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This story full of adventure, redemption, and impossible romance takes place in South America. Nonconforming New York City corporate leader, Richard Trent, and CEO Thomas Craig are some of the only businessmen bold enough to form an alliance with tribal leaders to create a pharmaceutical company in the jungles of South America. Against all odds and with the help of the spirits of the jungle, called The Yelva, along with 10 other healers led by Lorena Vazquezthe most powerful shaman in South Americathe unlikely alliance fights against corporate greed and a local drug cartel to preserve their lands. Soon, the impossible becomes possible. The Yelva are the protectors of the jungle and all of its inhabitants. Together The Yelva fight alongside Thomas Craig to defend their lands and sign a contract that would solidify this venture. They split into three groups and agree to meet at the Fabrica de Hoachila on the third day. Global Tronics CEO Mr. Gains leads a competing company in New York City. He has formed a close friendship with Seor Sanchez, one of the cartel leaders, and together they decide to take on The Yelva-Craig alliance, so the battle begins. Three groups, one destination, one outcome.
This book is devoted to the minerals of the Russian North and serves as an annex to Chapter 8 of the «Wealth of the Russian North» book «East Europe as a proto-homeland of the Indo-Europeans», 3 parts of the monograph «The Origin of the Indo-Europeans». 1989-2013.
No student or colleague of Marjorie Grene will miss her incisive presence in these papers on the study and nature of living nature, and we believe the new reader will quickly join the stimulating discussion and critique which Professor Grene steadily provokes. For years she has worked with equally sure knowledge in the classical domain of philosophy and in modern epistemological inquiry, equally philosopher of science and metaphysician. Moreover, she has the deeply sensible notion that she should be a critically intelligent learner as much as an imaginatively original thinker, and as a result she has brought insightful expository readings of other philosophers and scientists to her own work. We were most fortunate that Marjorie Grene was willing to spend a full semester of a recent leave here in Boston, and we have on other occasions sought her participation in our colloquia and elsewhere. Now we have the pleasure of including among the Boston Studies in the Philosophy of Science this generous selection from Grene's philosophical inquiries into the understanding of the natural world, and of the men and women in it. Boston University Center for the R. S. COHEN Philosophy and History of Science M. W. W ARTOFSKY April 1974 PREFACE This collection spans - spottily - years from 1946 ('On Some Distinctions between Men and Brutes') to 1974 ('On the Nature of Natural Necessity').
The mention of the term "melodrama" is likely to evoke a response from laymen and musicians alike that betrays an acquaintance only with the popular form of the genre and its greatly heightened drama, exaggerated often to the point of the ridiculous. Few are aware that there exists a type of melodrama that contains in its smaller forms the beauty of the sung ballad and, in the larger-scale works, the appeal of the spoken play. This category of melodrama is one that surfaced in many cultures but was perhaps never so enthusiastically cultivated as in the Czech lands. The melodrama varied greatly at the hands of its Czech advocates. While the works of Zdeněk Fibich and his contemporary Josef Bohuslav Foerster, a composer best known for his songs, remained closely bound to the text, those of conductor/composer Otakar Ostrčil reveal a stance that privileged the music and, given their creator’s orchestral experience, are more reminiscent of the symphonic poem. Fibich in his staged works and Josef Suk (composer/violinist and Dvořák’s son-in-law), in his incidental music reflect variously late nineteenth-century Romanticism, the influence of Wagner, and early manifestations of Impressionism. In its more recent guise, the principles of the staged melodrama reside quite comfortably in the film score. Judith A. Mabary’s important volume will be of interest not only to musicologists, but those working in Central and East European studies, voice studies, European theatre, and those studying music and nationalism.