Jonah and the whale? Heart that. David and Goliath? Know them. Noah and the ark? So it rained . . . Get ready for wild, wacky, and weird stories you’d be surprised to find in Scripture. But beware: It’s not your parents’ storybook!

Ten classics by masters of the macabre: Bram Stoker's "The Judge's House," "The Moonlit Road" by Ambrose Bierce, M. R. James's "The Rose Garden," Charles Dickens, and seven others.

A century and a half after the publication of Origin of Species, evolutionary thinking has expanded beyond the field of biology to include virtually all human-related subjects—anthropology, archeology, psychology, economics, religion, morality, politics, culture, and art. Now a distinguished scholar offers the first comprehensive account of the evolutionary origins of art and storytelling. Brian Boyd explains why we tell stories, how our minds are shaped to understand them, and what difference an evolutionary understanding of human nature makes to stories we love. Art is a specifically human adaptation, Boyd argues. It offers tangible advantages for human survival, and it derives from play, itself an adaptation widespread among more intelligent animals. More particularly, our fondness for storytelling has sharpened social cognition, encouraged cooperation, and fostered creativity. After considering art as adaptation, Boyd examines Homer’s Odyssey and Dr. Seuss’s Horton Hears a Who! demonstrating how an evolutionary lens can offer new understanding and appreciation of specific works. What triggers our emotional engagement with these works? What patterns facilitate our responses? The need to hold an audience’s attention, Boyd underscores, is the fundamental problem facing all storytellers. Enduring artists arrive at solutions that appeal to cognitive universals: an insight out of step with contemporary criticism, which obscures both the individual and universal. Published for the bicentenary of Darwin’s birth and the 150th anniversary of the publication of Origin of Species, Boyd’s study embraces a Darwinian view of human nature and art, and offers a credo for a new humanism.

Real Ghost Stories and Hauntings Many of us think about ghosts and ghost stories happening anywhere, but particularly in and around houses, hospitals, churches, an old attic or an Inn, and many more places. Ghosts appear in all kinds of places and in different forms, and there could be reasons why they might appear. This short ghost storybook is part of a trilogy series, based on actual, real-life personal stories. We are never alone, so to speak. There is always some kind of presence around us all, whether good or bad. Sit back, relax, and enjoy these nineteen -short tales, with more true-life stories to come. READ THIS BOOK NOW.

The 15 rewritten tales found in Participation Stories are a delightful combination of traditional tales, folk tales, original tales, tales from other countries, and tales in rhyme. The stories and activity ideas will improve language skills, listening skills, and stimulate a love of words and reading in young children.

Analyses of contemporary tourism planning and policymaking practice at local to global scales is lacking and there is an urgent need for research that informs theory and practice. Illustrated with a set of cohesive, theoretically-informed, international case studies constructed through storytelling, this volume expands readers' knowledge about how tourism planning and policymaking takes place. Challenging traditional notions of tourism planning and policy processes, this book also provides critical insights into how theoretical concepts and frameworks are applied in tourism planning and policy making practice at different spatial scales. The book engages readers in the intellectual, political, moral and ethical issues that often surround tourism policymaking and planning, highlighting the great value of reflective learning grounded in the social sciences and revealing the complexity of tourism planning and policy.

In this book we demonstrate a mode of teacher education that is practical in a non-technical sense and relies on Dewey's notion of curriculum as the reconstruction of experience. We present a curriculum that emerged through collaborative self-reflection and seeks to reconstruct personal histories of schooling. As four former preservice teachers and their instructor, we engaged in jointly constructed autobiographical inquiry in order to generate data on our own past and on our current histories of teaching and learning. We wanted to illuminate parts of our lives in schools that until now belonged to our 'normal' and taken-for-granted past. We did this in order to enjoy certain degrees of awareness and choice as to which of our living stories to reinforce and which to "let run out" in our classrooms today.

Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.