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"First published in the UK in 2018 by Wacky Bee Books"--Title page verso.
Within the walls of a foreboding mansion situated in the hills overlooking Los Angeles, the suave Double Felix plays host to an array of beautiful women as well as his unlikely sidekick William. The mysterious patriarch grants his live-in guests every wish while asking nothing in return. But the ongoing torpor is upset by the house's newest arrival, a stunning young woman named Laurie, with whom both Double Felix and William become hopelessly smitten - and hidden tensions soon begin to spiral out of control.
Multi-millionaires are not supposed to write poetry. It offends against natural justice. But following a life-threatening illness, Felix Dennis, the man behind the magazine publishing powerhouse responsible for The Week and Maxim found himself scribbling lines in the oddest situations - in business meetings, at social functions, on aeroplanes and even in his sleep.
In October 2013 Felix Dennis was told he had terminal cancer. He was in the midst of a 30-day poetry reading tour, and characteristically he chose to continue, performing to sell-out audiences with his legendary verve and enthusiasm. He also began compiling this, his tenth, book of verse. Divided into two parts: the first, 'Premonitions', is a selection of poems written over the years when, in Dennis's words, 'the heart knew what the mind dared not perceive'. Having always lived on the edge, he intuited an early death. The second part, 'A Verse Diary', consists of poems slected by Dennis from the many he wrote between the date of his terminal diagnosis and his death. Poems which, he felt, were possibly the best he had ever written. Topped and tailed with the Author's Notes, this book takes readers on a physical, emotional and psychological journey. Sadly, Felix Dennis did not live to see its publication.
This thought-provoking and original book argues that hyperimages—calculated displays of images on walls or pages—have played a major role in the history of art. In exhibitions, illustrated art books, and classrooms, artworks or their photographic reproductions are arranged as calculated ensembles that have their own importance. In this volume, Felix Thürlemann develops a theory of this type of image use, arguing that with each new gathering of images, an art object is reinterpreted. These hyperimages have played a major role in the history of art since the seventeenth century, and the main actors of the art world are all hyperimage creators. In part because the hyperimage is not permanently available, this interplay of images has been largely unexplored. Through case studies organized within three groups of producers—collectors and curators, art historians, and artists—Thürlemann proposes a theory of the hyperimage, explores the semiotic nature of this plural image use, and discusses the arrangement and interpretation of such pictures in order to illuminate the phenomenon of Western image culture from the beginning of the seventeenth century until today. His analysis of the ways in which images are assembled and associated provides a crucial context for the explosive present-day deployment of images on digital devices.
A self-taught scientist determined to bring science out of the laboratory and into the practical arena, French-Canadian Felix d’Herelle (1873-1949) made history in two different fields of biology. Not only was he first to demonstrate the use and application of bacteria for biological control of insect pests, he also became a seminal figure in the history of molecular biology. This engaging book is the first full biography of d’Herelle, a complex figure who emulated Louis Pasteur and influenced the course of twentieth-century biology, yet remained a controversial outsider to the scientific community. Drawing on family papers, archival sources, interviews, and d’Herelle’s published and unpublished writings, Dr. William C. Summers tells the fascinating story of the scientist’s life and the work that took him around the globe. In 1917, d’Herelle published the first paper describing the phenomenon of the bacteriophage and its biological nature. A series of more than 110 articles and 6 major books followed, in which d’Herelle established the foundation for the later work of the Phage Group in molecular biology. Yet d’Herelle sometimes inspired animosity in others--he was drummed out of the Pasteur Institute, he held only one brief permanent position in the scientific establishment (at Yale University from 1928 to 1933), and he was bewildered by the social nuances of the world of international science. His story is more than the biography of a single brilliant scientist; it is also a fascinating chapter in the history of biology.
The Worrier visits Felix night after night, reminding him of what could go wrong the next day, until the night that a special birthday present changes everything. 20,000 first printing.
Second Takes presents the history of English language cinema by focusing on cinematic remakes and on how cinema has been replaced by new forms of "media." Remakes, with their innate plurality, offer the most substance for concentrated cultural analysis of how movies reflect and shape American culture. Analyzing the archetypes that recur in this culture reveals how movies are an increasingly dangerous surrogate for the actual. Close readings are presented of such works as popular favorites as Cronenberg's Crash, Disney's The Parent Trap, Ferrara's Bad Lieutenant, Hitchcock's Psycho, Kubrick's A Clockwork Orange, Lynch's Twin Peaks (the film) and Welles' The Magnificent Ambersons, while unearthing pictures ripe for rediscovery such as One More Tomorrow, Strange Illusion and Andy Warhol's Vinyl. Instructors considering this book for use in a course may request an examination copy here.
First published in 1995. This companion constitutes a virtual encyclopaedia of Nabokov, and occupies a unique niche in scholarship about him. Articles on individual works by Nabokov, including his short stories and poetry, provide a brief survey of critical reactions and detailed analyses from diverse vantage points. For anyone interested in Nabokov, from scholars to readers who love his works, this is an ideal guide. Its chronology of Nabokov's life and works, bibliographies of primary and secondary works, and a detailed index make it easy to find reliable information any aspect of Nabokov's rich legacy.
Rainer Werner Fassbinder is one of the most prominent and important authors of post-war European cinema. Thomas Elsaesser is the first to write a thoroughly analytical study of his work. He stresses the importance of a closer understanding of Fassbinder's career through a re-reading of his films as textual entities. Approaching the work from different thematic and analytical perspectives, Elsaesser offers both an overview and a number of detailed readings of crucial films, while also providing a European context for Fassbinder's own coming to terms with fascism.