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Adaptation constitutes the driving force of contemporary culture, with stories adapted across an array of media formats. However, adaptation studies has been concerned almost exclusively with textual analysis, in particular with compare-and-contrast studies of individual novel and film pairings. This has left almost completely unexamined crucial questions of how adaptations come to be made, what are the industries with the greatest stake in making them, and who the decision-makers are in the adaptation process. The Adaptation Industry re-imagines adaptation not as an abstract process, but as a material industry. It presents the adaptation industry as a cultural economy of six interlocking institutions, stakeholders and decision-makers all engaged in the actual business of adapting texts: authors; agents; publishers; book prize committees; scriptwriters; and screen producers and distributors. Through trading in intellectual property rights to cultural works, these six nodal points in the adaptation network are tightly interlinked, with success for one party potentially auguring for success in other spheres. But marked rivalries between these institutional forces also exist, with competition characterizing every aspect of the adaptation process. This book constructs an overdue sociology of contemporary literary adaptation, never losing sight of the material and institutional dimensions of this powerful process.
The Drummer's Studio Survival Guide is an updated and expanded version of author Mark Parson's informative 13-part "In the Studio" series from Modern Drummer magazine. Topics include preparing one's drums for recording, drum miking, the use of outboard equipment, interacting with producers and engineers, and other information vital to any drummer entering the studio - whether for the first time or as a veteran.
Examines all aspects of sleep and dreaming. Includes articles on: adolescence and sleep, aging and sleep, all-nighters, animals' dreams, apnea, bedwetting, chemistry of sleep, cultural aspects of sleep and dreams, dreaming, jet lag, light and dark cycles, psychological theories of dreams, REM sleep, sleep deprivation, temperature effects on sleep, and yawning.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
This helping professions text provides a broad-based understanding of the reasons for violent behavior and offers treatment strategies to help victims as well as perpetrators of violence. Among the many types of violence covered in the text are school violence, random violence, workplace violence, domestic violence, and violence against inmates. The text also includes coverage of September 11th and the resulting economic downturn, which could lead to increased crime, domestic violence, and drug abuse... Covers PTSD for victims of September 11th and other terrorist events.
“A fresh and provocative biography of La Pucelle . . . her transformation from a naive girl to a strong-willed, bold, and gifted captain of war.”—Frederic J. Baumgartner, author of France in the Sixteenth Century France’s great heroine and England’s great scourge: whether a lunatic, a witch, a religious icon, or a skilled soldier and leader, Joan of Arc’s contemporaries found her as extraordinary and fascinating as the legends that abound about her today. But her life has been so endlessly cast and recast that we have lost sight of the remarkable girl at the heart of it—a teenaged peasant girl who, after claiming to hear voices, convinced the French king to let her lead a disheartened army into battle. In the process she changed the course of European history. In The Virgin Warrior, Larissa Juliet Taylor paints a vivid portrait of Joan as a self-confident, charismatic and supremely determined figure, whose sheer force of will electrified those around her and struck terror into the hearts of the English soldiers and leaders. The drama of Joan’s life is set against a world where visions and witchcraft were real, where saints could appear to peasants, battles and sieges decided the fate of kingdoms and rigged trials could result in burning at the stake. Yet in her short life, Joan emboldened the French soldiers and villagers with her strength and resolve. A difficult, inflexible leader, she defied her accusers and enemies to the end. From her early years to the myths and fantasies that have swelled since her death, Taylor “goes deep into Joan of Arc’s heart and soul and shows us the maiden, the warrior and the heroine” (Kate Williams, New York Times bestselling author)./
Multiple personality syndrome is being diagnosed and treated in the United States in ever increasing numbers. Indeed, it is alleged that the incidence of this bizarre and striking disorder has reached epidemic proportions. Clinician/researchers report each seeing individually more than 100 patients whose minds have split into as many as 60 alter egos. Their case histories are typified by sexual and physical abuse in childhood and some have reached notoriety; in films, like Eve and Sybil and in criminal records, like Bianchi, 'the Hillside Strangler'. But does 'multiple personality' exist? This monograph takes as its point of departure the virtual absence of such patients anywhere except the U.S.A. and even then it is a relatively small number of psychologists and psychiatrists who report the overwhelming majority of cases. The book provides the first comprehensive review of the burgeoning literature from the beginning of the century to the present and covers more than 300 articles and books. It should prove of interest to psychologists, psychiatrists, psychotherapists and social workers and is an invaluable reference for students on courses in clinical and abnormal psychology as well as to practising clinicians and social workers. Following an introduction to a selection of the more notable cases, a number of critical issues are examined in ensuing chapters. These are devoted to problems of definition and differential diagnosis; aetiology; psychophysiological, psychometric and experimental studies; attempts at theoretical explanation and the relationship between MPS, hypnosis and dissociation. The author, a practising clinical psychologist and lecturer in psychopathology, gradually develops the hypothesis that MPS is best explained under the rubric of social role theory. It is argued that MPS is a culture-bound variant of hysterical psychosis occurring in individuals with high 'hypnotisability'. The tentative conclusion is that even if one accepts the reality of MPS it is unhelpful to regard it as a discrete clinical entity, and it is being grossly overdiagnosed.