life
of Postmodern Film brings this unlikely pair into sustained
dialogue, arguing that the interdisciplinary body of scholarship
currently emerging under the rubric of "affect theory" may be
unexpectedly enriched by an encounter with the field that has
become its critical other. Across a series of radical
re-reappraisals of canonical postmodern texts, from Fredric
Jameson's Postmodernism to David Cronenberg's Crash, Duncan shows
that the same postmodern archive that has proven resistant to
strongly subject-based and object-oriented emotions, like anger and
sadness, proves all too congenial to a series of idiosyncratic,
borderline emotions, from knowingness, fascination and bewilderment
to boredom and euphoria. The analysis of these emotions, in turn,
promises to shake up scholarly consensus on two key counts. On the
one hand, it will restructure our sense of the place and role of
emotion in a critical enterprise that has long cast it as the
stodgy, subjective sister of a supposedly more critically
interesting and politically productive affect. On the other, it
will transform our perception of postmodernism as a now-historical
aesthetic and theoretical moment, teaching us to acknowledge more
explicitly and to name more clearly the emotional life that
energizes it.
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