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Winner of the International Lannan Literary Award for Nonfiction Animal tracks, word magic, the speech of stones, the power of letters, and the taste of the wind all figure prominently in this intellectual tour de force that returns us to our senses and to the sensuous terrain that sustains us. This major work of ecological philosophy startles the senses out of habitual ways of perception. For a thousand generations, human beings viewed themselves as part of the wider community of nature, and they carried on active relationships not only with other people with other animals, plants, and natural objects (including mountains, rivers, winds, and weather patters) that we have only lately come to think of as "inanimate." How, then, did humans come to sever their ancient reciprocity with the natural world? What will it take for us to recover a sustaining relation with the breathing earth? In The Spell of the Sensuous David Abram draws on sources as diverse as the philosophy of Merleau-Ponty, Balinese shamanism, Apache storytelling, and his own experience as an accomplished sleight-of-hand of magician to reveal the subtle dependence of human cognition on the natural environment. He explores the character of perception and excavates the sensual foundations of language, which--even at its most abstract--echoes the calls and cries of the earth. On every page of this lyrical work, Abram weaves his arguments with a passion, a precision, and an intellectual daring that recall such writers as Loren Eisleley, Annie Dillard, and Barry Lopez.
This extensively revised, restructured, and updated edition continues to present an engaging and comprehensive introduction to the subject, exploring the world’s landforms from a broad systems perspective. It covers the basics of Earth surface forms and processes, while reflecting on the latest developments in the field. Fundamentals of Geomorphology begins with a consideration of the nature of geomorphology, process and form, history, and geomorphic systems, and moves on to discuss: structure: structural landforms associated with plate tectonics and those associated with volcanoes, impact craters, and folds, faults, and joints process and form: landforms resulting from, or influenced by, the exogenic agencies of weathering, running water, flowing ice and meltwater, ground ice and frost, the wind, and the sea; landforms developed on limestone; and landscape evolution, a discussion of ancient landforms, including palaeosurfaces, stagnant landscape features, and evolutionary aspects of landscape change. This third edition has been fully updated to include a clearer initial explanation of the nature of geomorphology, of land surface process and form, and of land-surface change over different timescales. The text has been restructured to incorporate information on geomorphic materials and processes at more suitable points in the book. Finally, historical geomorphology has been integrated throughout the text to reflect the importance of history in all aspects of geomorphology. Fundamentals of Geomorphology provides a stimulating and innovative perspective on the key topics and debates within the field of geomorphology. Written in an accessible and lively manner, it includes guides to further reading, chapter summaries, and an extensive glossary of key terms. The book is also illustrated throughout with over 200 informative diagrams and attractive photographs, all in colour.
[In this book, the author's] analysis of the effects and causes of capitalist underdevelopment in Latin America present [an] account of ... Latin American history. [The author] shows how foreign companies reaped huge profits through their operations in Latin America. He explains the politics of the Latin American bourgeoisies and their subservience to foreign powers, and how they interacted to create increasingly unequal capitalist societies in Latin America.-Back cover.
Before Marvel, before Captain America, before Simon and Kirby, and before comics there was Joe Simon. Born in 1913, the son of an immigrant tailor, he's been an artist all his life. A newspaper writer, photographer, and cartoonist, and the first editor at the company that became Marvel Comics, he was the man who hired Stan Lee for his first job. Entering the fledgling industry the year after Superman appeared, Simon instantly made a name for himself as a writer, artist, and editor. He and Jack Kirby created the iconic Captain America-their first blockbuster-before America entered World War II. More hits followed, including a bestselling military adventure series, the first romance comic created for an audience of young girls, and Simon's own satire magazine that was a favourite of Lenny Bruce. His exciting chronicle covers ten decades. It includes a stint in the Coast Guard during World War II, as well as his encounters with such colorful personalities as author Damon Runyon, prizefighters Max Baer and Jack Dempsey, comedian Don Rickles, Vice-President Nelson Rockefeller, and actors Caesar Romero and Sid Caesar. This is the comprehensive autobiography of an illustrator, an innovator, an entrepreneur, and a pioneer. Profusely illustrated with photography and artwork, much of it heretofore unseen, this is the chronicle of an American original.
The past is what happened. History is what we remember and write about that past, the narratives we craft to make sense out of our memories and their sources. But what does it mean to look at the past and to remember that "nothing happened"? Why might we feel as if "nothing is the way it was"? This book transforms these utterly ordinary observations and redefines "Nothing" as something we have known and can remember. "Nothing" has been a catch-all term for everything that is supposedly uninteresting or is just not there. It will take some—possibly considerable—mental adjustment before we can see Nothing as Susan A. Crane does here, with a capital "n." But Nothing has actually been happening all along. As Crane shows in her witty and provocative discussion, Nothing is nothing less than fascinating. When Nothing has changed but we think that it should have, we might call that injustice; when Nothing has happened over a long, slow period of time, we might call that boring. Justice and boredom have histories. So too does being relieved or disappointed when Nothing happens—for instance, when a forecasted end of the world does not occur, and millennial movements have to regroup. By paying attention to how we understand Nothing to be happening in the present, what it means to "know Nothing" or to "do Nothing," we can begin to ask how those experiences will be remembered. Susan A. Crane moves effortlessly between different modes of seeing Nothing, drawing on visual analysis and cultural studies to suggest a new way of thinking about history. By remembering how Nothing happened, or how Nothing is the way it was, or how Nothing has changed, we can recover histories that were there all along.
"But the point of Burke's work, and the significance of his achievement, is not that he points out that religion and language affect each other, for this has been said before, but that he proceeds to demonstrate how this is so by reference to a specific symbolic context. After a discussion 'On Words and The Word,' he analysess verbal action in St. Augustine's Confessions. He then discusses the first three chapters of Genesis, and ends with a brilliant and profound 'Prologue in Heaven,' an imaginary dialogue between the Lord and Satan in which he proposes that we begin our study of human motives with complex theories of transcendence,' rather than with terminologies developed in the use of simplified laboratory equipment. . . . Burke now feels, after some forty years of search, that he has created a model of the symbolic act which breaks through the rigidities of the 'sacred-secular' dichotomy, and at the same time shows us how we get from secular and sacred realms of action over the bridge of language. . . . Religious systems are systems of action based on communication in society. They are great social dramas which are played out on earth before an ultimate audience, God. But where theology confronts the developed cosmological drama in the 'grand style,' that is, as a fully developed cosmological drama for its religious content, the 'logologer' can be further studied not directly as knowledge but as anecdotes that help reveal for us the quandaries of human governance." --Hugh Dalziel Duncan from Critical Responses to Kenneth Burke, 1924 - 1966, edited by William H. Rueckert (Minneapolis: University of Minnesota Press, 1969).
This is a summary of the known facts about the minerals that make up the rocks, soils, and ore deposits of Colorado. Compilation and abridgment of the literature from 1858, when gold was discovered, through 1957 (with a few additions for 1958 and 1959) is supplemented by information from unpublished sources. Designed to be of use to both professional and amateur mineralogists, the main part of the report describes the chief occurrences of 445 mineral species,42 of them first found in Colorado, together with many subspecies, varieties, and discredited "type" species. Directions for finding these localities are also given in the text. The bibliography contains more than 800 selected references to the most significant literature on the subject
A thorough and original study of the linothorax, the linen armor worn by Alexander the Great. Alexander the Great led one of the most successful armies in history and conquered nearly the entirety of the known world while wearing armor made of cloth. How is that possible? In Reconstructing Ancient Linen Body Armor, Gregory S. Aldrete, Scott Bartell, and Alicia Aldrete provide the answer. An extensive multiyear project in experimental archaeology, this pioneering study presents a thorough investigation of the linothorax, linen armor worn by the Greeks, Macedonians, and other ancient Mediterranean warriors. Because the linothorax was made of cloth, no examples of it have survived. As a result, even though there are dozens of references to the linothorax in ancient literature and nearly a thousand images of it in ancient art, this linen armor remains relatively ignored and misunderstood by scholars. Combining traditional textual and archaeological analysis with hands-on reconstruction and experimentation, the authors unravel the mysteries surrounding the linothorax. They have collected and examined all of the literary, visual, historical, and archaeological evidence for the armor and detail their efforts to replicate the armor using materials and techniques that are as close as possible to those employed in antiquity. By reconstructing actual examples using authentic materials, the authors were able to scientifically assess the true qualities of linen armor for the first time in 1,500 years. The tests reveal that the linothorax provided surprisingly effective protection for ancient warriors, that it had several advantages over bronze armor, and that it even shared qualities with modern-day Kevlar. Previously featured in documentaries on the Discovery Channel and the Canadian History Channel, as well as in U.S. News and World Report, MSNBC Online, and other international venues, this groundbreaking work will be a landmark in the study of ancient warfare.