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A genealogy of the descendants of Ralph Smyth/Smith of Hingham, England born in 1610. He came to Hingham, Massachusetts in 1633.
“If you can read this one without getting a lump in your throat, turn yourself in to the nearest mortuary. Your heart has ceased to function. This book is about the innate hunger of the human heart to belong. To be part of a family unit whether or not there are blood ties. It’s about the refusal of the American adult to be bothered with those young enough or old enough to be a nuisance. And it’s about the most touching book I’ve read in many a moon.” —Carolyn Vaughter, Houston Chronicle Collin Elder is running away from a “home” for wayward teenagers. Louisa Holz is escaping from her father, a carnival daredevil. Heading west from Arizona, they meet a third member of the novel’s family—Will Clare, elderly and forgetful but full of rich memories.
Cultural politics and identity : the public space of recognition / Barbara Weber -- Beyond understanding Rousseau and the beginning of the other / Karlfriedrich Herb -- Lévinas and the problem of mutual recognition of the consumer society and its fears / Barbara Weber -- A phenomenological perspective on the relationship between human rights and recognition / James R. Mensch -- Heidegger, Nietzsche, and the struggle for Europe / Gary E. Aylesworth -- Shared life / James Risser -- A discussion of diachronic identity : the example of the painter Masuji Ono's political transformation in Kazuo Ishiguro's novel 'An artist of the floating world' / Eval Marsal & Takara Dobashi -- The fate of hair ...
A collection of social and cultural articles published in regional newspapers over the past decade.
Bringing Up Baby (1938) is the essence of thirties screwball comedy. It is also quintessential Howard Hawks, treating many of the director's favorite themes, particularly the loving war between the sexes. Bringing Up Baby features Katharine Hepburn as a flaky heiress and Cary Grant as an absentminded paleontologist, roles in which they come into their own as stars and deliver particularly fine comic performances. Pauline Kael has called the film the "American movies' closest equivalent to Restoration comedy." The comparison is based on the quick repartee and witty dialogue, a hallmark of Hawks's work and well conveyed here by Gerald Mast's transcription from the screen.