Equipping you with a solid understanding of legal topics, Gardner and Anderson's CRIMINAL LAW, 13th Edition, delivers comprehensive coverage of the major components of substantive criminal law in a remarkably reader-friendly presentation. A student favorite for more than 30 years, the text uses a more narrative, descriptive approach -- with fewer lengthy cases -- to expose you to the language of the law without bogging you down in legalese. You'll find compelling coverage of the issues and principles driving American criminal justice today, with a presentation that combines current concerns and cases with an accessible writing style and study system to help you build a practical understanding of complex legal topics.

In 2012, Thomas Gardner and Salome Voegelin hosted a colloquium, entitled "Music - Sound Art: Historical Continuum and Mimetic Fissures", at the London College of Communication, University of the Arts London. This colloquium dealt with the current fervent debate concerning the relationship between sound art and music. This book proposes the opening of the colloquium to a wider readership through the publication of a decisive range of the material that defined the event.

Art is an outworking of God's creative process, a tangible participation in the shaping of the world. Through our artistic endeavors, we both express our understanding of creation and imbue that creation with new meaning. Four artists in particular-the poet Czeslaw Milosz, filmmaker Terrence Malick, novelist Marilynne Robinson, and lyric essayist Annie Dillard-actively wrestle with a world that reflects God's glory while remaining at times deeply and troublingly obscure. In Lyric Theology, Thomas Gardner unfolds the ways these four important contemporary figures, drawing on modes of thinking rooted in lyric poetry, explore what the world looks like when seen as created and received as a gift. Lyric thinking, he argues, dramatizes a mind and spirit reaching toward a beauty and complexity that can never be fully grasped but yet can be lifted up in praise and wonder, bafflement and song. The specific lyric responses on display here- resisting meaninglessness, wrestling with contrary impulses to both celebrate and turn away, embracing as revelatory the failure to see fully, and redeeming the world by lifting its particulars into song-can be seen as acts of theological thinking, deepening and extending the doctrine of creation by living out its implications in the world. If the world were created out of nothing save the desire to extend the love expressed within the Trinity to creatures who might reflect it back in wonder and praise, lyric ways of making sense of the world-breaking free of straightforward conceptualization and argument and exploring inward, nuanced, and continually made and remade responses to the world's particulars-bring this idea forward as a living thing. Drawing on his own work as a literary scholar and a lyric essayist, Gardner here gives us the tools to both understand and join in performing creative theological explorations of great subtlety, beauty, and originality.

In Regions of Unlikeness Thomas Gardner explores the ways a number of quite different twentieth-century American poets, including Elizabeth Bishop, John Ashbery, Robert Hass, Jorie Graham, and Michael Palmer, frame their work as taking place within, and being brought to life by, an acknowledgment of the limits of language. Gardner approaches their poetry in light of philosopher Stanley Cavells remarkably similar engagement with the issues of skepticism and linguistic finitude. The skeptics refusal to settle for anything less than perfect knowledge of the world, Cavell maintains, amounts to a refusal to accept the fact of human finitude. Gardner argues that both Cavell and the poets he discusses reject skepticisms world-erasing conclusions but nonetheless honor the truth about the limits of knowledge that skepticism keeps alive. In calling attention to the limits of such acts as describing or remembering, the poets Gardner examines attempt to renew language by teasing a charged drama out of their inability to grasp with certainty. Juxtaposed with Gardners readings of the work of the younger poets are his interviews with them. In many ways, these conversations are at the core of Gardners book, demonstrating the wide-ranging implications of the struggles and mappings enacted in the poems. The interviews are themselves examples of the charged intimacy Gardner deals with in his readings. Thomas Gardner, a professor of English at Virginia Polytechnic Institute and State University, is the author of Discovering Ourselves in Whitman: The Contemporary American Long Poem and The Mime, Speaking, a book of poetry.

Thomas Gardner artistically describes Jesus--"the Word made flesh"--as a poem penned by God for the world, and John--author of the Fourth Gospel--as the poem's interpreter. John's structural patterns, repetitions, and narrative interventions invite readers to experience for themselves the beauty of the divine poem. John in the Company of Poets deepens this invitation by re-imagining the biblical text through the eyes of such artists as Emily Dickinson, Robert Frost, Wendell Berry, and T. S. Eliot, offering a literary reading of the Gospel based upon their powerful poetic replies. Poets are our best readers, contends Gardner, and his deft analysis forges a fresh path into the issues and tensions of John's Gospel.

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Rich in titles on English life and social history, this collection spans the world as it was known to eighteenth-century historians and explorers. Titles include a wealth of travel accounts and diaries, histories of nations from throughout the world, and maps and charts of a world that was still being discovered. Students of the War of American Independence will find fascinating accounts from the British side of conflict. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT140726With a list of subscribers.London: printed for the author, and sold by him at Southwold, in Suffolk; and also by W. Owen, at Homer's Head near Temple-Bar, 1754. 20],260, 8]p., plates: ill., map; 4

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Critics have said that Emily Dickinson has no heirs, that her poetry represents the zenith of the experimental method she developed in the mid-nineteenth century. Thomas Gardner disagrees. In this original study, he takes up conversation with four contemporary writers in whose work he finds an extension or expansion of Dickinson's literary legacy. The book, which includes interviews with Marilynne Robinson, Charles Wright, Susan Howe, and Jorie Graham, is also an intimate look at writers at work and an exploration of the twin forces of influence and originality that animate literary writing. Over the last twenty-five years, writers have returned to Emily Dickinson's work, Gardner argues, powerfully extending what he calls her poetics of broken responsiveness-her demonstration of the way an acknowledgment of limits leads, paradoxically, to a deep engagement with a world beyond our capacity to master or possess. In the hands of our most important poets and novelists, Dickinson's "emptying of the articulate self" has become a potent means of addressing some of our culture's fundamental erotic, religious, philosophical, and social questions. As this book argues in four analytical chapters, and as the interviews that follow each chapter strikingly dramatize, Dickinson still matters. The conversation brought to the surface here opens up the work of a number of our most distinguished contemporary writers and makes newly visible the Dickinson that will most matter to writers and readers over the next several decades.

What makes evidence admissible or inadmissible in court? You'll know the answer once you read CRIMINAL EVIDENCE: PRINCIPLES AND CASES, 9th Edition. Whatever your future career in the justice system, you can count on this book to outline all you need to know about criminal evidence and its use. Packed with stories and cases as well as the most up-to-date legal information available, it's the most relevant and engaging resource of its kind.