A venture capitalist falls to his death during a Biotechnology Conference in Boston and investigative Reporter Addy McNeil gets a chance to regain her foundering career when the only suspect in Boston's hottest murder turns out to be her old boyfriend. Can she pull herself together and score the exclusive - and is she a match for a man who needs her good will to prove his innocence? Set in Boston's cash-strapped biotechnology industry in the early 1990s, Addy finds plenty of motives for murder, but there are certain truths she may not want to uncover. Named one of the Top Ten Mysteries of 2001 by the Drood Review of Mystery.
Here's a unique collection of 340 reproducible writing process activity sheets that capitalize on students' natural interest in holidays and special events while reinforcing your writing skills curriculum! Organized into ten monthly sections, September through June, each month including over 30 writing activity sheets like these for November: Athletic Words (sentence writing), Last Leaf on the Tree (paragraph writing), and World Without TV (essay writing).
This book focuses directly on student empowerment through meaningful research. It fills a specific gap in educational literature by making explicit the relationship between teaching method, classroom practice, and the production of knowledge. Drawing on the best of theoretical innovations over the last decade Students as Researchers places them in a living accessible context. With a sound basis in theory, the book is also extremely practical and accessible for students, giving scenarios and examples that can be used to reveal the workings and benefits of research.
Cornerstone's Electoral Legislation covers the five principal kinds of UK elections: Parliamentary; European; Local Government; Parish; and Referendums. The legislation governing the conduct of elections is necessarily technical and highly prescriptive with electoral officers expected to absolutely adhere to the rules. As legislation is amended every year this title enables electoral officers ready access to up-to-date legislation. This is a new title in the 'Cornerstone' series which is published with the highly respected chambers.
This collection examines issues of agency, power, politics and identity as they relate to science and technology and education, within contemporary settings. Social, economic and ecological critique and reform are examined by numerous contributing authors, from a range of international contexts. These chapters examine pressing pedagogical questions within socio-scientific contexts, including petroleum economies, food justice, health, environmentalism, climate change, social media and biotechnologies. Readers will discover far reaching inquiries into activism as an open question for science and technology education, citizenship and democracy. The authors call on the work of prominent scholars throughout the ages, including Bourdieu, Foucault, Giroux, Jasanoff, Kierkegaard, Marx, Nietzsche, Rancière and Žižek. The application of critical theoretical scholarship to mainstream practices in science and technology education distinguishes this book, and this deep, theoretical treatment is complemented by many grounded, more pragmatic exemplars of activist pedagogies. Practical examples are set within the public sphere, within selected new social movements, and also within more formal institutional settings, including elementary and secondary schools, and higher education. These assembled discussions provide a basis for a more radically reflexive reworking of science and technology education. Educational policy makers, science education scholars, and science and technology educators, amongst others, will find this work thought-provoking, instructive and informative.
Presented here in a new translation, with a historical introduction by the translators, Fear and Trembling and Repetition are the most poetic and personal of Søren Kierkegaard's pseudonymous writings. Published in 1843 and written under the names Johannes de Silentio and Constantine Constantius, respectively, the books demonstrate Kierkegaard's transmutation of the personal into the lyrically religious. Each work uses as a point of departure Kierkegaard's breaking of his engagement to Regine Olsen--his sacrifice of "that single individual." From this beginning Fear and Trembling becomes an exploration of the faith that transcends the ethical, as in Abraham's willingness to sacrifice his son Isaac at God's command. This faith, which persists in the face of the absurd, is rewarded finally by the return of all that the faithful one is willing to sacrifice. Repetition discusses the most profound implications of unity of personhood and of identity within change, beginning with the ironic story of a young poet who cannot fulfill the ethical claims of his engagement because of the possible consequences of his marriage. The poet finally despairs of repetition (renewal) in the ethical sphere, as does his advisor and friend Constantius in the aesthetic sphere. The book ends with Constantius' intimation of a third kind of repetition--in the religious sphere.
Prefaces; presented as a set of prefaces without a book to follow, this work is a satire on literary life in nineteenth-century Copenhagen, a lampoon of Danish Hegelianism, and a prefiguring of Kierkegaard's final collision with Danish Christendom. At the same time it tightly expresses themes characteristic of the entire authorship, including subjectivity and Christian devotion. Shortly after publishing Prefaces, Kierkegaard began to prepare Writing Samplers as a sequel. This next work considers the themes of Prefaces but in a yet more ironical and satirical vein. Writing Sampler remained among Kierkegaard's unpublished writings during his lifetime and appears here for the first time as Kierkegaard originally envisioned it, in the company of Prefaces.
This long-awaited, authoritative account of Bartók's compositional processes stresses the composer's position as one of the masters of Western music history and avoids a purely theoretical approach or one that emphasizes him as an enthusiast for Hungarian folk music. For Bèla Bartók, composition often began with improvisation at the piano. Làszló Somfai maintains that Bartók composed without preconceived musical theories and refused to teach composition precisely for this reason. He was not an analytical composer but a musical creator for whom intuition played a central role. These conclusions are the result of Somfai's three decades of work with Bartók's oeuvre; of careful analysis of some 3,600 pages of sketches, drafts, and autograph manuscripts; and of the study of documents reflecting the development of Bartók's compositions. Included as well are corrections preserved only on recordings of Bartók's performances of his own works. Somfai also provides the first comprehensive catalog of every known work of Bartók, published and unpublished, and of all extant draft, sketch, and preparatory material. His book will be basic to all future scholarly work on Bartók and will assist performers in clarifying the problems of Bartók notation. Moreover, it will be a model for future work on other major composers.
