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Alan is trying hard to make sense of his world since his wife left him for Chuck in Morewilling and the local Co-op closed down. 21st century technology is eating into his wallet and his soul, and the price of a night out doesn’t leave change from a tenner anymore. But he is sure about three things: No one in Lesswilling needs a bidet or a hot tub. There’s no place for preserved lemons on British supermarket shelves. His mother was right about hindsight – it is a “wonderful thing to meet your own arse coming back.”
Alan is trying hard to make sense of his world since his wife left him for Chuck in Morewilling and the local Co-op closed down. 21st century technology is eating into his wallet and his soul, and the price of a night out doesn't leave change from a tenner anymore. But he is sure about three things: No one in Lesswilling needs a bidet or a hot tub. There's no place for preserved lemons on British supermarket shelves. His mother was right about hindsight - it is a "wonderful thing to meet your own arse coming back."
A new edition of the 1988 classic text that exposed the extreme prevalence of rape in America, coining the term acquaintance rape and establishing the disturbing statistics on sexual assault that still hold just as true today—now featuring an original preface from Gloria Steinem, a new introduction by Salamishah Tillet, an updated afterword by Mary P. Koss, PH.D., as well as an updated resources section. “Essential. . . . It is nonpolemical, lucid, and speaks eloquently not only to the victims of acquaintance rape but to all those caught in its net.”— Philadelphia Inquirer In 1988, Robin Warshaw wrote I Never Called It Rape, the ground-breaking book that revealed a staggering truth: 25% of women were the victims of rape or attempted rape. Over 80% of these women knew their assailants. Warhsaw based her reportage on the first large-scale study into rape ever, conducted by Ms. Magazine in the late 80s. Thirty years later, we now have a wealth of statistics on rape. The disturbing truth is that the figures have not diminished. That our culture enables rape is not just shown by the numbers—the outbreak of allegations against serial rapists from Bill Cosby to Harvey Weinstein and the 2016 presidential election of Donald Trump, a man who was recorded bragging about sexual assault, have further amplified this horrifying truth. With over 80,000 copies sold to date, I Never Called It Rape has served as a guide to understanding rape as a cultural phenomenon for tens of thousands—providing women and men with strategies to address our rape endemic; survivors with the context and resources to help them heal from their experiences; and pulling the wool from all our eyes on the pervasiveness of rape and sexual assault today. As relevant today as when it was first published, this new edition features Warshaw’s original report and her 1994 Introduction, as well as an original Preface from Gloria Steinem, a new Introduction by Salamishah Tillet on how the cultural landscape has evolved since the 1980s, an updated Afterword by Mary P. Koss, PH.D., examining the ways she would approach the research she did for Ms. differently today, as well as an updated resources section.
Widely acknowledged as a contemporary classic that has introduced thousands of readers to American literature, From Puritanism to Postmodernism: A History of American Literature brilliantly charts the fascinating story of American literature from the Puritan legacy to the advent of postmodernism. From realism and romanticism to modernism and postmodernism it examines and reflects on the work of a rich panoply of writers, including Poe, Melville, Fitzgerald, Pound, Wallace Stevens, Gwendolyn Brooks and Thomas Pynchon. Characterised throughout by a vibrant and engaging style it is a superb introduction to American literature, placing it thoughtfully in its rich social, ideological and historical context. A tour de force of both literary and historical writing, this Routledge Classics edition includes a new preface by co-author Richard Ruland, a new foreword by Linda Wagner-Martin and a fascinating interview with Richard Ruland, in which he reflects on the nature of American fiction and his collaboration with Malclolm Bradbury. It is published here for the first time.
In this magisterial tour d'horizon of the air weapon's steady rise in effectiveness since its fledgling days, Colin Gray, a prolific strate gist of long-standing scholarly achievement and international repute, has rightly taken a long view of today's pattern of regional conflict by appraising airpower in the broader context in which its operational payoff will ultimately be registered. His careful development of airpower's “strategic narrative,” as he calls it, shows convincingly how the relative criticality of the air weapon in joint warfare is neither universal nor unchanging but rather is crucially dependent on the particular circumstances of a confrontation. More to the point, viewed situationally, airpower can be everything from single-handedly decisive to largely irrelevant to a combatant commander's needs, depending on his most pressing challenges of the moment. Because its relative import, like that of all other force elements, hinges directly on how its comparative advantages relate to a commander's most immediate here-and-now concerns, airpower does not disappoint when it is not the main producer of desired outcomes. Indeed, the idea that airpower should be able to perform effectively in all forms of combat unaided by other force elements is both an absurd measure of its operational merit and a baseless arguing point that its most outspoken advocates, from Giulio Douhet and Billy Mitchell onward, have done their cause a major disservice by misguidedly espousing over many decades. Although the air weapon today may have been temporarily overshadowed by more land-centric forms of force employment, given the kinds of lower-intensity conflicts that the United States and its allies have been obliged to contend with in recent years, there will most assuredly be future times when new challenges yet to arise will again test America's air posture to the fullest extent of its deterrent and combat potential. Professor Gray's central theme is that airpower generates strategic effect. More specifically, he maintains, airpower is a tactical equity that operates—ideally—with strategic consequences. To him, “strategic” does not inhere in the equity's physical characteristics, such as an aircraft's range or payload, but rather in what it can do by way of producing desired results. From his perspective, a strategic effect is, first and foremost, that which enables outcome-determining results. And producing such results is quintessentially the stock in trade of American airpower as it has progressively evolved since Vietnam. Airpower for Strategic Effect offers an uncommonly thoughtful application of informed intellect to an explanation of how modern air warfare capabilities should be understood. Along the way, it puts forward a roster of observations about the air weapon that warrant careful reflection by all who would presume to find it wanting. Among the most notable of those observations are that context rules in every case and that whether airpower should be regarded as supported by or supporting of other force elements is not a question that can ever have a single answer for all time. Rather, as noted above, the answer will hinge invariably on the unique conditions of any given conflict.
Neorealists argue that all states aim to acquire power and that state cooperation can therefore only be temporary, based on a common opposition to a third country. This view condemns the world to endless conflict for the indefinite future. Based upon careful attention to actual historical outcomes, this book contends that, while some countries and leaders have demonstrated excessive power drives, others have essentially underplayed their power and sought less position and influence than their comparative strength might have justified. Featuring case studies from across the globe, History and Neorealism examines how states have actually acted. The authors conclude that leadership, domestic politics, and the domain (of gain or loss) in which they reside play an important role along with international factors in raising the possibility of a world in which conflict does not remain constant and, though not eliminated, can be progressively reduced.
The psychology of aesthetics and the arts is dedicated to the study of our experiences of the visual arts, music, literature, film, performances, architecture and design; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the key concepts and theories of the discipline where readers can learn about the questions that are being asked and become acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is one of the oldest areas of psychology but it is also one of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field.
For several decades David Bethea has written authoritatively on the “mythopoetic thinking” that lies at the heart of classical Russian literature, especially Russian poetry. His theoretically informed essays and books have made a point of turning back to issues of intentionality and biography at a time when authorial agency seems under threat of erasure and the question of how writers, and poets in particular, live their lives through their art is increasingly moot. Pushkin's Evgeny can be one incarnation of the poet himself and an everyman rising up to challenge Peter's new world order; Brodsky can be, all at once, Dante and Mandelstam and himself, the exile paying an Orphic visit to Florence (and, by ghostly association, Leningrad). This collection contains a liberal sampling of Bethea's most memorable previously published essays along with new studies.
Borstelmann (history, Cornell U.) brings to light the neglected history of Washington's strong, but hushed, backing for the white supremacist National Party government that won power in South Africa in 1948, and for its formal establishment of apartheid. Annotation copyright by Book News, Inc., Portland, OR
"In this elegantly constructed study of the early decades of public opera, the conflicts and cooperation of poets, composers, managers, designers, and singers—producing the art form that was soon to sweep the world and that has been dominant ever since—are revealed in their first freshness."—Andrew Porter "This will be a standard work on the subject of the rise of Venetian opera for decades. Rosand has provided a decisive contribution to the reshaping of the entire subject. . . . She offers a profoundly new view of baroque opera based on a solid documentary and historical-critical foundation. The treatment of the artistic self-consciousness and professional activities of the librettists, impresarios, singers, and composers is exemplary, as is the examination of their reciprocal relations. This work will have a positive effect not only on studies of 17th-century, but on the history of opera in general."—Lorenzo Bianconi