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Dreams are precious commodities in the Blue Ridge Mountains of 1918 and Laurel McAdams is attempting to make hers come true, but, sometimes, life in the mountains has a way of squandering dreams. As she attempts to avoid matrimony, she is secretly saving for her future with the sole purpose of becoming a teacher and bringing consistent education back to "her people". Having failed his British father again by being unable to fight in the Great War, Jonathan Taylor joins his uncle's missionary endeavors as a teacher in a two-room schoolhouse in Appalachia, but nothing prepares him for the rugged wilderness, narrow-minded natives, and...Laurel McAdams. Her joy and friendship prove a guiding light in the middle of his new responsibilities and tempt hsi timid heart toward a future her never expected.But when Jonathan's teaching methods lead to dangerous outcomes and Laurel's dream is threatened by an unexpected choice, will these two learn how to find hope and maybe even love beyond the heartache? Can Jonathan and Laurel create a new dream from the shattered pieces of the old ones or will bitterness and brokenness keep them apart?
Journey into the Blue Ridge Mountains of 1918 where Laurel McAdams endures the challenges of a hard life while dreaming things can eventually improve. But trouble arrives in the form of an outsider. Having failed his British father again, Jonathan Taylor joins is uncle’s missionary endeavors as a teacher in a two-room schoolhouse. Laurel feels compelled to protect the tenderhearted teacher from the harsh realities of Appalachian life, even while his stories of life outside the mountains pull at Laurel’s imagination. Faced with angry parents over teaching methods, Laurel’s father’s drunken rages, and bad news from England, will Jonathan leave and never return, or will he stay and let love bloom?
"This illustrated book is the first full-length examination of Puvis's murals and their critical reception during the artist's lifetime. Jennifer L. Shaw explains that Puvis's paintings were imagined to embody a vision of France. Although his regional images, allegories of the French heritage, and evocations of the nation as an embracing motherland were all part of a grand tradition of public art, Puvis's painting style was more closely alligned with the avant-garde. Rather than providing a specific narrative or allegory of France, Puvis's murals provoked viewers to experience their own fantasies of Frenchness; rather than using the close brushwork favored by most of his contemporaries, Puvis used large, flat areas of color to render his subjects. Shaw persuasively argues that Puvis was the only painter of the period to unite the traditions of public art and modernist form. Her original analysis of Puvis's art underlines his importance to the history of modernism; her examination of the public response to his art illuminates debates about art, subjectivity, and national identity in fin-de-siecle France."--BOOK JACKET.
The adventures of five children growing up in rural England at the turn of the century.
Reproduction of the original.
This book partakes of a long tradition of dream interpretation, but, at the same time, is unique in its cross-cultural and interdisciplinary methods and in its mix of theoretical and analytical approaches. It includes a great chronological and geographical range, from ancient Sumeria to eighteenth-century China; medieval Hispanic dream poetry to Italian Renaissance dream theory; Shakespeare to Nerval; and from Dostoevsky, through Emily Bront�, to Henry James. Rupprecht also incorporates various critical orientations including archetypal, comparative, feminist, historicist, linguistic, postmodern, psychoanalytic, religious, reader response, and self-psychology.