From the sparrow to the starling, the woodpecker to the warbler, the eagle to the egret, and every species in between, birds are some of the most plentiful and most diverse creatures in North America. Soaring high above us, these winged beauties have long been a source of fascination and enchantment. While dozens of studies and field guides have been written, few provide a better-rounded overview of the denizens of the sky than Frank Michler Chapman’s Bird Life. First published in 1897, over a century later Bird Life stills provides insightful observations about dozens of species of birds native to North America. A pioneer in the study of natural history and ornithology, Frank Chapman writes with scientific prowess and an expert’s eye in regards to bird anatomy, migratory patterns, mating habits, and habitat choice. Describing species from across the continent, Bird Life is a true testament to one of the nation’s most beloved creatures.

Is birdsong music? The most frequent answer to this question in the Middle Ages was resoundingly "no." In Sung Birds, Elizabeth Eva Leach traces postmedieval uses of birdsong within Western musical culture. She first explains why such melodious sound was not music for medieval thinkers and then goes on to consider the ontology of music, the significance of comparisons between singers and birds, and the relationship between art and nature as enacted by the musical performance of late-medieval poetry. If birdsong was not music, how should we interpret the musical depiction of birdsong in human music-making? What does it tell us about the singers, their listeners, and the moral status of secular polyphony? Why was it the fourteenth century that saw the beginnings of this practice, continued to this day in the music of Messiaen and others?Leach explores medieval arguments about song, language, and rationality whose basic terms survive undiminished into the present. She considers not only lyrics that have their singers voice the songs or speech of birds but also those that represent other natural, nonmusical, sounds such as human cries or the barks of dogs. The dangerous sweetness of birdsong was invoked in discussions of musical ethics, which, because of the potential slippage between irrational beast and less rational woman in comparisons with rational human masculinity, depict women's singing as less than fully human. Leach's argument comes full circle with the advent of sound recording. This technological revolution-like its medieval equivalent, the invention of the music book-once again made the relationship between music and nature an acute preoccupation of Western culture.

There is a place—a world—where famine and poverty do not exist. Nor sickness nor misery nor unhappiness of any kind. Is it Heaven? As two brothers are about to discover, it's more like Hell. Michael Glynn is a hotshot director addicted to a there's-no-success-like-excess hedonism. Daniel Glynn is a professor of literature, devoted husband, and doting father with a quietly buttoned-down life. Brothers bound by blood. But brothers waging a private civil war—an emotional feud of lies and deceit and dark secrets buried but not forgotten. But all that is about to change. One day the brothers are visited simultaneously by gun-wielding strangers claiming to be agents of an elite government security agency. Each brother is questioned about the whereabouts of the other. What they want is "the code." The strangers are convinced one of the brothers possesses the code, but they aren't sure which. Having maintained only sporadic contact, Michael and Daniel can be of no assistance. Or so they think. The strangers will not take no for an answer. Their instructions are simple: find your brother or die. But what begins as a cross-country manhunt—brother converging on brother—turns into an odyssey of discovery neither could have imagined. It is a journey that will take them to a world of perfect human happiness. A world purged of suffering. A world without death. A world where a life can be relived and mistakes corrected. Both have been given a second chance. The question is, is a second chance what they really need? For Michael and Daniel the answer to that question will be found by unraveling the mystery of the impossible bird. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

This spectacular field guide includes all resident, breeding and migrant species found in Greater Southern Africa. Comprising South Africa, Lesotho, eSwatini, Namibia, Botswana, Zimbabwe, Malawi, Mozambique and Zambia, Greater Southern Africa is a vast region home to a truly extraordinary diversity of avifauna. The latest in the Helm Field Guide series, Birds of Greater Southern Africa describes all 1,170 regularly occurring species that are likely to be encountered in the region, from the Wandering Albatross to the Pennant-winged Nightjar. Featuring 272 colour plates by three of the world's leading bird illustrators, this practical guide also includes concise species accounts describing key identification features, status, range, habitat and voice; distribution maps for each species are also included. Fully illustrated throughout, this is an essential reference guide for anyone visiting or living in this wildlife-rich area.

The Aramaic Covenants and Tanach In Three Volumes The goal of this work is to provide a modern and accurate English translation of the Chumash, Mikra (prophets and Writings) and the Apostolic Writings. The text of this edition of the Aramaic Covenants is a paraphrased translation in idiomatic language . This work is a new edition from translations of the Ancient Aramaic. For example this new edition uses the name of MarYah Eashoa Msheekha (Lord-G-d Yeshua Messiah). It also uses the word (ALLAHA for ELI) (G-d יהוה YHVH 1) and it introduces the Aramaic rendering of Maran as Lord, Along with other Ancient Galilean Aramaic renderings. Due weight was given to the ancient versions as establishing a tradition of interpretation. Out of the four levels of interpretation Parshat, Remez, D'rash, and Sod, the Parshat method was employed, as was Onkelos method of interpretation of the Torah