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Jaws, movie, or book. However, one came to the story. It shaped a generation of readers and moviegoers in the year of releases and after. Coming to the book first or the book via the movie. Steven Spielberg and Peter Benchley created a phenomenon that broke records. Bums on seats, book sales, the story of a shark, a big one, and the people on the island of Amity swept the world. In 1975, I was a small boy coming to this movie from growing up in a small market town called Wimborne. Wednesday afternoon, half day opening for the shops, everything shut on Sunday, apart from lunchtime pubs and petrol stations open. Back then, petrol stations just sold fuel and cigarettes.
The 17th Century Civil Wars of The Three Kingdoms had caused a rift across the Country. After three years of pillage, plunder and seen unlawful taxation following the King raising his standard in 1642, and a war now between Parliament and King, the generality of the south and west of England as well as other parts of this country, decided that they had tasted enough of the "miseries of this unnatural intestine war." This association of the generality came to be known as Clubmen "The third sort, greater than either of the other, both in fortune and in number." Clarendon ​ "This third party hath peeped, for many months in many corners, they will have an army without a king, a lord or a gentleman almost" Parliamentary Newspaper A look at a description of neutralism chose by those willingly and then how that neutralism is seen by opposing warring parties changed as the Civil War grew ever longer. The Clubmen in their neutral stance by 1645 had forced the Parliamentary and Kings armies to deal with the grievances of The Clubmen. The importance of The Clubmen as an association historically and their knock-on effect passes down the ages in the form of petition, organisation and community.
Includes multiple choice questions about the world of film. Embedded in the book is a special computerized quiz module that lets you compete against yourself or a friend.
A history of the idea of "black holes" explores the tumultuous debate over the existence of this now well-accepted phenomenon, focusing particular attention on Indian scientist Subrahmanyan Chandrasekhar.
A journalist's obsession brings her to a remote island off the California coast, home to the world's most mysterious and fearsome predators--and the strange band of surfer-scientists who follow them Susan Casey was in her living room when she first saw the great white sharks of the Farallon Islands, their dark fins swirling around a small motorboat in a documentary. These sharks were the alphas among alphas, some longer than twenty feet, and there were too many to count; even more incredible, this congregation was taking place just twenty-seven miles off the coast of San Francisco. In a matter of months, Casey was being hoisted out of the early-winter swells on a crane, up a cliff face to the barren surface of Southeast Farallon Island-dubbed by sailors in the 1850s the "devil's teeth." There she joined Scot Anderson and Peter Pyle, the two biologists who bunk down during shark season each fall in the island's one habitable building, a haunted, 135-year-old house spackled with lichen and gull guano. Two days later, she got her first glimpse of the famous, terrifying jaws up close and she was instantly hooked; her fascination soon yielded to obsession-and an invitation to return for a full season. But as Casey readied herself for the eight-week stint, she had no way of preparing for what she would find among the dangerous, forgotten islands that have banished every campaign for civilization in the past two hundred years. The Devil's Teeth is a vivid dispatch from an otherworldly outpost, a story of crossing the boundary between society and an untamed place where humans are neither wanted nor needed.
Clinical work with difficult populations requires the sharpest, most effective set of clinical tools a clinician can acquire. Most importantly, it requires clinical tools that are direct, speaks a therapeutic language, but also includes no nonsense talk that the population can relate to, and understand. These attributes are exactly what Dr. O’Banye’s Group, Individual and Family Clinical Therapy Cards offers both the client and the clinician. Dr. O’Banye’s Group, Individual and Family Clinical Therapy Cards contains 37 cards and a companion manual. The clinical cards direct and assist the client to open up about many difficult topics. The cards contain questions clinicians have difficulty formulating. These questions explore the roots of the clients’ issues, as well as their impact, in the deeper levels of the individual's mind, body and spirit. Cards are typically used by having clients read and address the DIRECTIVE group or individual sessions. This then leads to clinical discussion about the issue prompted by the card. Each issue is related to a particular facet of treatment, and expected to provide the client with insight or coping skills to achieve therapeutic progress, in their area of treatment. After processing the therapeutic prompt, clients can read the TASK, which explains how their DIRECTIVE connected to treatment. A Manual is included with each set. The manual explains the theory and etiology of each Therapy Card topic from a client-centered systems approach. This information is very approachable and can be used to psychoeducate clients about the issues they are experiencing. The manuals also give step-by-step instruction in how to use the Therapy Cards during session, ways to present the cards, and how to integrate the cards into treatment. The manual provides content for each card that can be used by the therapist as follow-up information for clients, making Therapy Cards a truly out-of-the-box product that can be used by an clinician. Clinicians appreciate Therapy Cards because they help establish therapeutic rapport, create positive associations with processing therapeutic issues, and help clients make progress in treatment. At the end, clinicians can list the goal given on each card in the therapy notes for each client, to document the clinical intervention used. Therapy Cards can be used in individual, group, or family settings. Clinical Therapy Cards: Substance Abuse • Addiction Psychoeducation • Biological Mechanisms of Addiction • Stress • Emotions and Addiction • Triggers • Alternatives to Using • Relationships and Addiction • Values
The black man suffering at the hands of whites, the white woman sexually threatened by the black man. Both images have long been burned into the American conscience through popular entertainment, and today they exert a powerful and disturbing influence on Americans' understanding of race. So argues Linda Williams in this boldly inquisitive book, where she probes the bitterly divisive racial sentiments aroused by such recent events as O. J. Simpson's criminal trial. Williams, the author of Hard Core, explores how these images took root, beginning with melodramatic theater, where suffering characters acquire virtue through victimization. The racial sympathies and hostilities that surfaced during the trial of the police in the beating of Rodney King and in the O. J. Simpson murder trial are grounded in the melodramatic forms of Uncle Tom's Cabin and The Birth of a Nation. Williams finds that Stowe's beaten black man and Griffith's endangered white woman appear repeatedly throughout popular entertainment, promoting interracial understanding at one moment, interracial hate at another. The black and white racial melodrama has galvanized emotions and fueled the importance of new media forms, such as serious, "integrated" musicals of stage and film, including The Jazz Singer and Show Boat. It also helped create a major event out of the movie Gone With the Wind, while enabling television to assume new moral purpose with the broadcast of Roots. Williams demonstrates how such developments converged to make the televised race trial a form of national entertainment. When prosecutor Christopher Darden accused Simpson's defense team of "playing the race card," which ultimately trumped his own team's gender card, he feared that the jury's sympathy for a targeted black man would be at the expense of the abused white wife. The jury's verdict, Williams concludes, was determined not so much by facts as by the cultural forces of racial melodrama long in the making. Revealing melodrama to be a key element in American culture, Williams argues that the race images it has promoted are deeply ingrained in our minds and that there can be no honest discussion about race until Americans recognize this predicament.
Striking photography of the polar regions and fauna found there.
Lady of the Cards documents the relationship of publisher and artist Rosita Fanto, and Richard Ellmann, famed biographer of W.B.Yeats, James Joyce and Oscar Wilde. Fanto describes their meetings in Monaco, London, Oxford and New York, the growth of their friendship, its flirtations with romance, and the developing tensions with Ellmann's family, who imagined that the artist and the writer had become lovers. It chronicles the Ellmann-Fanto publication of the Oscar Wilde Playing Cards, the course of Ellmann's debilitating illness--Lou Gehrig's Disease-- his death and its legal and emotional consequences, focusing on his close relationship with "Rosita"(Fanto) at the end of his life. The memoir written in the form of a novel explores private archives and summons true identities. Intellectually and emotionally stimulating, Lady of the Cards is a sensitive and rich description of that delicious frisson of excitement which occurs between two people walking along the edge of an emotional cliff. Merlin Holland, author of The Wilde Album and Oscar Wilde, a Life in Letters