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Grasses are among the most ubiquitous plants on the planet. They inhabit a wide geographic range and are found in a variety of natural habitats. The small parts of the grass flower and specialized terminology, however, can make identifying grasses a challenging endeavor. Sarah Chamberlain’s Field Guide to Grasses of the Mid-Atlantic makes identification simpler for everyone—regardless of their previous botanical knowledge. Featuring an easy-to-use dichotomous key, this is a user-friendly guide to more than 300 types of grasses found from the Blue Ridge Mountains and southern plains to the Appalachians and the Allegheny Plateau. Each major entry contains detailed species diagrams as well as common names, habitats, and distribution. The book’s opening sections outline the parts of grass flowers and describe stem, leaf, and sheath characteristics. With a wealth of illustrations, instructions on how to use the key, and a glossary of terms, Field Guide to Grasses of the Mid-Atlantic is an indispensable reference for naturalists and conservationists, botanists, land management professionals, and students and scholars of mid-Atlantic flora.
This book is the most up to date and thorough account of the natural history of the plants that comprise the most important food crop on Earth, the grasses and grasslands.
Hall of Waters is an attempt to demythologize the rural American Midwest through the specific example of the author's hometown, Excelsior Springs, MO. Through lyric essay & memoir, the book seeks to examine & undercut the inherent settler white supremacy of the Midwestern small-town, to deromanticize the nostalgia for land & place that is the hallmark of Midwestern art, & to think about what it was like growing up queer & trans in such a toxic environment.
"Field guide to grasses of the South Texas Plains and adjacent Gulf prairies and marshes; includes detailed keys, descriptions, and color photographs. A reference for grass identification in Texas, the southwestern United States, and northern Mexico"--Provided by publisher.
Seminar paper from the year 2006 in the subject English - Pedagogy, Didactics, Literature Studies, course: ICEG 2006 (international congress), language: English, abstract: Views about the English as a second/foreign language (ES/FL) textbook (as a medium) polarize. Learners, teachers and educational administrators in any ES/FL situation need a textbook, though it is unlikely that they regard the prescribed ES/FL textbook as an unmixed blessing. But the very idea of a fixed textbook -- of a pre-packaged set of learning/teaching materials -- appears to be viewed with disfavour in the English Language Teaching (ELT) literature where the trend in the last three-and-a-half decades has been towards greater negotiation and individual choice in the classroom. This paper examines the anti-textbook argument, considers the alternatives to the textbook suggested by some experts, and finds the textbook having the potential to act as a support rather than a constraint, and fulfilling a range of needs that emerge from any teaching/learning situation. The paper also discusses the factors on which the supportiveness of the textbook depends.
This compact edition offers a substantial selection of Whitman’s writing. Highlights include the full text of the 1855 Preface to Leaves of Grass, the 1855 text of the poem later titled “Song of Myself,” the complete “Live Oak, with Moss” sequence, numerous selections from the 1881 edition of Leaves of Grass, and several samples of Whitman’s early and late prose. The appendices include nineteenth-century reviews of Leaves of Grass, a selection of illustrations showing Whitman’s design choices for various editions of the book, and numerous portraits of the author. This volume is one of a number of editions that have been drawn from the pages of the acclaimed Broadview Anthology of American Literature. The series is designed to make selections from the anthology available in a format convenient for use in a wide variety of contexts; each edition features an introduction and explanatory footnotes, and is designed to meet the needs of today’s students. This edition departs from most other editions in the series in one important respect—its format. The large page size of the edition facilitates the reading of Whitman’s long lines of verse.
The Graphic Canon, Volume 2 gives us a visual cornucopia based on the wealth of literature from the 1800s. Several artists—including Maxon Crumb and Gris Grimly—present their versions of Edgar Allan Poe’s visions. The great American novel Huckleberry Finn is adapted uncensored for the first time, as Twain wrote it. The bad boys of Romanticism—Shelley, Keats, and Byron—are visualized here, and so are the Brontë sisters. We see both of Coleridge’s most famous poems: “Kubla Khan” and “The Rime of the Ancient Mariner” (the latter by British comics legend Hunt Emerson). Philosophy and science are ably represented by ink versions of Nietzsche’sThus Spake Zarathustra and Darwin’s On the Origin of Species. Frankenstein, Moby-Dick, Les Misérables, Great Expectations, Middlemarch, Anna Karenina, Crime and Punishment (a hallucinatory take on the pivotal murder scene), Thoreau’s Walden (in spare line art by John Porcellino of King-Cat Comics fame), “The Drunken Boat” by Rimbaud, Leaves of Grass by Whitman, and two of Emily Dickinson’s greatest poems are all present and accounted for. John Coulthart has created ten magnificent full-page collages that tell the story of The Picture of Dorian Gray by Oscar Wilde. And Pride and Prejudice has never looked this splendiferous! This volume is a special treat for Lewis Carroll fans. Dame Darcy puts her unmistakable stamp on—what else?—the Alice books in a new 16-page tour-de-force, while a dozen other artists present their versions of the most famous characters and moments from Wonderland. There’s also a gorgeous silhouetted telling of “Jabberwocky,” and Mahendra’s Singh’s surrealistic take on “The Hunting of the Snark.” Curveballs in this volume include fairy tales illustrated by the untameable S. Clay Wilson, a fiery speech from freed slave Frederick Douglass (rendered in stark black and white by Seth Tobocman), a letter on reincarnation from Flaubert, the Victorian erotic classic Venus in Furs, the drug classic The Hasheesh Eater, and silk-screened illustrations for the ghastly children’s classic Der Struwwelpeter. Among many other canonical works.
Highlights the latest currents in Whitman scholarship and demonstrates how Whitman's work transforms discussions in literary studies.