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Drawing on conversations with hundreds of women about their genitalia, the author presents a collection of performance pieces from her one-woman show of the same name.
Meet fourteen-year-old Gary. A self-described "tree-toad,"a sly and endearing geek, Gary has many unwieldy passions, chief among them his cousin Kate, his Underwood typewriter and the soft-porn masterpiece, High School Orgies. The folks of Lake Wobegon don't have much patience for a kid's ungodly obsessions, and so Gary manages to filter the hormonal earthquake that is puberty and his hopeless devotion to glamorous, rebellious Kate through his fantastic yarns. With every marvellous story he moves a few steps closer to becoming a writer. And when Kate gets herself into trouble with the local baseball star, Gary also experiences the first pangs of a broken heart. With his trademark gift for treading "a line delicate as a cobweb between satire and sentiment"(Cleveland Plain Dealer), Garrison Keillor brilliantly captures a newly minted post-war America and delivers an unforgettable comedy about a writer coming of age in the rural Midwest.
In 1953, 27-year-old Henry Gustave Molaison underwent an experimental "psychosurgical" procedure -- a targeted lobotomy -- in an effort to alleviate his debilitating epilepsy. The outcome was unexpected -- when Henry awoke, he could no longer form new memories, and for the rest of his life would be trapped in the moment. But Henry's tragedy would prove a gift to humanity. As renowned neuroscientist Suzanne Corkin explains in Permanent Present Tense, she and her colleagues brought to light the sharp contrast between Henry's crippling memory impairment and his preserved intellect. This new insight that the capacity for remembering is housed in a specific brain area revolutionized the science of memory. The case of Henry -- known only by his initials H. M. until his death in 2008 -- stands as one of the most consequential and widely referenced in the spiraling field of neuroscience. Corkin and her collaborators worked closely with Henry for nearly fifty years, and in Permanent Present Tense she tells the incredible story of the life and legacy of this intelligent, quiet, and remarkably good-humored man. Henry never remembered Corkin from one meeting to the next and had only a dim conception of the importance of the work they were doing together, yet he was consistently happy to see her and always willing to participate in her research. His case afforded untold advances in the study of memory, including the discovery that even profound amnesia spares some kinds of learning, and that different memory processes are localized to separate circuits in the human brain. Henry taught us that learning can occur without conscious awareness, that short-term and long-term memory are distinct capacities, and that the effects of aging-related disease are detectable in an already damaged brain. Undergirded by rich details about the functions of the human brain, Permanent Present Tense pulls back the curtain on the man whose misfortune propelled a half-century of exciting research. With great clarity, sensitivity, and grace, Corkin brings readers to the cutting edge of neuroscience in this deeply felt elegy for her patient and friend.
"This book combines text and image to reveal the real-life origins of the place where "the women are strong, the men are good-looking and the children above average." Keillor meditates on the enduring culture of the county and on the years he spent there as a young writer and an outsider. And a short story of Lake Wobegon, "October," appears here for the first time in print."--BOOK JACKET.
Understanding approaches to liberalism through the study of the politics of gay and lesbian rights.
First published in 1987. Trauma and Its Wake, Volume II: Post-Traumatic Stress Disorder Theory, Research, and Treatment is the eighth book in the Psychosocial Stress Book Series. The purpose of the Series is to develop and publish books that in some way make a significant contribution to the understanding and management of the psychosocial stress reaction paradigm. The books are designed to advance the work of clinicians, researchers, and other professionals involved in the varied aspects of human services. The primary readership of this Series includes those practitioners, scholars, and their students who are committed to this purpose. The origin of this current book can be traced to Volume #4 in the Series, Trauma and Its Wake: The Study and Treatment of Post-Traumatic Stress Disorder, edited by Charles R. Figley. This was the first attempt to generalize research and clinical findings among a wide variety of traumatic or catastrophic events towards a generalized view of traumatic and post-traumatic stress reactions. Chapters focused on the immediate and long-term psychosocial consequences of exposure to one of many types of catastrophic events: war, rape, natural disasters, incest. Other chapters focused on effective methods of treating or preventing stress reactions or disorders. It is the first in a series of books that will review the latest innovations in theory, research, and treatment of post-traumatic stress disorder (PTSD), caused by a wide variety of stressful life events. The book you are reading is the second of this series of annually published volumes on PTSD within the Book Series.
The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.
First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
This volume offers introductions to the work of fifteen avant-garde American women filmmakers.