[B813.Ebook] Download PDF WWE Ultimate Superstar Guide, by Steve Pantaleo

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WWE Superstars like you've never seen them before! The Ultimate Superstar Guide is an illustrated collection of all the biggest Superstars to ever grace the WWE ring. Experience iconic Hall of Famers, promising young stars, and everything in between. Including over 200 never-before-seen illustrations with facts, stats, and more!

• Sales Rank: #20907 in Books
• Brand: DK Publishing
• Published on: 2015-03-24
• Released on: 2015-03-24
• Original language: English
• Number of items: 1
• Dimensions: 9.56" h x .75" w x 7.56" l, 1.70 pounds
• Binding: Hardcover
• 208 pages

Features

• WWE Superstars like you've never seen them before!
• The WWE Ultimate Superstar Guide Hardcover Book is an illustrated collection of all the biggest superstars to ever grace the WWE ring.
• Experience iconic hall of famers, promising young stars, and everything in between.
• Including 208 pages of illustrations with facts, stats, and more!
• Ages 14 and older.

Most helpful customer reviews

9 of 9 people found the following review helpful.
Fantastic buy for any wrestling fan especially old school ones
By MrsAnnaNicoleBorden
This is an amazing book. Not too big or small it's a perfect size for storing in your collection. I love that it's hardcover. The pages are glossy and it has a really helpful legend of icons to tell you what title belt the superstar has won. I bought it only for Sting. And the wrestlers are in alphabetical order. They give you an actual picture of the superstar plus the illustration. They are really impressive. Sting looks lovely! I highly highly recommend this book. It's truly a must have. I will include a couple pictures below.

8 of 10 people found the following review helpful.
Awesome!
By Frank N
Purchased this gem for my nephew and he adores it. The pictures are fantastic and the nuggets of facts are entertaining and informative. I am actually surprised at how many entries were included, as I couldn't think of very many people who were left out. They really went above and beyond to include as many superstars, divas, and other personalities from past and present as possible.

A few quick notes:
1. No, Benoit is not included. You know people are going to ask.

2. It is in alphabetical order.

3. A legend at the beginning nicely explains the icons that appears. For example, the legend shows a distinction between the different titles and accolades (such as winning the Royal Rumble). It is helpful when you land on a superstar such as Edge who has many icons under his name. Awesome idea.

4. Very nice inclusion of NXT.

All in all, I wouldn't be surprised if even older fans enjoyed this book but it will definitely put a smile on a youngster's face.

1 of 1 people found the following review helpful.
WWE Ultimate Superstar Guide
By A. Pierre
I saw this book sitting in a pile of new releases and the artwork caught my attention. I thought it would be a kids book but it can be enjoyed by young & old. The first page I flipped to was an NXT star & I thought this is a pretty damn good book. I sat in the store reading it for almost half an hour before purchasing this. I've been a fan of WWE for over twenty years & this is one of the best books I've seen as it is very unique. The roster of stars from past, present, & future are well represented even though I did notice a couple superstars missing. The artwork would fit perfectly in a book about Superstars from the 90's. Highly recommend this book to young & old, well done book & I'd like them to do one over 90's superstars or an updated version.

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[M905.Ebook] Free PDF Language: the Social Mirror (Sociolinguistics), by Elaine Chaika

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Language: The Social Mirror focuses on the ways language is used and how this use affects the individual as well as society. Thoroughly revised, the fourth edition presents a modern study of sociolinguistics through updated case studies and current research findings. Elaine Chaika gives a detailed explanation of the complexity of language and its uses. She also explores some of the most controversial issues surrounding social language including dialects, bilingualism, and gender.

• Sales Rank: #775836 in Books
• Brand: Brand: Heinle ELT
• Published on: 2007-03-30
• Original language: English
• Number of items: 1
• Dimensions: 8.90" h x .90" w x 6.00" l, 1.60 pounds
• Binding: Paperback
• 596 pages

Features

• Used Book in Good Condition

Review
1. What is Language? The Complexity of Language. The Levels of Language. The Arbitrary Nature of Language. Language and Thought. First-Language Acquisition. Notes. Exercises. 2. Field Methods Recipes for Discovery. Sociolinguistics and Field Methods. Ethics. Notes. Exercises. 3. Style of Speech Style as Communication. Greetings. Address Forms. Style and Interaction. The Elements of Style. Marked and Unmarked Values in Style. Phonetic, Lexical and Syntactic Alternants. Power and Solidarity. Universal Politeness. Negative and Positive Face. Notes. Exercises. 4. Kinesics: The Silent Language Body Language. Proxemics. Eye Contact. Touching. Amount of Talking. Body Motion in Concert. Problems in Research in Paralinguistics. Notes. Exercises. 5. Pragmatics and Conversation Doing things with words. Speech Acts and Discourse Routines. Frames. Speech Events and Genres. Intention. Conversation. The Ethnography of Communication. Silence. Ritual Nature of Conversation. Jargons. Notes. Exercises. 6. Orality and Literacy Verbal Skill. Literacy. The Uses of Spelling. Communicating by Computer. Verbal Play. Speech Activities and Social Pressures. Ego-Boosting in Speech Activities. Notes. Exercises. 7. Everybody Speaks a Dialect Language versus Dialect. Traditional regional Dialect Studies. The Myth of the General American. Dialect Differences. Black Ethnic Speech. Development of an American Standard. Notes. Exercises. 8. Bilingualism: Individual and Social Monolingualism and bilingualism. Different Language, Different Mind? Language and Thought. Bilingualism Across Generations. Official Languages. Notes. Exercises. 9. Speech Communities What Constitutes a Speech Community. Different Dialects, Same Region. Network Theory. The Value of a Sociolinguistic Survey. Diglossia. Language Choice and Social Bonding. The Origins of American Dialects. Notes. Exercises. 10. Vocabulary and Gender Vocabulary as a Mirror of Social Realities. Gender and Language. Language as Mirror. Notes. Exercises. 11. Sociolinguistics and the Professions Applications of Sociolinguistics. Language and Medicine. Psychotherapy. Language and the Law. Discourse Practices and Education. Dialects and Reading. Applications to Bilingual Education. Language and Religion. Notes. Exercises.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Four Stars
By Vivi R
Great book, fast shipping.

6 of 6 people found the following review helpful.
Fun to read as well as informative
By TRHOC
found this book fun to read as well as scholarly. What a tremendous amount of information it holds, not just for linguistics professionals but for the common reader. You will find yourself saying, as you read, so THAT'S what was happening in that conversation, discourse, give-and-take. If you're the kind of person who usually avoids scholarly tomes, please try this one. You will be pleasantly surprised as well as engaged. In addition, the next time you're having a conversation with someone who acts like they know it all about language and communication, YOU will be the expert just remembering the author's examples. You'll love her account of animal communication. It both dispels myths and amazes you with the kinds of communication that animals really do have. Of course, human conversation is also treated here, and that is as revealing as the rest.
Try this book. You will not only learn something, you will enjoy doing so. By the way, if you read Ms. Chaika's previous version of this book, you will be thrilled that there's a ton of new information. This book is a total rewrite. In fact, I feel BOTH should be in any library because each offers something to the study of language. This is not a minor tune up. This is a total re-write.
Enjoy!

4 of 4 people found the following review helpful.
An amazing read for the layperson
By MichelleCH
As a person who is fascinated by language and the nuances related to our communications - Dr. Chaika's book is a must-read. Her chapters on bilingualism are particularly relevant to today's debate on bilingual education and immigration. She makes an excellent argument as to why we do need a common language to unify our country while stressing the idea that diversity is indeed not only desirable but necessary. One of my favorite aspects of her book are the exercises that she provides at the end of each chapter. As a former teacher, I can absolutely see this text being utilized in any college setting with lots of exciting possibilities.

See all 5 customer reviews...

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[B418.Ebook] Free Ebook A monograph on plectognath fishes of the superfamily Triacanthoidea (Academy of Natural Sciences of Philadelphia. Monograph 16), by James

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• Sales Rank: #9054095 in Books
• Published on: 1968
• Binding: Hardcover
• 364 pages

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[D926.Ebook] Download Lost Girls, by Nicholas Terpstra

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In 1554, a group of idealistic laywomen founded a home for homeless and orphaned adolescent girls in one of the worst neighborhoods in Florence. Of the 526 girls who lived in the home during its fourteen-year tenure, only 202 left there alive. Struck by the unusually high mortality rate, Nicholas Terpstra sets out to determine what killed the lost girls of the House of Compassion shelter (Casa della Piet�).

Reaching deep into the archives' letters, ledgers, and records from both inside and outside the home, he slowly pieces together the tragic story. The Casa welcomed girls in bad health and with little future, hoping to save them from an almost certain life of poverty and drudgery. Yet this "safe" house was cruelly dangerous. Victims of Renaissance Florence's sexual politics, these young women were at the disposal of the city's elite men, who treated them as property meant for their personal pleasure.

With scholarly precision and journalistic style, Terpstra uncovers and chronicles a series of disturbing leads that point to possible reasons so many girls died: hints of routine abortions, basic medical care for sexually transmitted diseases, and appalling conditions in the textile factories where the girls worked.

Church authorities eventually took the Casa della Piet� away from the women who had founded it and moved it to a better part of Florence. Its sordid past was hidden, until now, in an official history that bore little resemblance to the orphanage's true origins. Terpstra's meticulous investigation not only uncovers the sad fate of the lost girls of the Casa della Piet� but also explores broader themes, including gender relations, public health, church politics, and the challenges girls and adolescent women faced in Renaissance Florence.

• Sales Rank: #989658 in eBooks
• Published on: 2010-08-19
• Released on: 2010-08-19
• Format: Kindle eBook

Review

The book contains fascinating, and sometimes shocking, information about Terpstra’s topic. I appreciated that Terpstra does not exclusively limit himself to the subject of Casa della Piet�, but uses the mystery of what happened to the home’s residents as a way to examine related issues.

(Erin Schowalter Feminist Review)

Lost Girls is a fine addition to any history collection, especially those with a focus on the Renaissance.

(Midwest Book Review)

The Casa della Piet�, or House of Compassion, was one of Renaissance Florence's earliest shelters for orphaned or otherwise abandoned adolescent girls... Of the 526 girls who lived there during the 14 years it was open, 324 died there. What was killing these girls? Terpstra attempts to solve this mystery.

(Choice)

[Terpstra's] study of Piet� can be recommended highly not only to those interested in women's history, social history, medical history, and economic history but also to anyone who cares about the historian's craft.

(Jonathan Davies Reviews in History)

A masterpiece of historical writing and an invaluable contribution to the study of premodern Italy... This book should be welcomed by anyone interested in social history, gender history, the history of sexuality, religious history or the history of medicine.

(Tamar Herzig Journal of Modern History)

Energetic, archival scholarship.

(Elizabeth S. Cohen Literary Review of Canada)

Unusual and ingenious... Those interested in the history of early-modern Catholic Europe and Catholic institutions on the Italian peninsula will find much to think about while reading this book.

(Kate Lowe Catholic Historical Review)

It is well written and well researched by an established and erudite historian of this period, and it treats a difficult subject: the situation of Florentine orphaned or abandoned adolescent girls in the sixteenth century.

(R. Burr Litchfield Renaissance Quarterly)

Terpstra weaves literary evidence, intelligent guesswork, and vivid historical imagination into an eminently readable micro-history that forms part of a growing body of scholarship that challenges long-held historical assumptions about female honor in the Mediterranean world.

(Philip Gavitt American Historical Review)

Nicholas Terpstra uses the puzzling deaths of teenaged girls in a Florentine asylum for the poor to take us into many surprising corners in the life of working people, and especially women, in that sixteenth-century city—sexual, medical, religious, and more. A fascinating Renaissance mystery story and a wonderful read!

(Natalie Zemon Davis, author of The Return of Martin Guerre)

This is history with a decidedly human face. The author’s vivid descriptions of urban life and its material realities are unsurpassed. It’s no exaggeration to say that this book makes the streets of Renaissance Florence come alive like no other.

(Sharon T. Strocchia, author of Nuns and Nunneries in Renaissance Florence)

In this finely crafted microhistory he exposes the social and cultural contradictions often lost in more general studies that were critical to the existence and functioning of the Casa della Piet�.

(Duane J. Osheim Sixteenth Century Journal)

From the Back Cover

In 1554, a group of idealistic laywomen founded a home for orphaned and homeless adolescent girls in one of the worst neighborhoods in Florence. Of the 526 girls who lived in the home through its first fourteen years, only 202 survived. Struck by the unusually high mortality rate, Nicholas Terpstra sets out to determine what killed the lost girls of the Casa della Piet�. As he uncovers their sad fate, he also explores broader themes, including gender relations, abortion, syphilis, religious politics, and the challenges adolescent girls faced in Renaissance Florence.

"Terpstra weaves literary evidence, intelligent guesswork, and vivid historical imagination into an eminently readable micro-history that forms part of a growing body of scholarship that challenges long-held historical assumptions about female honor in the Mediterranean world."— American Historical Review

"A masterpiece of historical writing and an invaluable contribution to the study of premodern Italy."— Journal of Modern History

"The book contains fascinating, and sometimes shocking, information about Terpstra’s topic. I appreciated that Terpstra does not exclusively limit himself to the subject of Casa della Piet�, but uses the mystery of what happened to the home’s residents as a way to examine related issues."— Feminist Review

About the Author

Nicholas Terpstra is a professor of history at the University of Toronto and author of Abandoned Children of the Italian Renaissance: Orphan Care in Florence and Bologna, also published by Johns Hopkins, and Cultures of Charity: Women, Politics, and the Reform of Poor Relief in Renaissance Italy.

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2 of 2 people found the following review helpful.
A fine example of avant-garde scholarship
By Steven D. Sargent
Terpstra's book is a fine example of avant-garde scholarship that pushes the boundaries of historical speculation to the limit. This does not mean that his analysis is driven by theory: quite the opposite. His meticulous research seeks out every scrap of evidence bearing on the question of what was killing the girls of the Casa della Pieta, a home for abandoned teenage girls in sixteenth-century Florence. But all his effort comes up short of providing a definitive answer. Nevertheless the value of the book lies in the questions he asks and the logic of his analysis of the possible causes. And even if he can't provide a definitive answer to the book's main question, his work reveals in sordid detail the effects of Florentine sexual politics in the late Renaissance on the lives of teenage girls. In the concluding chapter, paying homage to Natalie Zemon Davis's famous work, Fiction in the Archives, he shows us how historians' accounts of the same events can differ radically based on their differing perspectives and purposes. This means that it is virtually impossible ever to be sure we know "what actually happened." As this conclusion indicates, Terpstra's book is scholarly in its approach and requires a fair amount effort and determination on the reader's part. I've assigned it to upper-level university students who find it a bit of a slog. But for those who really want to know what Renaissance Florence was like in all its grittiness, this is a must-read book.

2 of 2 people found the following review helpful.
Interesting
By Elaine
Well written. Beautiful writing near end of book. Good resource on women of Renaissance Florence and silk industry. Would recommend. Used as a resource in Renaissance and Reformation assignment at university.

3 of 4 people found the following review helpful.
Sex and Death in Renaissance Florence
By clarinetsarethebest
Nicholas Terpstra's Lost Girls: Sex and Death in Renaissance Florence is a thoughtful examination of a thoroughly fascinating question - why the adolescent girls in the Casa della Pieta were dying in alarming numbers - that reaches a satisfying, if not definitive, resolution. Terpstra's explanation of the role in the social structure of sixteenth-century Florence of the Pieta and its patrons is made even more interesting by his obvious deep concern for the women. I certainly enjoyed this book a great deal.

The problem, however, lies in the editing. Though Terpstra's habit of referring to the three girls he mentions near the beginning gets somewhat annoying (how many times do we really need to hear the phrase "girls like Margherita, Maria, and Maddelena"?), what's even more disturbing is how many sentences appear to have been left unchecked. The book is riddled with editing errors. For example, near the end, when Terpstra is considering the effects of French pox (most likely syphilis, in modern terms), the following sentence appears:

"They were more likely to visit prostitutes and brothels and were more likely to be exposed to the disease and later to pass it on to their wives, who could in turn infect pass it on to their children." (pp. 160-161)

It's fairly clear that Terpstra meant either to claim that mothers could "infect" or "pass it on to" their children, but the sentence construction makes no sense as-is. In these instances I think that the Johns Hopkins University Press has done the book a disservice.

Nevertheless, this book is otherwise quite good and is definitely worth reading.

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[H144.Ebook] Free Ebook Girl Online: The First Novel by Zoella (Girl Online Book), by Zoe Sugg

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From YouTube sensation Zoella comes a debut coming-of-age novel that perfectly captures what it means to grow up and fall in love in today’s digital world. Girl Online is the first book to be published by Keywords Press, an imprint under Simon & Schuster dedicated to today’s digital stars.

I have this dream that, secretly, all teenage girls feel exactly like me. And maybe one day, when we realize that we all feel the same, we can all stop pretending we’re something we’re not. That would be awesome. But until that day, I’m going to keep it real on this blog and keep it unreal in “real” life.

Penny has a secret.

Under the alias GirlOnline, Penny blogs her hidden feelings about friendship, boys, high school drama, her quirky family, and the panic attacks that have begun to take over her life. When things go from bad to worse at school, her parents accept an opportunity to whisk the family away for Christmas at the Waldorf Astoria in New York City. There, she meets Noah, a gorgeous, guitar-strumming American. Suddenly Penny is falling in love—and capturing every moment she spends with “Brooklyn Boy” on her blog.

But Noah has a secret, too, one that threatens to ruin Penny’s cover—and her closest friendship—forever.

Award-winning and influential YouTube vlogger Zoe Sugg delivers a heartfelt coming-of-age novel that perfectly captures the highs and lows of first love, friendship, and growing up in the digital age.

• Sales Rank: #49816 in Books
• Brand: Atria Keywords Press
• Published on: 2014-11-25
• Released on: 2014-11-25
• Original language: English
• Number of items: 1
• Dimensions: 8.37" h x 1.30" w x 5.50" l, .97 pounds
• Binding: Hardcover
• 352 pages

Features

• Atria Keywords Press

Review
“Sugg’s obvious understanding of the complexities and pitfalls of the online world, coupled with her sensitivity to adolescence, make for a compelling and satisfying coming-of-age tale in the digital age.” (Booklist)

“Girl Online left us wishing adorkable, quirky Penny was our BFF (especially if the package included her amazing best friend Elliot!) because who doesn’t love a sweet, adventure-filled NYC love story? No one, that’s who! A must read for fans of Dash & Lily’s Book of Dares, Invisibility, and Suite Scarlett.” (Justine Magazine)

About the Author
Zoe Sugg, aka Zoella, has been creating stories ever since she was little. Her beauty, fashion, and lifestyle blogs and videos have a huge following online, with millions of YouTube subscribers. Visit Zoella.co.uk, YouTube.com/Zoella, @Zoella on Twitter and Instagram, and GirlOnlineUS.com.

Excerpt. © Reprinted by permission. All rights reserved.
Girl Online Chapter One
Present day . . .

Hey, Penny, did you know that William Shakespeare is an anagram for “I am a weakish speller”?

I look at the text from Elliot and sigh. In the time I’ve been watching the dress rehearsal for Romeo and Juliet (three hours of my life that I will never get back), Elliot has bombarded me with hundreds of random texts about Shakespeare. He’s supposed to be doing it to relieve my boredom but, seriously, does anyone really need to know that Shakespeare was baptized in 1564? Or that he had seven siblings?

“Penny, could you get a shot of Juliet leaning out of the trailer?”

I quickly grab my camera and nod to Mr. Beaconsfield. “Yes, sir.”

Mr. Beaconsfield is the Year Eleven drama teacher. He’s one of those teachers who likes being “down with the kids”—all gelled hair and “call me Jeff.” He’s also the reason our version of Romeo and Juliet is set in a Brooklyn ghetto and Juliet is leaning out of a trailer rather than a balcony. My BFIS (Best Friend in School), Megan, loves Mr. Beaconsfield, but then, he does always cast her in all the lead roles. Personally, I think he’s a little creepy. Teachers shouldn’t want to hang out with teenagers. They should want to mark books and stress about school inspections and whatever else they get up to in the staff room.

I go up the steps at the side of the stage and crouch down beneath Megan. She’s wearing a baseball cap with SWAG printed on the front and has a thick fake-gold chain with a huge fake-gold dollar sign dangling from her neck. There’s no way she’d be seen dead in that outfit anywhere else; that’s how much she loves Mr. Beaconsfield. I’m about to take a picture when Megan hisses down to me: “Make sure you don’t get my spot.”

“What?” I whisper back.

“The spot on the side of my nose. Make sure you don’t get it in the picture.”

“Oh. Right.” I shift to one side and zoom in. The lighting from this side isn’t the best but at least the spot isn’t visible. I take the picture, then turn to leave the stage. As I do, I glance out into the auditorium. Apart from Mr. Beaconsfield and the two assistant directors, all of the seats are empty. I instinctively breathe a sigh of relief. To say I’m not very good with crowds would be a bit like saying Justin Bieber isn’t very good with the paparazzi. I don’t know how people can actually perform onstage. I only have to go up there for a couple of seconds to take a photo and I feel uneasy.

“Thanks, Pen,” Mr. Beaconsfield says as I hurry down the steps. That’s another cringe-fact about him—the way he calls us all by a nickname. I mean, seriously! It’s okay for my family but not my teachers!

Just as I get back to my safe spot at the side of the stage my phone bleeps again.

Oh my God, Juliet used to be played by a man back in Shakespeare’s day! You have to tell Ollie—I’d love to see his face!

I look up at Ollie, who is currently gazing up at Megan.

“But, soft! What light through yonder window breaks?” he says, in the worst New York accent ever.

I can’t help but sigh. Even though Ollie’s dressed in an even worse costume than Megan’s—making him look like a cross between a Jeremy Kyle guest and Snoop Dogg—he still somehow manages to look cute.

Elliot hates Ollie. He thinks Ollie’s really vain and calls him the Walking Selfie, but, to be fair, he doesn’t really know him. Elliot goes to a private school in Hove; he’s only seen Ollie when we’ve bumped into him on the beach or in town.

“Shouldn’t Penny take a picture of me in this scene too?” Ollie asks, when he finally gets to the end of his speech. He’s still talking in his fake American accent—which he’s been doing ever since he got the part. Apparently all the top actors do it; they call it “method acting.”

“Of course, Ollz,” says Call-Me-Jeff. “Pen?”

I put down my phone and run back up the steps.

“Can you make sure you get my best side?” Ollie whispers at me from beneath his cap. His one has STUD printed on the front in black diamante.

“Sure,” I reply. “Er, which side is that again?”

Ollie looks at me like I’m crazy.

“It’s just so hard to tell,” I whisper, my face flushing crimson.

Ollie continues to frown.

“Because they both look good to me,” I say, desperation setting in. Oh my God! What is wrong with me?! I can practically hear Elliot shrieking in horror. Thankfully at this point, Ollie starts to grin. It makes him look really boyish and way more approachable.

“It’s my right side,” he says, and turns back to face the trailer.

“Is that—er—your right, or mine?” I ask, wanting to make double sure.

“Come on, Pen. We haven’t got all day!” Mr. Beaconsfield calls out.

“It’s my right, of course,” Ollie hisses, looking at me like I’m demented again.

Even Megan’s frowning at me now. My face burning, I take the picture. I don’t do any of my usual things, like checking the lighting or the angle or anything—I just press the button and stumble out of there.

When the rehearsal is finally over—and I’ve learned from Elliot that Shakespeare was only eighteen when he got married and he wrote thirty-eight plays in total—a group of us head to JB’s Diner to get milkshakes and chips.

As we reach the seafront, Ollie starts walking along beside me. “How you doin’?” he says in his fake New York drawl.

“Um, OK, thanks,” I say, my tongue instantly tying itself in knots. Now he’s out of his Romeo gangster gear, he looks even better. His blond surfer-dude hair is perfectly tousled and his blue eyes are sparkling like the sea in the winter sunshine. To be honest, I’m not entirely sure if he’s my type—he may be a little too boy-band-meets-athlete perfect—but it’s so unusual for me to have the undivided attention of the school heartthrob that I can’t help feeling embarrassed.

“I was wondering . . .” he says, grinning down at me.

Instantly my inner voice starts finishing his sentence: What do you like to do in your spare time? Why have I never properly noticed you before? Would you like to go out with me?

“. . . if I could take a look at the picture you took of me? Just to make sure I look OK.”

“Oh—er—right. Yes, OK. I’ll show you when we get to JB’s.” It’s at exactly this moment that I fall into a hole. OK, it’s not a big hole and I don’t actually disappear inside it or anything, but I do catch my foot and end up tumbling forward—making me look about as attractive and sophisticated as a Saturday-night drunk. That’s one thing I hate about Brighton, where I live. It seems to be full of holes that exist just for me to fall into! I style it out and luckily Ollie seems not to notice.

When we get to JB’s, Ollie dives straight into the booth next to me. I see Megan raise her eyebrows and I instantly feel like I’ve done something wrong. Megan’s very good at making me feel this way. I turn away and concentrate on the Christmas decorations around the diner instead—the swirls of green and red tinsel, and the mechanical Father Christmas who yells, “Ho, ho, ho!” every time someone walks past. Christmas is definitely my favorite time of the year. There’s something about it that always calms me. After a few moments, I turn back to the table. Luckily, Megan’s now absorbed with her phone.

My fingers twitch as the inspiration for a blog post pops into my head. Sometimes it feels as if school is one big play and we’re all supposed to perform our set roles all the time. In our real-life play, Ollie isn’t supposed to sit next to me; he’s supposed to sit next to Megan. They aren’t actually dating or anything but they’re both definitely on the same rung of the social ladder. And Megan never falls into holes. She just seems to glide through life, all glossy chestnut hair and pouting. The twins slide into the booth next to Megan. The twins are called Kira and Amara. They have non-speaking parts in the play and that’s kind of how Megan treats them in real life—as extras to her lead role.

“Can I get you guys anything to drink?” a waitress says, arriving at our table with a pad and a grin.

“That would be awesome!” Ollie says loudly in his pretend American accent, and I can’t help cringing.

We all order shakes—apart from Megan, who orders a mineral water—and then Ollie turns to me. “So, can I see?”

“What? Oh, yes.” I fumble in my bag for my camera and start scrolling through the pictures. When I get to the one of Ollie, I pass it to him. I hold my breath as I wait for his response.

“Sweet,” he says. “That looks really good.”

“Ooh, let me see my one,” Megan cries, grabbing the camera from him and pressing at it wildly. My whole body tenses. Normally, I don’t mind sharing things—I even give half my advent-calendar chocolates to my brother, Tom—but my camera is different. It’s my most prized possession. It’s my safety net.

“Oh. My. God. Penny!” Megan shrieks. “What have you done? It looks like I’ve got a mustache!” She slams the camera down on the table.

“Careful!” I say.

Megan glares at me before picking up the camera and fiddling with the buttons. “How do I delete the picture of me?”

I grab the camera back from her a little too forcefully and one of her false fingernails catches on the strap.

“Ow! You’ve broken my nail!”

“You could have broken my camera.”

“Is that all you care about?” Megan glares at me across the table. “It’s not my fault you took such a terrible picture.”

In my head an answer forms itself: It’s not my fault you made me take it that way because you’ve got a spot. But I stop myself from saying it.

“Let me see,” Ollie says, grabbing the camera from me.

As he starts to laugh and Megan glares at me even harder, I feel a familiar tightness gripping my throat. I try to swallow but it’s impossible. I feel trapped inside the booth. Please don’t let this be happening again, I silently plead. But it is. A burning heat rushes through my body and I can barely breathe. The pictures of movie stars lining the wall all suddenly seem to be staring down at me. The music from the jukebox is suddenly too loud. The red chairs too bright. No matter what I do, I can’t seem to control my own body. The palms of my hands go clammy and my heart starts to pound.

“Ho, ho, ho!” the mechanical Father Christmas by the door calls. But he doesn’t sound cheery anymore. He sounds menacing.

“I need to go,” I say quietly.

“But what about the picture?” Megan whines, flicking her glossy dark hair over her shoulder.

“I’ll delete it.”

“What about your milkshake?” Kira says.

I take some money from my purse and put it on the table, hoping they don’t notice my trembling fingers. “One of you guys have it. I just remembered I have to help my mum with something. I need to get home.”

Ollie looks at me and for a second I think he actually looks disappointed. “Will you be in town tomorrow?” he asks.

Megan glares at him across the table.

“I guess so.” I feel so hot it’s making my vision blurred. I need to get out of here, now. If they keep me trapped in this booth for much longer, I’m certain I’m going to pass out. It takes everything I’ve got not to yell at Ollie to get out of my way.

“Cool.” Ollie slides out of the booth and hands me my camera. “Maybe see you around then.”

“Yes.”

One of the twins, I can’t tell which, starts to ask if I’m OK, but I don’t stop to answer her. Somehow, I make it out of the diner and onto the seafront. I hear the shriek of a seagull followed by a shriek of laughter. A group of women are tottering toward me, all spray tans on high heels. They’re wearing Barbie-pink T-shirts, even though it’s December, and one of them has a string of learner plates around her neck. I internally groan. That’s another thing I hate about living in Brighton—the way it’s invaded by stag and hen parties every Friday night. I dart across the road and head down to the beach. The wind is icy and fresh but it’s exactly what I need. I stand on the wet pebbles and stare out to sea and wait until the waves, crashing in and rolling out, coax my heartbeat back to normal.

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1 of 1 people found the following review helpful.
This series is amazing.
By Leanne Parker
After I finished the first book, I cried because it was so good and I didn't want it to end. Zoe is such a good writer and the second book is as amazing as text first "Girl Online" book, if not even better! Her YouTube channel is also awesome ans I watch it 24/7. She's just a passionate and beautiful woman in general. And she is very inspiring and I hope to be like her one day :) I wish I could meet Zoe :( and after I read the first book, I hoped I would meet my Noah while I traveled to California, and I actually did! They even have the same last name (weird, right?!). His name is Aidan Flynn and I'm planning to go to California again soon to see him! Anyways, amazing series. Buying the 3rd book right now!!!

Xoxo, Leanne

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[K812.Ebook] Ebook The Ruminator, by Humphrey B. Neill

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This collection of brief essays illuminates the ways of thinking that a contrarian must cultivate in order to avoid falling into the trap of mass opinion that is so hard for most of us to escape. When everybody thinks alike, everyone is likely to be wrong is the quote that lies at the heart of Humphrey B. Neill s investment and political philosophies.

• Sales Rank: #2358792 in Books
• Brand: Brand: Caxton Press
• Published on: 2011-04-01
• Original language: English
• Number of items: 1
• Dimensions: 8.20" h x .40" w x 5.50" l, .45 pounds
• Binding: Paperback
• 120 pages

Features

• Used Book in Good Condition

About the Author
Humphrey B. Neill (1977) spent his life observing and writing about the folly of group thinking that is all too prevalent throughout our society.� His Theory of Contrary Opinion - first described in the best selling The Art of Contrary Opinion (Caxton Press, 1968) has inspired and guided investors and observers of society for more than four decades.

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2 of 2 people found the following review helpful.
A hidden gem
By Cameron J
Perhaps Dickson G. Watts, former president of the New York Cotton Exchange, put it best when he said, "Teach men to navigate life's seas as you teach a young boy to swim: put your hand under him and then gently, slowly remove it." In 'The Ruminator' Neill introduces the reader to the overstated but often misappropriated field of contrarian trading; doling observations along the way with the subtle ambiguity and wisdom of an individual who guides without imposing on the reader's thought process.

To the uninitiated, there are no in-depth trade analyses or financial charts unlike his more popular Tape Reading and Market Tactics: The Three Steps to Successful Stock Trading. The best way to describe the book is a financial interpretation of Gustav Le Bon's 'The Crowd: A Study of the Popular Mind' I believe that Le Bon's text was an extremely influential sources for Neill and worth a complete read on its own I might add. As a result, 'The Ruminator' specfically, seeks to understanding how financial crowds succumb to emotions and how one can attempt to remain logical. One focal point touched on early in the book, is perhaps the largest misunderstanding of Contrarian trading in my opinion: its application.

A common misconception of contrarian thinking is that the point of if all is to buy when no one else wants to. However, the true essence of being contrarian is to think when no one else feels the need to, and to remain logical when those around you succumb to emotions.

While it is easy to assume that thinking will automatically make you a contrarian, it is worth noting that there is not a conscious effort on the crowd's behalf to absolve themselves from thinking logically and throw caution and portfolio to the wind. As stated in the book, often individuals start off with a small but growing respect/interest for a skilled member or an authority figure in said community, but soon mild-mannered mimickery turns into a monetarily backed instance of 'monkey-see monkey-do.'

This affects everyone, regardless of skill level. In today's financial world the uneducated retail trader likely follows media pundits like Jim Cramer and the recommendations of their brokerage. The 'educated' retail trader might pay attention to the always vocal members of PIMCO such as Mohamed El Erian and Bill Gross. The older members on the professional side of the market might pay special attention to the latest edition of the Gartman Letter, while the younger professional traders might be focusing on what the latest Technical Analysis tool has specified.

Neill also questions the media: not the cliched, 'big brother' conspiratorial manner, but moreso as an observation in the Don DeLillo sense, that a (perhaps unintended) side-effect of the media is an uneducated consensus. The media's message often lack diversity and Neill states that, "When writers write alike, readers are likely to think alike as well." which is a concise yet powerful statement.

The media lacks foresight and substance because headlines sell papers instead of logic and facts. Crowds search for evidence to confirm their beliefs and the media writes solely to capture the attention of the public and validates the crowds' thought process. The question of whether the media compels the public to think alike or the public compels the media to write alike is an interesting causality dilemma but I digress.

Neill draws from a variety of sources in the book, from military strategists and sociologist to political studies and philosophers. It is an excellent read with shades of post modern thinking throughout.

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[I826.Ebook] Free PDF Cruelty and Laughter: Forgotten Comic Literature and the Unsentimental Eighteenth Century, by Simon Dickie

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Eighteenth-century British culture is often seen as polite and sentimental—the creation of an emerging middle class. Simon Dickie�disputes these assumptions in Cruelty and Laughter, a wildly enjoyable but shocking plunge into the forgotten comic literature of the age. Beneath the surface of Enlightenment civility, Dickie uncovers a rich vein of�cruel humor�that�forces us to recognize just how slowly�ordinary human sufferings became worthy of sympathy.

Delving into an enormous archive of comic novels, jestbooks, farces, variety shows, and cartoons,�Dickie finds�a vast repository of jokes about cripples, blind men, rape, and wife-beating. Epigrams about syphilis and scurvy sit alongside one-act comedies about hunchbacks in love. He shows us that everyone—rich and poor, women as well as men—laughed along. In the process,�Dickie also expands our understanding of many of the century’s major authors, including Samuel Richardson, Lady Mary Wortley Montagu, Tobias Smollett, Frances Burney, and Jane Austen. He devotes particular attention to Henry Fielding’s Joseph Andrews, a novel that reflects repeatedly on the limits of compassion and the ethical problems of laughter. Cruelty and Laughter is an engaging, far-reaching study of the other side of culture in eighteenth-century Britain.

• Sales Rank: #2335216 in Books
• Published on: 2014-04-14
• Released on: 2011-12-01
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.13 pounds
• Binding: Paperback
• 382 pages

Review
“This book is a prodigiously erudite reminder that the eighteenth century was not just polite, but vicious. Drawing on jestbooks, verse satires, comic fiction, and a plethora of overlooked sources, Dickie depicts a literary, visual, and physical world replete with cruelty, ribald denigration, and low and bawdy humor. Skillfully combining textual exegesis with a profound knowledge of recent social history, he shows that mockery of the lower orders, beggars, and the poor; jests and japes at the expense of the crippled, deformed, and handicapped; and ribald enthusiasm for sexual violence and rape were part of a cruel social world in which the unprivileged and disadvantaged, even as they sometimes excited compassion and sympathy, were just as likely to excite a disdain that ran the full gamut of verbal and physical violence.”

(John Brewer, California Institute of Technology)

“A pioneering work. Dickie uncovers a rich, long-neglected archive and challenges received wisdom on virtually every page. A joy to read and a revelation.”

(Toni Bowers, University of Pennsylvania)

“With great verve, occasional disgust, and intermittent outrage, Simon Dickie portrays a society of entrenched hierarchies in which entitled aristocrats entertained themselves with cripple dances, libertine young bucks wreaked havoc in both popular fiction and common reality, and the poor and disabled were the inevitable butts of cruel jokes on and off the page. Working against common scholarly assumptions but backed by ample evidence, he argues that delight in the suffering of others was one thing that all classes of eighteenth-century society shared. Throughout he combines the virtues of a historian and a literary critic with a creative and self-conscious awareness of the complex relation of representation to reality. One of the most original, readable, educational, and entertaining books in the field of eighteenth-century studies I have read in the past decade.”

(Helen Deutsch, University of California, Los Angeles)

“This excellent and thoroughly researched book argues clearly that eighteenth-century readers read—and worse, enjoyed laughing at—jokes that we would find in incredibly bad taste; and in that, Dickie sees the key to the persistence of an entire way of thinking that is now lost to us. Bringing a tremendous amount of material to our attention, he takes a provocative stance against what he sees as an idealized image of the eighteenth century and points to numerous avenues for future research. Terrific and important,�Cruelty and Laughter�will be of great interest to scholars of eighteenth-century history, literature, popular culture, humor, and the history of the book.”

(John O’Brien, author of Harlequin Britain: Pantomime and Entertainment, 1690–1760 John O'Brien)

“Placing Fielding, the greatest humourist of his time, back amongst his contemporaries and responding to the comedy of his writing as his first readers would have done is a masterly stroke in this scholarly, original and highly readable book.”

(Literary Review)

“The examples [Dickie] presents are convincing—and largely shocking to modern sensibilities.”

(Barnes and Noble Review)

“Dickie unearthed a huge number of 18th-century jest books, poems, bodily dysfunction and rape jokes, ramble novels, and farces—most of them hitherto ignored or neglected—and here offers a valuable and engrossing exploration of them. . . . Highly recommended.”

(Choice)

“Dickie mounts a compelling case against what he calls ‘the politeness-sensibility paradigm,’ by resurrecting a jeering counter-discourse that reveled in human suffering and physical affliction.” (London Review of Books)

“Dickie . . . has done a brilliant job illuminating a dark side to the British psyche some 300 years ago.” (Sun News Corp)

“A brilliant and beautifully written book, Cruelty and Laughter introduces its readers to a world of violent mayhem, both rhetorical and real. . . . Such is the transformative experience of reading this book that I, for one, will never look at the mid-eighteenth century again in quite the same way.” (H-Net Reviews)

“Astonishing. . . . If you think you know the eighteenth century, you will not look at it the same way after reading this book.” (The Dispatch)

“Dickie’s book is energetic and full of perceptive detail, and assembles a great deal of little-known material.” (Claude Rawson Studies in English Literature 1500-1900)

“Dickie wants to study experience, the ‘reality’ behind the jokes, and to this end he complements his literary analysis with social history. He does a masterly job of using shreds of evidence to reconstruct not only a culture of cruel jokes but also the society from which these sprung. . . . Dickie has given us a terrific account of the unsentimental eighteenth century, deepening our understanding of how malicious laughter was an enduring element of British culture.” (Karen Harvey Journal of British Studies)

“This book is a genuinely interesting and important contribution to scholarship. Anyone interested in the comic writers of the eighteenth century will find Cruelty and Laughter worthwhile. Dickie has changed the way we should conceive of eighteenth-century humor and altered our understanding of what readers enjoyed reading. This book makes possible critical reassessments of Fielding, Smollett, Sterne, and others that take into account the reading public’s taste for cruel comedy.”� (The Eighteenth-Century Intelligencer)

“Dickie has performed a valuable service by digging deep in eighteenth-century popular (and for that matter high) culture and unearthing forgotten texts and the attitudes they project that prove his point beyond any doubt. His scholarship is thorough, indeed comprehensive, and his book is richly informative. . . . Masterful scholarship. . . . I will never again speak glibly of the Age of Sensibility.” (John Richetti Age of Johnson)

About the Author

Simon Dickie is associate professor of English at the University of Toronto.

Most helpful customer reviews

7 of 7 people found the following review helpful.
A New View of the Eighteenth Century
By Rob Hardy
If you had lived in mid-eighteenth century England, you would undoubtedly have heard the joke, and probably many times, about that jolly fellow Beau Nash, who had many tales told of him, some of which may even have been true. One day, this particular one goes, in the grove, he joined some ladies, and asked one of them, who had a crooked back, whence she came? "Straight from London," came the reply, whereupon the irrepressible Nash rejoindered, "Indeed, Madam, then you must have been confoundedly warped along the way." The story was told and retold, and printed in jestbooks over and over again because they shamelessly plagiarized each other. It brought great laughter, but a couple of centuries later, we are likely to be embarrassed by the callousness of the joke; one does not make fun of hunchbacks. Not only that, but we have the impression that eighteenth century British society had refined manners, polite interpersonal dealings, and Christian concern for all. Not a bit of it, if you look at the jokes and stories recalled in _Cruelty & Laughter: Forgotten Comic Literature and the Unsentimental Eighteenth Century_ (University of Chicago Press) by professor of English Simon Dickie. It was not just those with crooked backs that were the butts of jokes. The distasteful subjects of humor Dickie catalogues include amputees, blind people, rape victims, the indigent, dwarves, the deaf, squinters, stammerers, Welshmen, and many more. Dickie's astonishing work looks at the profuse books of jokes, the forgotten novels, and even the trial records of the age, and finds that the comparative politeness we find, say, in the novels of Jane Austen seems a completely different world. "This was not a polite world," writes Dickie, "but `an impolite world that talked much about politeness.'" The book is an eye-opener.

The lack of politeness, and even more, the aggressive and cruel humor, we might think were restricted to the lower classes, but the jestbooks quoted here were relatively expensive texts. They were often put out by the same printers who published classics, sacred literature, or sentimental novels. There were "deformity comedies," plays with a plot founded on the wooden leg, dwarfism, or hunched back of the main character. Within comedies, or used as an intermission entertainment, could be seen "crutch dances," in which humpbacks and amputees danced around, or "elephant capers" of a grossly fat dancer. It was fun to tell an old woman that sixpence had been dropped in a puddle and watch her go after the nonexistent coin. Summoning a midwife for a lady who had no need of one was quite the giggle. Among the most unpleasant founts of humor here are jokes having to do with rape. "Rape jokes are everywhere one looks: in cheap pamphlets and song sheets as well as more literary texts. The same dirty jokes show up in ballad operas and then again as asides in otherwise morbid tragedies. As they migrate across genres, these jokes take every possible form; the only constant, in fact, is that the woman is always lying." There were jokes about how rape trials were conducted, but Dickie has found from actual transcripts that there was levity in the courtroom, and appreciative laughter, for a crime that easily leant itself to guffaws. A witness for the defendant in an Old Bailey proceeding, for instance, was on the stand so that he could insult the woman who had brought charges. "She is a very vile girl," he testified. "I have seen a young man upon her with his breeches down, and her cloaths up, and another man lie by the side of her in a stable. I have laid with her a great many times myself." It is not surprising that rape cases were seldom brought to court, and once there, seldom were decided in the victim's favor.

There is a fine chapter here on the jokes and pranks undergone by the longsuffering Parson Adams in Henry Fielding's _Joseph Andrews_, showing how Fielding was to use familiar anti-cleric humor. Dickie has also surveyed far less important or familiar novels of the period ("shameless rubbish") that he seems, in some instances, to have enjoyed. This is one of the liveliest of academic books because of the nature of the subject. Dickie gives plenty of examples of humor, and a reader can enjoy laughing at the ones of lesser cruelty, and can enjoy astonishment that the crueler jokes were ever considered funny. If you think you know the eighteenth century, you will not look at it the same way after reading this book.

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[I292.Ebook] Download PDF Mastering Unity Shaders and Effects, by Jamie Dean

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Key Features

• Leverage the power of Unity 5 compatible shaders to create a variety of realistic surfaces
• Create amazing visual effects for your Unity 5.x games by blending advanced post-processing techniques and lighting effects
• Add that extra visual edge to your games by learning pro level techniques

Book Description

With the inclusion of Physically Based Shading and the Standard Shader, Unity has changed the game for independent and large scale developers alike. Never before has it been so easy to create startling high quality visuals in games and other interactive projects.

This book will give you a solid understanding of the interaction of shaders, lighting and effects in Unity 5, and give you some great ideas for how you can maximize the visual impact of your own games for PC, mobile and other platforms. In the sequence of chapters you will find solutions to some of the major challenges to the creation of responsive and realistic looking games.

As you work on example scenes, you will get to know the syntax of ShaderLab and CG languages, creating simple and complex shader solutions for a variety of different surface effects. You will see how Unity's responsive lighting solutions can be harnessed to build immersive and appealing game experiences.

What you will learn

• Build your own custom shaders to suit a variety of organic and inorganic surfaces
• Create amazing visual effects using Unity 5's improved toolset
• Compare the advantages of Metallic and Specular workflows in Unity's Physically Based Lighting System
• Take your Unity 5 project to the next level with advanced real-time and baked lighting methods
• Design powerful particle effects
• Find out how shaders, materials, and scripts work together within the Unity framework
• Develop high-end and optimized game visuals suitable for mobile devices and other platforms

About the Author

Jamie Dean is a game artist, instructor, and freelancer, with over seven years of teaching experience in higher education. He is currently focused on developing content for mobile games.

Jamie also wrote Unity Character Animation with Mecanim, Packt Publishing, in 2015.

Table of Contents

Getting to Grips with Standard Shaders

Creating Custom Shaders

Working with Lighting and Light-Emitting Surfaces

Animating Surfaces with Code and Shaders

Exploring Transparent Surfaces and Effects

Working with Specular and Metallic Surfaces

Shaders for Organic Surfaces

Custom Particle Shaders Smoke, Steam, and Fluids

Optimizing Shaders for Mobile

• Sales Rank: #442004 in Books
• Published on: 2016-09-28
• Released on: 2016-09-28
• Original language: English
• Dimensions: 9.25" h x .60" w x 7.50" l,
• Binding: Paperback
• 266 pages

About the Author
Jamie Dean Jamie Dean is a game artist, instructor, and freelancer, with over seven years of teaching experience in higher education. He is currently focused on developing content for mobile games. Jamie also wrote Unity Character Animation with Mecanim, Packt Publishing, in 2015.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Five Stars
By Keppla
Great Book. Recommended!

1 of 1 people found the following review helpful.
tip of the iceburg
By Dana P. Muise
There are not a whole lot of books out there that teach the basics of Unity shaders. This one is pretty good, I literally went through every single exercise in it and here's what I think:
Pros: the book doesn't get all mucked up in trying to teach you common shader syntax, it jumps right into exercises. They are fun too, set up in a Unity game development perspective. I can tell the author is trying to make a complicated subject fun and they are successful. There are some awesome tricks shown here: animating with textures, lighting effects and controlling materials with script.
Cons: This book is too expensive, given the very poor printing quality. Grey scale photos are hard to see and typos abound. I originally bought this book to learn more about Shader programming. Writing shaders in Unity Cg is complicated. This book does have you writing Cg but does a lot of hand-wavey explanations of what you are writing. It's more a recipe, you copy what the author tells you and it works. You never really understand what it means. This not a book for developers looking to be proficient shader writers.

1 of 1 people found the following review helpful.
Excellent Resource
By Amazon Customer
Unlike other software books, this title comes with ready-to-go game scenes, letting you quickly prototype and test shaders in real time. The shaders are compatible with the current Unity 5 lighting system and the code is explained really well.

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