Search results for "Derek Notman"
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Nittany Nightmare
As the Great Depression hit, Penn State College was cash-strapped and dilapidated. Cuts to athletic scholarships left the football program a shambles and the school a last resort for many students. In 1937, underfunded state police fighting a losing battle against striking miners and steel workers in Johnstown called in the National Guard. There were not enough police to cover the state, and it showed. Then someone started killing young women in the area. Between November 1938 and May 1940, Rachel Taylor—the first student murdered in Penn State history—Margaret Martin and Faye Gates were abducted and sexually assaulted, their bodies dumped within 50 miles of the college. Penn State weathered the Depression and soon grew into Pennsylvania State University. The Nittany Lions became a world-class team that would go half a century without a losing season. Two demoralized police agencies were merged, forming the precursor of the Pennsylvania State Police. While Gate's murderer was convicted, the killer(s) of Taylor and Martin were never caught.
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Smiling in Slow Motion
'The life-affirming expression of an artist engaged in living to the full' The Times Smiling in Slow Motion is Derek Jarman's last journal, stretching from May 1991 until a fortnight before his death in February 1994. Jarman writes with his trademark humour and candour about friends and enemies, as he races through his final years of film-making, gardening and radical political protest. Written from Jarman's Charing Cross Road flat, his famed garden at Dungeness, and finally from his bed in St Bartholomew's Hospital, Jarman meditates on his own deteriorating health and the loss of his contemporaries. Yet Smiling in Slow Motion is not simply a chronicle of illness and regret: it is, at its heart, one of endeavour, determination and pride.WITH AN INTRODUCTION BY NEIL BARTLETT
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Derek Jarman’s Visionary Arts
Derek Jarman's place in the history of film is assured by virtue of his vibrant, defiant films that experiment with the very process of film-making and create new forms. His paintings, their excitements and their profundity, are less well known. Michael Charlesworth sheds light on the varied ramifications of Jarman's artistic practice from his years at Prospect Cottage, Dungeness, and provides the first book-length study of his interest in depth psychology. He draws on Jarman's paintings, especially his landscapes from the 1960s and 70s, his multiple series such as 'black' and 'broken glass', GBH, Queer and Evil Queen, and his last Ecstatic Landscapes (1991-3). He also showcases Jarman's excellence as a writer with respect to his memoir, Kicking the Pricks. In a novel approach to Jarman's cinema, selecting films such as Journey to Avebury (1973), Caravaggio (1986), The Garden (1990) and Blue (1993), Charlesworth emphasizes themes and artistry rather than narrative. Exploring the ways in which Jungian and post-Jungian psychology were absorbed into Jarman's varied works, Derek Jarman’s Visionary Arts provides a fresh perspective on his painting, film and writing. It celebrates him as one of the major British artists of the late 20th century, engaging with current debates about queer sexualities, environmentalism and climate catastrophe.
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Derek
Emily had lived a relatively sheltered life in Bar Harbor Maine until Derek Burnes walked into her families gift shop. Derek, a tall incredibly handsome man with a quirky smile and penetrating green eyes knows that Emily is his destiny. He has to win her love or she will die at the hand of his adversary. But Derek has a secret, he's a vampire. In order for Derek to protect the delicate blonde Emily he must charm her into loving him. Derek's plans are sabotaged when the evil Jacque pushes the envelope and attacks Emily's father. In the midst of turmoil will Emily see Derek as a monster or take him as her lover
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Diary of Derek Drummond
An immortal soul. A forgotten curse. A love that rewrites fate.For 124 years, Derek Drummond has watched the world from the shadows – cursed to live as a raven by day, a man by night. Once a proud Scottish nobleman, now just a ghost with wings and memories.Until Megan MacKenzie speaks his name.Sharp, sceptical, and unknowingly tied to Derek’s past, Megan dares to believe in legends. But some curses fight back – and some ghosts never forget.Told in Derek’s own darkly human voice, The Diary of Derek Drummond is a gothic, time-twisting tale of love, sacrifice, and the long road back to life.If you believe in second chances – even after death – open the diary.
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Derek Walcott, The Journeyman Years, Volume 2: Performing Arts
During the same period in which Derek Walcott was pouring immense physical, emotional, and logistical resources into the foundation of a viable first-rate West Indian theatre company and continuing to write his inimitable poetry, he was also busy writing newspaper reviews, chiefly for the Trinidad Guardian. His prodigious reviewing activity extended far beyond those areas with which one might most readily associate his interests and convictions. As Gordon Rohlehr once presciently observed, “If one wants to see a quotidian workaday Walcott, one should go back to [his] well over five hundred articles, essays and reviews on painting, cinema, calypso, carnival, drama and literature,” articles which “reveal a rich, various, witty and scrupulous intelligence in which generous humour counterpoints acerbity.” These articles capture the vitality of Caribbean culture and shed additional light on the aesthetic preoccupations expressed in Walcott’s essays published in journals. The editors have examined the corpus of Walcott’s journalistic activity from its beginnings in 1950 to its peak in the early 1970s, and have made a generous selection of material from the Guardian, along with occasional pieces from such sources as Public Opinion (Kingston) and The Voice of St. Lucia (Castries). The articles in Volume 2 are organized as follows: the performing arts; general surveys of anglophone Caribbean drama, theatre, and society; festivals, theatre companies, and productions; British and American drama; dance and music theatre; Carnival and calypso; and cinema screenings in Trinidad. Volume 2 additionally contains an exhaustive annotated and cross-referenced chronological bibliography of Walcott’s journalism up to 1990. The co-editor Christopher Balme has written a searching introductory essay on a central theme – here, a survey of West Indian theatre and Walcott’s engagement with it, particularly the idea of a ‘National Theatre’, coupled with an illustrative discussion of the playwright’s seminal dramatic spectacle Drums and Colours.
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Woman Patient
This volume presents the knowledge, views, and experiences of ex perts in the fields of health care that are particularly important to women. Not all of the authors agree on all of the issues, but all share the same concerns about women's health and recognize the impor tance of providing information to enable women to become active par ticipants in the health care partnership. The idea for the book evolved from our own work in the field of women's health care. The positive responses we received to several papers and presentations based on our experiences and addressed to patients, physicians, and other health care professionals indicated that there is a growing need for open discussion of women's health care issues as well as a need for developing and implementing new and better ways of dealing with these issues. We were further motivated by the repeated failure of the health care community to integrate new insights and information (that frequently contradict older, established beliefs and practices) into current health planning, education, and practice.
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Queer Cinema of Derek Jarman
Derek Jarman has been called the 'godfather' of the early 1990s cinematic movement now known as 'Queer Cinema'. 'Queer' rejects labels, challenges fixed ideas of gender and sexual identity and refuses the status of a tolerated minority, and queer imagery dominates Jarman's cinema. Yet there has been little attention given to this rich vein in his work.This is the first book to view Jarman's uniquely personal - and pleasurable - cinema through the analytical prism of 'queer'. Niall Richardson takes up queer theory and its debates, as well as the tension between theory and activism, to apply these issues to Jarman's cinema in critical readings of his films, with special attention given to "Caravaggio", "Edward II" and "Blue". Richardson enters the debates about queer sexuality and particularly the dynamics of sadomasochism in sexual relations. He considers alternative regimes of gender and sexuality, desire and its relationship to the body, and the political impact of such images.Although Jarman's films have often been praised for being allegories of political resistance, this book argues convincingly that the 'queer' status of his cinema is as much indebted to the representation of alternative paradigms of gender and sexuality as it is to his portrayal of tendentious political battles.
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Woman Patient
This volume continues some of the issues raised in Volume 2 and fo cuses more closely on therapeutic intervention. The theoretical discus sion of aggression provides a background for the presentation of pat terns of aggression and violence affecting women, as well as possible connections between physical and emotional symptoms and indirect expressions of aggression. The section on aggression against and by women is an extension of some of the content of The Woman Patient, Volume 1 (e. g. , the chapter on rape). Theoretical and clinical views that are not often linked in this fashion are included here because we are interested in understanding the development of a self-concept that incorporates the constructive aspects of "aggression" as well as an un derstanding of violence. In this context, loss, abandonment, delin quency, and child and adolescent suicide are also extensions of these issues. The chapters that follow address aspects of symptom formation and concepts of illness. There is, as yet, no definitive explanation for why women experience certain illness patterns more or less than men. Current considerations have been reviewed, but these do not answer. They are a beginning on which we must build. It is apparent that any discussion of these subjects better elucidates the complexity if it in cludes an intermingling of general problems with concrete symptoms. Those specific problems that are usually thought of as psychological such as depression, and behaviors (such as substance abuse) provide a focus for understanding wider issues.
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