Miami Marriage Pact by Nadine Gonzalez Love has nothing to do with this proposal… Film producer Gigi Garcia needs her inheritance to save her company, but it requires a husband – fast! So she must convince rising Miami chef Myles Paris to marry her. On top of their unexpected passion, Gigi and Myles face off against professional rivals, erupting scandal and an enemy’s revenge. And now a secret could take their short-term marriage merger off the table… Overnight Inheritance by Rachel Bailey A fortune isn’t the only thing she inherited… Mae Dunstan just inherited billions…along with a seductive business rival. CEO and single dad Sebastian Newport wants to buy Mae out. But when the boardroom leads to the bedroom, their passionate affair reignites a long-standing feud between their families. Amid divided loyalties and open questions, will Mae risk more than the bottom line for a future with Sebastian?

In this accessible combination of post-colonial theory, feminism and pedagogy, the author advocates using subversive and contemporary artistic representations of women to remodel traditional stereotypes in education. It is in this key sector that values and norms are molded and prejudice kept at bay, yet the legacy of colonialism continues to pervade official education received in classrooms as well as 'unofficial' education ingested via popular culture and the media. The result is a variety of distorted images of women and gender in which women appear as two-dimensional stereotypes.

The text analyzes both current and historical colonial representations of women in a pedagogical context. In doing so, it seeks to recast our conception of what 'difference' is, challenging historical, patriarchal gender relations with their stereotypical representations that continue to marginalize minority populations in the first world and billions of women elsewhere. These distorted images, the book argues, can be subverted using the semiology provided by postcolonialism and transnational feminism and the work of contemporary artists who rethink and recontextualize the visual codes of colonialism. These resistive images, created by women who challenge and subvert patriarchal modes of representation, can be used to create educational environments that provide an alternative view of women of non-western origin.

In this accessible combination of post-colonial theory, feminism and pedagogy, the author advocates using subversive and contemporary artistic representations of women to remodel traditional stereotypes in education. It is in this key sector that values and norms are molded and prejudice kept at bay, yet the legacy of colonialism continues to pervade official education received in classrooms as well as 'unofficial' education ingested via popular culture and the media. The result is a variety of distorted images of women and gender in which women appear as two-dimensional stereotypes. The text analyzes both current and historical colonial representations of women in a pedagogical context. In doing so, it seeks to recast our conception of what 'difference' is, challenging historical, patriarchal gender relations with their stereotypical representations that continue to marginalize minority populations in the first world and billions of women elsewhere. These distorted images, the book argues, can be subverted using the semiology provided by postcolonialism and transnational feminism and the work of contemporary artists who rethink and recontextualize the visual codes of colonialism. These resistive images, created by women who challenge and subvert patriarchal modes of representation, can be used to create educational environments that provide an alternative view of women of non-western origin.

On May 11, 2011, the National Institute for Occupational Safety and Health (NIOSH) received a request from the management of an automobile and scrap metal shredding facility regarding cases of Legionnaires' disease that had been identified among their workers. The request listed concerns about dusts, mists, and vapors generated during the process of shredding automobiles and scrap metal. The health concerns were Legionnaires' disease and respiratory disease. The report includes the authors' findings and recommendations.

In the aftermath of King Philip's War in early American society, Massachusetts Puritan Mary Rowlandson recorded her experiences as an "Indian" captive. In a vivid story that recollects the details of these events, Rowlandson attempts to impart a message to her community through the use of three existing literary devices. The genre of the "captivity narrative" that evolved is a distinct literary mode developed as a confluence of these: spiritual autobiography, a documentary method meant to archive spiritual and emotional growth through a record of daily activities; the conversion narrative, which made public one's theological assurance of God's grace; and the jeremiad, a sermon form designed to remind Puritans of their Covenant with God. To her contemporaries, Rowlandson served as an example of God's Providence. To later generations and specifically twenty-first century scholars, she represents the voice of a new genre of storytelling.

Centers for teaching and learning all face the same dilemma: In a context where faculty are not required to partake in our services, how do we provide transformative learning experiences to which faculty willingly give their limited time? The answer, Maria B. Hopkins and Rachel Bailey Jones propose, is to move away from a workshop model of faculty development and toward a model that supports the kinds of connections among faculty that lead to self-sustaining growth and development. This edited book provides a breadth of innovative alternatives to fixed-schedule faculty development workshops that faculty are rarely attending due to the increasing complexity of their professional lives. The audience for this book is higher education administrators, faculty, and staff responsible for faculty development related to teaching and learning. Each chapter provides a detailed description of a faculty development initiative in practice that provide opportunities for creativity, adaptability, and collaboration among faculty. Public, private, and community colleges, small and large, research-focused and teaching-focused institutions are represented. The editors have taken on this project because this is the resource they wish they had when they began their work as directors of the teaching lab at their institution.

(Re)thinking Orientalism is a text that examines the visual discourse of Orientalism through the pedagogy of contemporary graphic narratives. Using feminist, critical race, and postcolonial theoretical and pedagogical lenses, the book uses visual discourse analysis and visual semiology to situate the narratives within Islamophobia and neo-Orientalism in the post-9/11 media context. In the absence of mainstream media that tells the complex stories of Muslim Americans and Muslims around the world, there has been a wave of publications of graphic narratives written and drawn from various perspectives that can be used to create curriculum that presents culture, religion, and experience from a multitude of perspectives. The book is an accessible, upper level undergraduate/graduate level text written to give readers insights into toxic xenophobia created through media representation. It provides a theoretical foundation for students to engage in critical analysis and production of visual media.

(Re)thinking Orientalism is a text that examines the visual discourse of Orientalism through the pedagogy of contemporary graphic narratives. Using feminist, critical race, and postcolonial theoretical and pedagogical lenses, the book uses visual discourse analysis and visual semiology to situate the narratives within Islamophobia and neo-Orientalism in the post-9/11 media context. In the absence of mainstream media that tells the complex stories of Muslim Americans and Muslims around the world, there has been a wave of publications of graphic narratives written and drawn from various perspectives that can be used to create curriculum that presents culture, religion, and experience from a multitude of perspectives. The book is an accessible, upper level undergraduate/graduate level text written to give readers insights into toxic xenophobia created through media representation. It provides a theoretical foundation for students to engage in critical analysis and production of visual media.