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For lovers of Diana Gabaldon's Outlander, a sexy Scottish time travel romance from award-winning author Gwyn Cready Thrown back to the sizzling tensions of the Scottish borderlands Librarian Panna Kennedy battles budget cuts, eccentric patrons, and the loneliness of early widowhood until she ventures through a long-locked door under the library's stairs and finds herself in the opulent eighteenth-century castle library of the dashing and dangerously handsome Captain Jamie Bridgewater. Can she trust a handsome hero? Jamie is embroiled in a risky game of high-stakes subterfuge on the Scottish/English border, where loyalty to the wrong cause can cost you your life, and Panna is instantly swept into the intrigue. Their adventure takes them across the border into perilous and passion-filled territory. But when Jamie is caught and Panna realizes she holds the key to his destiny, will she return to safety as he demands, or follow her timeless desire? "The master of time travel romance." -Booklist "A thrill-ride of a time travel romance, a genre Gwyn Cready has quickly come to master." -Sapphyria's Steamy Book Reviews "A time-bending treat." - Full Moon Bites
Trust hides the truth and spans eternity when one secret-born of treachery and upheld by honor-stands between a broken heart and shattered soul. If you could live forever, what would you choose to live for? I chose honor... Awakening to a new world, Gawain has high hopes that the last 500 years have cooled the fires of hatred burning in the heart of his wife, Nimue. Cruelly betrayed by the one person she put all her faith and trust in, Nimue hasn't forgotten the lone cowardly act of one of King Arthur's greatest knights. Together again and yet forever apart, can they heal the past when a new enemy rises to threaten the foundation of all they hold dear?
Focuses on the central ideas of the Jewish holy days and elucidates their spiritual and divine dimensions with explanations and parables based on the teachings of Hasidic masters
This novel is the gripping and tumultuous journey of Claire Infante, a naive housewife of sincere heart and sensitive soul, whose innocence is shattered by a series of tragic events. In and through these events, we follow the dark and twisted path of Arthur Shockley, a most charming and diabolical serial killer, as he pursues a hidden agenda of his very own. While rising up from the ashes of her emotional devastation, Claire be-comes unwittingly involved with Shockley, the man who was the catalyst behind all her distress. Dahl depicts in suspenseful, riveting and breathtaking detail, the electrifying unfolding of the truth behind the lies, and her fateful discovery as she surrenders to the light of her spiritual and romantic dream."
This unique volume is based on the philosophy that the teaching of history should emphasize critical thinking and attempt to involve the student intellectually, rather than simply provide names, dates, and places to memorize. The book approaches history not as a cut-and-dried recitation of a collection of facts but as multifaceted discipline. In examining the various perspectives historians have provided, the author brings a vitality to the study of history that students normally do not gain. The text is comprised of 24 historiographical essays, each of which discusses the major interpretations of a significant topic in mass communication history. Students are challenged to evaluate each approach critically and to develop their own explanations. As a textbook designed specifically for use in graduate level communication history courses, it should serve as a stimulating pedagogical tool.
The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.

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