This title was first published in 2001. "The Revelation of Nature" embraces pragmatism, aesthetics and metaphysics in an effort to narrate a fundamental relationship between the contemporary world and the natural source and site for any world of meaning. Beginning with an exploration of Heidegger's seminal insight into the way we exist - that human existence must be understood in its everydayness - Matthews links these ideas to Heidegger's interpretation of the development of Western history in terms of its grounding metaphysical determinations to do with truth, reality and the nature of things. Matthews concludes that our everyday lives are informed and shaped by intellectual precepts and normative modes of behaviour that promote the combination and enslavement of both nature and ourselves within a mass technological grid. This book breaks new ground in theology, without underpinning the analysis with a particular religious viewpoint.

This book addresses water management issues in the State of New Mexico. It focuses on our current understanding of the natural world, capabilities in numerical modeling, existing and evolving regulatory frameworks, and specific issues such as water quality, endangered species and the evolution of new water management institutions. Similar to its neighboring states, New Mexico regularly experiences cycles of drought. It is also experiencing rapid economic growth while at the same time is experiencing a fundamental climate shift. These factors place severe demands on its scarce water resources. In addition to historical uses by the native inhabitants of the region and the agricultural sector, new competitive uses have emerged which will require reallocation. This effort is complicated by unadjudicated water rights, the need to balance the ever-increasing needs of growing urban and rural populations, and the requirements of the ecosystem and traditional users. It is clear that New Mexico, as with other semi-arid states and regions, must find efficient ways to reallocate water among various beneficial uses. This book discusses how a proper coordination of scientific understanding, modeling advancements, and new and emerging institutional structures can help in achieving improved strategies for water policy and management. To do so, it calls upon the expertise of academics from multiple disciplines, as well as officials from federal and state agencies, to describe in understandable terms the issues currently being faced and how they can be addressed via an iterative strategy of adaptive management.

This collection of essays arises from two symposia held by the University of Cambridge's Centre for Public Law and Centre for European Legal Studies in the winter and spring of 1997. It presents an analysis of a cluster of issues arising in the EU public law arena but naturally falls into two interrelated but distinct parts. The first part deals with issues of liability in public law and the availability of remedies in EC and domestic law. The second part deals with EU public law on a broader canvas,by examining the phenomenon of cross-fertilization among national legal systems in Europe and between national systems and EU law. The book also examines the judgment of the Divisional Court of 31 July 1997 in R v. Secretary of State for Transport ex parte Factortame Ltd and the post-Francovich judgments in Palmisani, Maso and Bonifaci delivered by the Court of Justice on 10 July 1997. Contributors: John Allison, Jack Beatson, John Bell, Paul Craig, Piet Eeckhout, Ivan Hare, Mark Hoskins, Peter Oliver, Eivind Smith, Luisa Torchia, Takis Tridimas, Walter van Gerven.

The book’s title can be read two ways. Impasse or contraction is one of them. The purging of all but essential matters is another. Each section in this poetry collection covers unique themes. In Canticles, these ‘small songs’ celebrate the world given back after a life crisis. Wood bleeds where a branch was, then ‘ripples a beauty around it’. In Seasons, the grief and birdsong that accompanied our spring lockdown descend into the ground of winter. A surgical glove ‘scrabbling in the dust’ bears witness to testing times. With Departures, lost friends are remembered. The writer continues to address them as living. ‘Contraction’ comes to serve as a language for giving birth. Oracles covers war, the ecological crisis, loss of insight for the fabulous - these touch wider matters. ‘Tongues quick now with a flame within will render dry stone into a speaking thing’. Paul’s latest collection of lyrical poetry aims to change consciousness and perception and responds to contemporary issues such as the pandemic and the war in Ukraine. His poem, Waiting Outside, was highly commended in the Bridport Poetry awards of 2022. "This is a book of thoughtful lyrics, grounded in daily life and human warmth…" John Freeman "This is heart-work, soul-work, for both poet and reader. As Paul Matthews says… 'the manner of our looking / leaves an imprint there' and it is this sensibility that renders the poems both delicate and full with wisdom." Kay Syrad

This is an inspirational workbook of creative writing exercises for poets and teachers, and for all who wish to develop the life of the imagination. Paul Mathews gives us permission to indulge our fantasy, and then, when that life is flowing, provides the tools to craft it into poetry and song.

Underhill & Hayton Law of Trusts and Trustees is our flagship Trusts title and is recognised as being the leading book in the market. Written by renowned experts in the field this major work provides practitioners with expert commentary on the law of trusts and trustees and is a guide to all legal developments relating to trusts. It examines legislation and case law, including cases from significant offshore trust jurisdictions likely to affect UK trust law - beneficial to those working in Trusts both at legal practices as well as banks and accountancy firms. It has been fully updated from the 19th edition. Its easy reference format takes you through the definitions of trusts, administration of trusts and consequences of breaches of trust. Whatever stage you are advising clients at, you will find all the information you need in Underhill and Hayton.

In 2005, recent graduates Alex Herman, Paul Matthews, and Andrew Feindel realized they werent entirely sure where they were going in life. Then they had an idea. Over the next two years, they interviewed 70 well-known Canadians and asked them how they got started. The answers they found were not always what they expected. Kickstart profiles over 30 prominent Canadians, including professional athletes (former CFL star Norman Kwong), TV personalities (Valerie Pringle), Native leaders (Matthew Coon Come), and former prime ministers (Brian Mulroney). Their collective wisdom, offered in their own words, just might help readers "kickstart" their own lives and careers.

Learn to Drive, without being in a Car. Step by Step detailed instructions with diagrams showing you 'How to drive a Car' Written by a driving instructor with almost two decades of experience...this is the first of a set of six modules which, together create a complete learning journey...for both new and experienced drivers alike. For more information and to buy visit www.spmotoring.com ------------------------------------------------------------------------------------------------------- Book approx 7.99 (9.99 euros) each-depending on current exchange rates (plus P&P) The pdf download is 6.49 each to your PC ------------------------------------------------------------------------------------------------------- Standard shipping to UK takes 3-6 weeks

The book has five movements: Conflagrations: The tongue is a fire, both for love and destruction. Habitations: How can we feel at home if our things don't speak to us or we fail to inhabit our moments? Adorations: The women portrayed by Botticelli, Blake, Rembrandt and Vermeer step from their gilded frames and their light plays freely. Dedications: A handshake is a holy place. Words are made new in our attention to each other. Distillations: Dew gleams on oak leaves and the flanks of horses as the 'I' grows quiet. To speak the essential name of a thing is our peculiar pain and privilege. .... The book ends with a quotation from William Carlos Williams: The government of words is our responsibility since it is of all governments the archetype. This is my urgent concern. Words can be hurtful and destructive, but in giving our loving attention to whoever we talk to we can heal our language and thereby enrich our communities and relationships. In 'Adorations' and 'Dedications' the poetry springs to life out of such a practice. Another concern is to do with how we perceive the things around us. Look up 'thing' in the dictionary, and you will find it means not just an object but an 'assembly'. I like that. Each thing is a gathering place for memories, feelings and stories. Things and flowers speak to us through their gestures and colours. As for the animals, their appearance in the final pages of this book culminates in a letter to the poet William Blake regarding our responsibilities for their well-being.

Deliberately harnessing the power of informal learning is the new way to tangibly improve worker capability, right at the point of work. This book shows you how, using practical advice from workplace learning experts, and examples and case studies from around the world.

This book calls for a reevaluation of the Old Testament and its role in the Church. It is written out of the conviction that the church needs to claim the Old Testament as its own but also to grant the legitimacy of the Jewish claim on Israel's sacred Scriptures. The author is concerned to debunk several ideas, including the popular notions that Paul was the real inventor of Christianity; that a great gulf exists between the Old Testament and the New Testament; that the early Christians used the Old Testament to prove their already established belief in Jesus; and that Christianity is less credible or valuable if it is seen to depend on Jewish traditions. Van Buren's starting point is an exploration of the meaning and origin of the early Christian confession, "Christ died for our sins in accordance with the scriptures"-particularly the last part of the confession. Van Buren argues that the wording of this early, pre-Pauline gospel confession was the result of a creative application of early Jewish interpretations of scripture, especially of the Binding of Isaac story in Genesis 22. Christians need to affirm the legitimacy of their understanding Christ in light of the Old Testament, argues van Buren, but they also need to grant the legitimacy of the Jewish reading of scripture. The interpretive traditions of both religious communities-Judaism and Christianity-need to be respected. Clearly and elegantly written, this book represents a sensitive ecumenical effort at fostering Jewish-Christian dialogue: a book that both Jews and Christians can read with profit.

Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father's name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance-sets, lighting, photography, shot breakdowns, editing-and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.

Women and Comedy: History, Theory, Practice presents the most current international scholarship on the complexity and subversive potential of women's comedic speech, literature, and performance. Earlier comedy theorists such as Freud and Bergson did not envision women as either the agents or audiences of comedy, only as its targets. Only more recently have scholarly studies of comedy begun to recognize and historicize women's contributions to-and political uses of-comedy. The essays collected here demonstrate the breadth of current scholarship on gender and comedy, spanning centuries of literature and a diversity of methodologies. Through a reconsideration of literary, theatrical, and mass media texts from the Classical period to the present, Women and Comedy: History, Theory, Practice responds to the historical marginalization and/or trivialization of both women and comedy. The essays collected in this volume assert the importance of recognizing the role of women and comedy in order to understand these texts, their historical contexts, and their possibilities and limits as models for social engagement. In the spirit of comedy itself, these analyses allow for opportunities to challenge and reevaluate the theoretical approaches themselves.

In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit ("New Objectivity"). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of Francois Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumiere and Georges Melies in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production-scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing-imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers' principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Mate with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.

Women and Comedy: History, Theory, Practice presents the most current international scholarship on the complexity and subversive potential of women's comedic speech, literature, and performance. Earlier comedy theorists such as Freud and Bergson did not envision women as either the agents or audiences of comedy, only as its targets. Only more recently have scholarly studies of comedy begun to recognize and historicize women's contributions to-and political uses of-comedy. The essays collected here demonstrate the breadth of current scholarship on gender and comedy, spanning centuries of literature and a diversity of methodologies. Through a reconsideration of literary, theatrical, and mass media texts from the Classical period to the present, Women and Comedy: History, Theory, Practice responds to the historical marginalization and/or trivialization of both women and comedy. The essays collected in this volume assert the importance of recognizing the role of women and comedy in order to understand these texts, their historical contexts, and their possibilities and limits as models for social engagement. In the spirit of comedy itself, these analyses allow for opportunities to challenge and reevaluate the theoretical approaches themselves.

If God was indeed omniscient would not He have foreseen Adam and Eve partaking of the forbidden fruit? If He was benevolent could he possibly have consigned them to everlasting damnation? From the seed of such queries, the author constucts an alternate take on what might have happened at the Garden of Eden. A take where the Serpent, instead of the commonly held view, is an instrument of God. A take where the fall of Adam and Eve is not a sin, but a beginning of a new adventure, one sanctioned and blessed by God. Witty, perceptive and uplifting, this tale takes a fresh look at the origins of the Original Sin which has been mired under theological interpretations for centuries.

Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father's name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance-sets, lighting, photography, shot breakdowns, editing-and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.

In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit ("New Objectivity"). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of Francois Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumiere and Georges Melies in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production-scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing-imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers' principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Mate with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.