The acclaimed author of the 1992 American Book Award for Beyond Deserving returns to her native West Texas to tell the story of David Puckett, a bright but confused 18-year-old who, with adolescent angst, dreams of life beyond the vast empty spaces of the oilfields.
John Watson, PhD student, husband and father to be, struggles to keep his research and career goals on track as he discovers strange anomalies in his artificial intelligence system. As his fledgling expert system grows capable of autonomously navigating, understanding and interacting with the Internet, his dreams begin to unravel when the system becomes targeted by malicious hackers, greedy corporations and someone inside the university.
John and his expecting wife Sarah must protect their future as his research professor, Dr. Max Jeffries, threatens to pull the plug on a decade of work when the system begins behaving in ways that John can’t quite fully explain. I am AWAKE is the first book in the John Watson trilogy of computer science fiction novels.
بعد أن أتممت كتابة هذه القصص تنهدت ثلاث تنهيدات أنا ايضا :فالتنهيدة الأولي من أجل كردستان التي لم نحمها بين البلاد ،فقسموها إلي أربعة أقسام ، والآه الثانية من أجل هزار وخناف وكل النساء اللاتي وقع عليهن الظلم ، فقتلن وسجل الحادث ضد مجهول أو انتحرن دون أن يؤنب الجاني ضميره ، فباي وجه سيواجه الله يوم الحساب؟ أما الآه الثالثة فستبقي سرا في داخلي لا اريد أن يطلع عليه أحد
A premier singer and master teacher here tells other singers how to get the most from 151 famous arias selected for their popularity or their greatness from 66 operas, ranging in time and style from Christopher Gluck to Carlisle Floyd, from Mozart to Menotti. "The most memorable thrills in an opera singer's life," according to the author's Introduction, "may easily derive from the great arias in his or her repertoire." This book continues the work Martial Singher has done, in performances, in concerts, and in master classes and ons, by drawing attention "not only to precise features of text, notes, and markings but also to psychological motivations and emotional impulses, to laughter and tears, to technical skills, to strokes of genius, and even here and there to variations from the original works that have proved to be fortunate." For each aria, the author gives the dramatic and musical context, advice about interpretation, and the lyric with the original language (if it is not English) and an idiomatic American English translation, in parallel columns. The major operatic traditions French, German, Italian, Russian, and American are represented, as are the major voice types soprano, mezzo-soprano, tenor, baritone, bass-baritone, and bass. The dramatic context is not a mere summary of the plot but is a penetrating and often witty personality sketch of an operatic character in the midst of a situation. The musical context is presented with the dramatic situation in a cleverly integrated way. Suggestions about interpretation, often illustrated with musical notation and phonetic symbols, are interspersed among the author's explication of the music and the action. An overview of Martial Singher's approach based on fifty years of experience on stage in a hundred roles and in class at four leading conservatories is presented in his Introduction. As the reader approaches each opera discussed in this book, he or she experiences the feeling of participation in a rehearsal on stage under an urbane though demanding coach and director. The Interpretive Guide will be of value to professional singers as a source of reference or renewed inspiration and a memory refresher, to coaches for checking and broadening personal impressions, to young singers and students for learning, to teachers who have enjoyed than a half century of experience, and to opera broadcast listeners and telecast viewers who want to understand what goes into the sounds and sights that delight them."
From the beginning, American culture was steeped in the language of theology. The arts, in particular, were inextricably linked with religion. As author Gene Edward Veith shows in Painters of Faith, belief in the spiritual power of art provided the basis for America’s first major artistic movement, the Hudson River School. The personal faith of Thomas Cole, Asher B. Durand, Jasper Cropsey, Frederic Church, and the other Hudson River School painters inspired their transcendent landscapes. In this fascinating and beautifully illustrated work, Veith explores that faith and the crucial role it played in their artistic creations. Aesthetics, he shows, could not be separated from theology. In reconstructing the worldview of the artists as well as of much of the American public in the nineteenth century, Veith delves into the writings of Martin Luther, John Calvin, and the American Puritan preacher Jonathan Edwards to find the roots of a Protestant aesthetic. While Protestantism is not ordinarily associated with a strong artistic tradition, Veith reveals how Protestant Christianity in nineteenth-century America was indeed a catalyst for the arts. In fact, the clergy were among the most ardent promoters of the arts in the new republic, and theological journals continually carried on discussions about art. The Hudson River School artists, in particular, expressed ambitious themes, employing narrative, symbolism, and allegory to convey moral and spiritual truths. Complete with forty-two full-color illustrations, Painters of Faith is an in-depth examination of the artistic and theological context in which these painters worked—and a gripping look at the cultural development of early America.
FICTION "Twisted Knots" by D.
A. Xiaolin Spires "Reversion" by Nin Harris "The Stone Weta" by Octavia Cade "In the Blind" by Sunny Moraine "A Man Out of Fashion" by Chen Qiufan, translated by Ken Liu "Fleet" by Sandra McDonald "Venice Drowned" by Kim Stanley Robinson NON-FICTION "How to Invent an Alien Language? A Linguistic Perspective" by Olga Kuno "Pirate Pharmaceuticals, Robots, and Kaiju: A Conversation with Annalee Newitz" by Chris Urie "Another Word: The Subtle Art of Promotion" by Cat Rambo "Editor's Desk: Ask and You Shall Receive" by Neil Clarke
Women as Wartime Rapists reveals the stories of female perpetrators of sexual violence and their place in wartime conflict, legal policy, and the punishment of sexual violence. Very few women are wartime rapists. Very few women issue commands to commit sexual violence. Very few women play a role in making war plans that feature the intentional sexual violation of other women.
This book is about those very few women. More broadly, Laura Sjoberg asks, what do the actions and perceptions of female perpetrators of sexual violence reveal about our broader conceptions of war, violence, sexual assault, and gender? This book explores specific historical case studies, such as Nazi Germany, Serbia, the contemporary case of ISIS, and others, to understand how and why women participate in rape during war and conflict. Sjoberg examines the contrast between the visibility of female victims and the invisibility of female perpetrators, as well as the distinction between rape and genocidal rape, which is used as a weapon against a particular ethnic or national group. Further, she explores women's engagement with genocidal rape and how some orchestrated the ethnic cleansing of entire regions. A provocative approach to a sensationalized topic, Women as Wartime Rapists offers important insights into not only the topic of female perpetrators of wartime sexual violence, but to larger notions of gender and violence with crucial cultural, legal, and political implications.