The ultimate savvy spiritualist's 'business bible', Starting a Spiritual Business will put you on the path to living your dream. Presenting case studies, lashings of inspiration and business advice, Starting a Spiritual Business will have you grasp the bull by the horns and give you the courage you need to accomplish your true purpose: starting a spiritual business and setting up your own practice. Reiki, Angelic Healing, Mediumship? Or something else? Which healing therapy will you choose, and how will you help people? This book is not only a guide and inspiration, but also offers solid practical advice on starting up, including finding funding, managing your finances and marketing your business. ,
Live your dream--presenting case studies, lashings of inspiration and business advice this book gives you the courage to accomplish your true purpose: starting a spiritual business.
The Book of Pendulum Healing, suitable for beginners and adepts alike, offers clear, concise instructions for using ancient dowsing techniques, a modern pendulum, and 30 interrelated intuitive healing charts as a spiritual guidance system. The lessons provided are practical--the dowsing process provides concrete, visible-to-the-eye answers and solutions--and other easy-to-learn healing techniques such as communication with the angelic realm, affirmative prayer, meditation, and aura clearing are also included. This profound system opens one's mind to inner intuition and wisdom and addresses many key intellectual, emotional, physical, and spiritual issues.
The West, especially the Intermountain states, ranks among the whitest places in America, but this fact obscures the more complicated history of racial diversity in the region. In Making the White Man’s West, author Jason E. Pierce argues that since the time of the Louisiana Purchase, the American West has been a racially contested space. Using a nuanced theory of historical “whiteness,” he examines why and how Anglo-Americans dominated the region for a 120-year period. In the early nineteenth century, critics like Zebulon Pike and Washington Irving viewed the West as a “dumping ground” for free blacks and Native Americans, a place where they could be segregated from the white communities east of the Mississippi River. But as immigrant populations and industrialization took hold in the East, white Americans began to view the West as a “refuge for real whites.” The West had the most diverse population in the nation with substantial numbers of American Indians, Hispanics, and Asians, but Anglo-Americans could control these mostly disenfranchised peoples and enjoy the privileges of power while celebrating their presence as providing a unique regional character. From this came the belief in a White Man’s West, a place ideally suited for “real” Americans in the face of changing world. The first comprehensive study to examine the construction of white racial identity in the West, Making the White Man’s West shows how these two visions of the West—as a racially diverse holding cell and a white refuge—shaped the history of the region and influenced a variety of contemporary social issues in the West today.
Three significant changes have impacted the teaching of social studies to young adolescents in the past decade: (1) development of the curriculum standards for social studies by the National Council for the Social Studies (NCSS); (2) growth in the number of middle schools, which are premised on the integration of content; and (3) expansive use of children's literature in social studies. This book is in response to those innovations which are explained in two parts: (1) provides a rationale for using trade books in social studies and details strategies for nurturing students' reading comprehension; and (2) provides annotations for more than 250 trade books, along with ideas for classroom use, and recommends 150+ additional titles. An index by title and an index by subject are also included. (BT)
Orson Welles called Ernst Lubitsch (1892–1947) “a giant” whose “talent and originality are stupefying.” Jean Renoir said, “He invented the modern Hollywood.” Celebrated for his distinct style and credited with inventing the classic genre of the Hollywood romantic comedy and helping to create the musical, Lubitsch won the admiration of his fellow directors, including Alfred Hitchcock and Billy Wilder, whose office featured a sign on the wall asking, “How would Lubitsch do it?” Despite the high esteem in which Lubitsch is held, as well as his unique status as a leading filmmaker in both Germany and the United States, today he seldom receives the critical attention accorded other major directors of his era. How Did Lubitsch Do It? restores Lubitsch to his former stature in the world of cinema. Joseph McBride analyzes Lubitsch’s films in rich detail in the first in-depth critical study to consider the full scope of his work and its evolution in both his native and adopted lands. McBride explains the “Lubitsch Touch” and shows how the director challenged American attitudes toward romance and sex. Expressed obliquely, through sly innuendo, Lubitsch’s risqué, sophisticated, continental humor engaged the viewer’s intelligence while circumventing the strictures of censorship in such masterworks as The Marriage Circle, Trouble in Paradise, Design for Living, Ninotchka, The Shop Around the Corner, and To Be or Not to Be. McBride’s analysis of these films brings to life Lubitsch’s wit and inventiveness and offers revealing insights into his working methods.
The Essential Cult TV Reader is a collection of insightful essays that examine television shows that amass engaged, active fan bases by employing an imaginative approach to programming. Once defined by limited viewership, cult TV has developed its own identity, with some shows gaining large, mainstream audiences. By exploring the defining characteristics of cult TV, The Essential Cult TV Reader traces the development of this once obscure form and explains how cult TV achieved its current status as legitimate television. The essays explore a wide range of cult programs, from early shows such as Star Trek, The Avengers, Dark Shadows, and The Twilight Zone to popular contemporary shows such as Lost, Dexter, and 24, addressing the cultural context that allowed the development of the phenomenon. The contributors investigate the obligations of cult series to their fans, the relationship of camp and cult, the effects of DVD releases and the Internet, and the globalization of cult TV. The Essential Cult TV Reader answers many of the questions surrounding the form while revealing emerging debates on its future.
Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies' projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world's most profitable transmedia franchise.
Since the beginning of television, Westerns have been playing on the small screen. From the mid-1950s until the early 1960s, they were one of TV's most popular genres, with millions of viewers tuning in to such popular shows as Rawhide, Gunsmoke, and Disney's Davy Crockett. Though the cultural revolution of the later 1960s contributed to the demise of traditional Western programs, the Western never actually disappeared from TV. Instead, it took on new forms, such as the highly popular Lonesome Dove and Deadwood, while exploring the lives of characters who never before had a starring role, including anti-heroes, mountain men, farmers, Native and African Americans, Latinos, and women. Shooting Stars of the Small Screen is a comprehensive encyclopedia of more than 450 actors who received star billing or played a recurring character role in a TV Western series or a made-for-TV Western movie or miniseries from the late 1940s up to 2008. Douglas Brode covers the highlights of each actor's career, including Western movie work, if significant, to give a full sense of the actor's screen persona(s). Within the entries are discussions of scores of popular Western TV shows that explore how these programs both reflected and impacted the social world in which they aired. Brode opens the encyclopedia with a fascinating history of the TV Western that traces its roots in B Western movies, while also showing how TV Westerns developed their own unique storytelling conventions.
