The bride was pretending... To help her sister out of a tricky situation Laura Madison had agreed to step into her shoes to view the house her fiance's uncle had bought as a wedding gift. It should have been easy. But Uncle James had ideas of his own... . The "best man" was curious...
Blue Summer was a self-made man who had everything money could buy–except a wife and children. He craved the respectability his tough upbringing had denied him. Allison Lancaster was his passport to a socially acceptable world of power and privilege. A banker's daughter, she'd be the perfect wife!
Read this classic, passionate romance from USA TODAY bestselling author Michelle Reid, now available for the first time in e-book! Forced to marry! When Mia Frazier agrees to her father’s demand to marry Greek millionaire Alexander Doumas, she knows both men stand to gain from the deal—Alex will win back his family’s island, and Mia’s father will get the grandson and heir he so desperately longs for. But what about Mia? She has her own reason for agreeing to be Alex’s wife—which is not financial gain, as Alex cynically believes. But how can the truth stay hidden, when she shares such intense passion with her new husband…and is now carrying his child? Originally published in 1998
Poppy had been in love with Chris for a very long time, but today was the day he married another woman. Not only was she at his wedding, she’d caught the bouquet! She wanted nothing more that to disappear from sight. Later while weeping and burning photos of Chris, his brother, James, showed up. Chris and James could hardly be more different. James was an arrogant and difficult CEO. Still, he helped her burn the rest of the pictures and then he took her into his arms!
Advancing Digital Humanities moves beyond definition of this dynamic and fast growing field to show how its arguments, analyses, findings and theories are pioneering new directions in the humanities globally.
The invention of mass marketing led to cigarettes being emblazoned in advertising and film, deeply tied to modern notions of glamour and sex appeal. It is hard to find a photo of Humphrey Bogart or Lauren Bacall without a cigarette. No product has been so heavily promoted or has become so deeply entrenched in American consciousness. And no product has received such sustained scientific scrutiny. The development of new medical knowledge demonstrating the dire harms of smoking ultimately shaped the evolution of evidence-based medicine. In response, the tobacco industry engineered a campaign of scientific disinformation seeking to delay, disrupt, and suppress these studies. Using a massive archive of previously secret documents, historian Allan Brandt shows how the industry pioneered these campaigns, particularly using special interest lobbying and largesse to elude regulation. But even as the cultural dominance of the cigarette has waned and consumption has fallen dramatically in the U.S., Big Tobacco remains securely positioned to expand into new global markets. The implications for the future are vast: 100 million people died of smoking-related diseases in the 20th century; in the next 100 years, we expect 1 billion deaths worldwide.
What induced the British to adopt foreign coffee-drinking customs in the seventeenth century? Why did an entirely new social institution, the coffeehouse, emerge as the primary place for consumption of this new drink? In this lively book, Brian Cowan locates the answers to these questions in the particularly British combination of curiosity, commerce, and civil society. Cowan provides the definitive account of the origins of coffee drinking and coffeehouse society, and in so doing he reshapes our understanding of the commercial and consumer revolutions in Britain during the long Stuart century. Britain’s virtuosi, gentlemanly patrons of the arts and sciences, were profoundly interested in things strange and exotic. Cowan explores how such virtuosi spurred initial consumer interest in coffee and invented the social template for the first coffeehouses. As the coffeehouse evolved, rising to take a central role in British commercial and civil society, the virtuosi were also transformed by their own invention.
For better and for worse! Seth Carrington needed a girlfriend and Daisy needed a ticket to the Caribbean…it seemed like a fair exchange! But having survived Seth's extremely thorough interviewing technique—which included kissing—Daisy began to have her doubts. Seth was high-handed and completely ruthless…except when he smiled; then he was devastatingly attractive. Smile or no, Daisy had to face facts: her job was strictly temporary; she was being paid to act as a decoy for Seth's secret affair with a glamorous woman. The terms of the agreement were crystal-clear—but there was no clause about love! Jessica Hart has a wonderful talent for "building a stunning love story you won't want to see end." —Romantic Times
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.