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A scholarly edition of works by Guillaume de Saluste, Sieur du Bartas. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.
There is a great legend of the guardian angel who traveled across time and space for the human girl he loved, slaying those who would threaten her with a gleaming sword made of heavenly light. This is not that story.Jerome Hancock is Heidi Devine's guardian angel. Sort of. He's more of an angel trainee, in heaven's soul-rehabilitation program for wayward teens. And he's just about to get kicked out for having too many absences and for violating too many of the Ten Commandments for the Dead.Heidi, meanwhile, is a high school junior who dreams of being an artist, but has been drafted onto her basketball team because she's taller than many a grown man. For as long as she can remember, she's heard a voice in her head - one that sings Lynyrd Skynyrd, offers up bad advice, and yet is company during those hours she feels most alone.When the unthinkable happens, these two lost souls must figure out where they went wrong and whether they can make things right before Heidi's time is up and her soul is lost forever.Martha Brockenbrough's debut novel is hilarious, heartbreaking, and hopeful, with a sense of humor that's wicked as hell, and writing that's just heavenly.
What makes a suitable wife? With an ambitious father, Devin Sayer seems to have it all: a nice home, a prosperous family business, and the attention of just about every eligible young woman in town. After losing his bid to win the hand of the woman his father chose for him, Devin uses the excuse of being jilted to see a bit more of the world. Will a trek into the wilds be all he expects it to be or will a chance encounter bring him the desire of his heart? Eldora and her brothers are on their own, unsure of where their father might be. When an unexpected storm blows more into their mountain cabin than snow, will everything change?
Inherit the Holy Mountain puts religion at the center of the history of American environmentalism rather than at its margins, demonstrating how religion provided environmentalists with content, direction, and tone for the environmental causes they espoused.
This book is about the multiple loves of Paradise Lost and Paradise Regained: sanctioned loves and outlawed loves, sincere loves and false loves, Christian loves, classical loves, humanist loves, and love as emotion. In showing how these loves motivate the most significant actions of the Paradise epics, it reveals Milton to have made creative use of the tensions between philosophical ideals, social conventions, and the rather messier ways in which love emerges in practice. Love, so central to Milton’s view of Edenic joy and obedience to God, unsettles earthly and heavenly communities and is the origin of Miltonic transgression. Milton’s Loves sheds new light on some of the most prominent concerns of Milton scholarship, including why Milton’s God is so difficult for readers to connect to, Satan’s apparent heroism, Milton’s radical theology, and the nature of Milton’s muse. It is a book that will appeal to students and scholars of Milton and early modern studies more broadly and is structured in a way that will aid easy reference.
The hidden material histories of music. Music is seen as the most immaterial of the arts, and recorded music as a progress of dematerialization—an evolution from physical discs to invisible digits. In Decomposed, Kyle Devine offers another perspective. He shows that recorded music has always been a significant exploiter of both natural and human resources, and that its reliance on these resources is more problematic today than ever before. Devine uncovers the hidden history of recorded music—what recordings are made of and what happens to them when they are disposed of. Devine's story focuses on three forms of materiality. Before 1950, 78 rpm records were made of shellac, a bug-based resin. Between 1950 and 2000, formats such as LPs, cassettes, and CDs were all made of petroleum-based plastic. Today, recordings exist as data-based audio files. Devine describes the people who harvest and process these materials, from women and children in the Global South to scientists and industrialists in the Global North. He reminds us that vinyl records are oil products, and that the so-called vinyl revival is part of petrocapitalism. The supposed immateriality of music as data is belied by the energy required to power the internet and the devices required to access music online. We tend to think of the recordings we buy as finished products. Devine offers an essential backstory. He reveals how a range of apparently peripheral people and processes are actually central to what music is, how it works, and why it matters.