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Suite à un accident d'auto, un jeune sculpteur de talent, Ken Harrisson, se retrouve à l'hôpital, paralysé des épaules aux pieds. Le chirurgien qui l'a opéré lui annonce que son état est incurable et que, pour survivre, il lui faut rester à l'hôpital, et subir des traitements continuels. Ken exige que l'on cesse ces traitements, rabrouant avec ironie ceux qui cherchent à le réconforter. Par l'entremise d'un avocat, il obtient que se tienne une commission judiciaire qui aura à se prononcer sur son cas.
InWhose Life Is It Anyway?, psychologist Nina Brown helps readers evaluate their family ties and decide if they are so caught up in others needs that they neglect their own health and happiness. She gives readers a variety of techniques for shielding themselves from the demands of their loved ones, building strong boundaries, checking their tendency toward excessive empathy, and staying free of dominating or manipulative relationships.
A sympathetic illustrated guide to learning to live with your mind--even when it tries to trick you. Most of us spend our lives trailing after our minds, allowing our brains to take us in directions that are safe and secure, controlled and conformed. Your mind doesn't want you to take that new job, sign up for that pottery class, or ask someone out. It wants you to stay unemployed, unfulfilled, and single because it enjoys routine and is resistant to change, no matter how positive the change may be. But more often than not, that's not what you want. Whose Mind Is It Anyway? will help you learn how to separate what you want from what your brain wants and how to do less when your mind is trying to trick you into doing more. In a colorful, funny, and nonthreatening way, it answers the difficult question of how we can take control of our self-defeating behaviors. Filled with charming illustrations, this book will be the friendly voice in your head to counter your negative thoughts, and it will teach you how to finally be at peace with all that you are.
“Maude Barlow is one of our planet’s greatest water defenders.” — Naomi Klein, bestselling author of This Changes Everything and The Shock Doctrine The Blue Communities Project is dedicated to three primary things: that access to clean, drinkable water is a basic human right; that municipal and community water will be held in public hands; and that single-use plastic water bottles will not be available in public spaces. With its simple, straightforward approach, the movement has been growing around the world for a decade. Today, Paris, Berlin, Bern, and Montreal are just a few of the cities that have made themselves Blue Communities. In Whose Water Is It, Anyway?, renowned water justice activist Maude Barlow recounts her own education in water issues as she and her fellow grassroots water warriors woke up to the immense pressures facing water in a warming world. Concluding with a step-by-step guide to making your own community blue, Maude Barlow’s latest book is a heartening example of how ordinary people can effect enormous change.
In the prevailing liberal ethos, if there is one thing that is beyond the reach of others, it is our body in particular, and our person in general: our legal and political tradition is such that we have the right to deny others access to our person and body, even though doing so would harm those who need personal services from us, or body parts. However, we lack the right to use ourselves as we wish in order to raise income, even though we do not necessarily harm others by doingso---even though we might in fact benefit them by doing so.Cécile Fabre's aim in this book is to show that, according to the principles of distributive justice which inform most liberal democracies, both in practice and in theory, it should be exactly the other way around: that is, if it is true that we lack the right to withhold access to material resources from those who need them, we also lack the right to withhold access to our body from those who need it; but we do, under some circumstances, have the right to decide how to use it in orderto raise income. More specifically, she argues in favour of the confiscation of body parts and personal services, as well as of the commercialization of organs, sex, and reproductive capacities.
The Heinemann Plays series offers contemporary drama and classic plays in durable classroom editions. This play (also a feature film) is about the struggle of the central character, completely paralysed for life, for the right to die.
Football has never seemed so distant from its fans. Many have been alienated by the greed and shameless self-interest of the Premier League, and no one can predict how the global game will look post-pandemic. In Whose Game Is It Anyway?, Sunday Times best-selling author Michael Calvin searches for a reason to believe. Written at the height of the Covid-19 crisis, the book is a thought-provoking, deeply personal account of the role sport - and particularly football - plays in everyday life. Part memoir, part manifesto, it takes the reader on a tour of the world's greatest sporting occasions and into its outposts in sub-Saharan Africa, the Amazon Basin and the Southern Ocean. Drawn from Calvin's experience as an award-winning sportswriter, covering every major sports event over 40 years in more than 80 countries, it offers first-hand insight into such icons as Muhammad Ali, Maradona and Sir Bobby Charlton. With settings ranging from a jungle clearing to a township in apartheid South Africa, this is sport as you've never seen it before.
Angels Whisper - 'Whose life is it, anyway?' - is a book not only focusing on Angels: what angels represent to the writer; what angels do, and the belief in the healing power of angels; but is an invitation to awaken people to the influences we permit others to have on us. Do we take responsibility for our own lives or do we permit others to bully us and control how we live? Research indicates that there is an ever growing culture of bullying in many sectors of contemporary society. As human persons we are invited to be conscious to the help that is available within contemporary society in relation to attaining overall wellbeing. This book has emerged as a sequel to 'Angels Do Come - Just call!' Many stories about Angels and relevant experiences have been freely shared and recorded over many years and as a result of the last publication. Within life and living, everyone at some point needs something to hang on to, the support will vary from person to person but the common denominator is the desire to avail of that which leads to the balance of body, soul and mind. The support of the Angelic realm helps us to believe that God and the Angels desire to guide and protect us as we travel the journey of life and living, irrespective of how it unfolds. Frequently, Angels whisper with an invitation to consider, 'Whose life is it, anyway?' Do we permit others to dictate the pace and direction of one's life and living or do we respond to the nudges which alert us to self healing and wellbeing?
The biopic presents a profound paradox—its own conventions and historical stages of development, disintegration, investigation, parody, and revival have not gained respect in the world of film studies. That is, until now. Whose Lives Are They Anyway? boldly proves a critical point: The biopic is a genuine, dynamic genre and an important one—it narrates, exhibits, and celebrates a subject's life and demonstrates, investigates, or questions his or her importance in the world; it illuminates the finer points of a personality; and, ultimately, it provides a medium for both artist and spectator to discover what it would be like to be that person, or a certain type of person. Through detailed analyses and critiques of nearly twenty biopics, Dennis Bingham explores what is at their core—the urge to dramatize real life and find a version of the truth within it. The genre's charge, which dates back to the salad days of the Hollywood studio era, is to introduce the biographical subject into the pantheon of cultural mythology and, above all, to show that he or she belongs there. It means to discover what we learn about our culture from the heroes who rise and the leaders who emerge from cinematic representations. Bingham also zooms in on distinctions between cinematic portrayals of men and women. Films about men have evolved from celebratory warts-and-all to investigatory to postmodern and parodic. At the same time, women in biopics have been burdened by myths of suffering, victimization, and failure from which they are only now being liberated. To explore the evolution and lifecycle changes of the biopic and develop an appreciation for subgenres contained within it, there is no better source than Whose Lives Are They Anyway?