Compton-Wallace, herself a long-term inmate at The Washington Corrections Center for Women, takes a feminist approach to understanding women in prison and female offending. Drawing upon 15 years of participant-observation research, she offers suggestions for the rehabilitation of female offenders, t

It’s late September and things had been peaceful in the tiny mountaintop town of Serena. The farm fields and gardens had produced a bountiful harvest, including the new Raven Brook Falls Winery with its acres of vineyards on the outskirts of town. Residents of Serena are abuzz with excitement over a Hollywood film about to be made near the winery on the site where murder and scandal had once occurred. But none of this is a threat to local residents. Autumn is in the air and all is well, until Serena’s Chief of Police, Jeff Farley, is called to the Sutton Farm. The gruesome discovery of a murder victim in Jim Sutton’s garden followed by the appearance of a mysterious scarecrow in the midst of town, seemed to be unrelated. Chief Farley, with the aid of psychologists, Kate and Devlin McManus, are once again thrust into a web of intrigue as one horrifying incident after another generates an atmosphere of terror and paranoia among Serena’s citizens. Chief Farley’s murder investigation is repeatedly hindered by an elusive diabolical prankster who is terrifying the children of his town and a film company of outsiders who might be harboring a dangerous suspect. Chief Farley and a cast of familiar characters return in a spellbinding tale that captivates the reader as it unfolds with as many twists and turns as a mountain road. The Silent Scream of the Straw Man abounds with enough mystery, excitement, humor, and romance to keep the pages turning until the end.

Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.

In Music in Disney’s Animated Features James Bohn investigates how music functions in Disney animated films and identifies several vanguard techniques used in them. In addition, he also presents a history of music in Disney animated films, as well as biographical information on several of the Walt Disney Studios’ seminal composers. The popularity and critical acclaim of Disney animated features truly is built as much on music as it is on animation. Beginning with Steamboat Willie and continuing through all of the animated features created under Disney’s personal supervision, music was the organizing element of Disney’s animation. Songs establish character, aid in narrative, and fashion the backbone of the Studios’ movies from Snow White and the Seven Dwarfs through The Jungle Book and beyond. Bohn underscores these points while presenting a detailed history of music in Disney’s animated films. The book includes research done at the Walt Disney Archives as well as materials gathered from numerous other facilities. In his research of the Studios’ notable composers, Bohn includes perspectives from family members, thus lending a personal dimension to his presentation of the magical Studios’ musical history. The volume’s numerous musical examples demonstrate techniques used throughout the Studios’ animated classics.

It’s summertime and the living is easy in the idyllic mountaintop town of Serena. When two seemingly-accidental deaths send Police Chief Jeff Farley into the dense forest on a chilling investigative journey, he finds a legacy of property ownership, illegal moonshining, and the ancient art of hoodoo practice that have kept intruders at bay since the early settlers made claim to the land. Charlotte, wife of an ambitious Congressman, has come to Serena to escape her husband’s political career. She’s in search of some peace, and possibly, herself. When her husband shows up unexpectedly, strange events and ghostly happenings are set in motion that challenge the beliefs and intentions of all. Set amidst a haunting wilderness where magic still flows, the residents of Serena must solve an ancient mystery and battle a supernatural foe. The human dynamics of love and yearning, greed and madness, and rebellion and redemption unwind at a spellbinding pace beneath the mystifying North Carolina moon.

Addictive behaviors beg for an informed explanation to guide patients, families, students, and clinicians through the maddening and often incomprehensible nature of the addictions. Too often addiction is perceived to be merely a moral weakness or purely a brain disease, ignoring the deep personal pain that can permeate the lives of the addicted. But taking an honest look at the underlying emotional or mental issues can more clearly illuminate not only the causes of the addiction, but also the cure. Doctors Edward J. Khantzian and Mark J. Albanese, leading researchers in the field of addiction, see addictions primarily as a kind of self medication—a self medication that can temporarily soothe anxiety or pain, but that ultimately wreaks havoc on the lives and health of both the addicted and their loved ones. With practical advice, compelling case studies, and nuanced theory drawn from their years in clinical practice, Doctors Khantzian and Albanese look at the core reasons behind many addictions and provide a pathway to hope. Understanding Addiction as Self Medication looks at a range of addictions, including alcohol and substance abuse, and clearly explains how to understand other addictive behaviors through the lens of the Self Medication Hypothesis. This book provides a much-needed guide to both understanding addictions and working towards healing.

Masterworks of the Orchestral Repertoire was first published in 1968. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. The fullest enjoyment of an orchestral performance or a record concert comes with a background of knowledge about the music itself. This handbook is designed to help music lovers get the ultimate pleasure from their listening by providing them with that background about a large portion of the orchestral repertoire. Professor Ferguson analyzes and interprets the most important classical symphonies, overtures, and concertos, as well as selected orchestral works of modern composers. He goes beyond a conventional analysis of structure since he believes (with a majority of the music-loving public) that great music is actually a communication -- that it expresses significant emotions. The great composers, on their own testimony, have striven not merely to create perfect forms but to interpret human experience. Mingled with the analyses, then, the reader will find comments on the expressive purport of the music. For twenty-five years Professor Ferguson has supplied the program notes for the subscription concerts of the Minneapolis Symphony Orchestra, and this volume is an outgrowth of that activity. In preparing the material for book publication, however, he studied the musical compositions anew, and the resulting chapters provide a much deeper exploration of the musical subjects than did the program notes. The themes of important works are illustrated by musical notations, and a brief glossary explains technical terms.

The Orchestral Revolution explores the changing listening culture of the eighteenth and early nineteenth centuries. Delving into Enlightenment philosophy, the nature of instruments, compositional practices and reception history, this book describes the birth of a new form of attention to sonority and uncovers the intimate relationship between the development of modern musical aesthetics and the emergence of orchestration. By focusing upon Joseph Haydn's innovative strategies of orchestration and tracing their reception and influence, Emily Dolan shows that the consolidation of the modern orchestra radically altered how people listened to and thought about the expressive capacity of instruments. The orchestra transformed from a mere gathering of instruments into an ideal community full of diverse, nuanced and expressive characters. In addressing this key moment in the history of music, Dolan demonstrates the importance of the materiality of sound in the formation of the modern musical artwork.

The Risk of Being attempts to forge a new language and a new way of reasoning about what it is like to be good and bad by focusing on existential phenomena that reveal what it means to be good and bad. It is thus a work that cannot be located among or compared to the more traditional theories of ethics or morality. What distinguishes this inquiry is not only the use of existential themes, such as outrage, temptation, and corruption, but the reasoning itself in an existential critique, which allows us to consider how and what we think as well as feel about being good and bad&—the logos and pathos of these existential phenomena&—and thus provides an access to the question about the reality of good and bad. Recognizing that we have done wrong may induce frustrated responses, such as, &"How could I have been so stupid?&" or &"Why was I so weak? &" or even, &"What has become of me? &" These reactions, Gelven argues, point to folly, weakness, and corruption as ways of being bad, which can then be countered in phenomena such as judgment, courage, and integrity of character, as ways of being good. The analyses of these phenomena can reveal a great deal of existential understanding that no mere ethical or moral approach can offer. The emphasis is on understanding that &"good&" and &"bad&" are not mere axiological terms, but can refer to ways of existing. By careful analysis, these ways can be forced to reveal the truth about goodness and badness. As Gelven's argument proceeds to show not only what it is &"like&" to be good and bad, but also what the reality of being good and bad must be, he offers new and often unorthodox insights into one of the great philosophical issues challenging the thinking mind.

An authoritative account of the life and work of Francis Poulenc, one of the most prolific and striking figures in twentieth-century classical music "An assured overview of Poulenc's life and work."--Alex Ross, New Yorker "Essential reading for anyone interested in the French musical culture of Poulenc's time. This is the biography the composer deserves."--Christopher Dingle, BBC Music Magazine, Named one of the Best Books on Classical Music in 2020 by BBC Music Magazine Francis Poulenc is a key figure in twentieth-century classical music, as well as an unorthodox and striking individual. Roger Nichols draws upon Poulenc's music and other primary sources to write an authoritative life of this great artist. Although associated with five other French composers in what came to be called "Les Six", Poulenc was very much sui generis in personality and in his music, where he excelled over a wide repertoire--opera, songs, ballet scores, chamber works, piano pieces, sacred and secular choral works, orchestral works and concertos. This book fully covers this wide range, while also describing the vicissitudes of Poulenc's life and the many important relationships he had with major figures such as Satie, Ravel, Stravinsky, Diaghilev, Cocteau and others.