Garfield lives his life to the fullest . . . 9 times! Cave Cat -- the first cat crawled out of the sea 10 million years ago. He was happy to be out of the water -- until he met Big Bob! The Vikings -- he was big, he was mean, he was a Viking. Garfield the Orange had looted a lot of cities, but none like St. Paul, Minnesota. Babes and Bullets -- Sam Spayed wasn't the best private investigator in the world, but he did have one terrific thing going for him -- a secretary who made a great cup of coffee. The Exterminators -- no mouse was safe from the exterminators. Catching mice was their life. It wasn't a pretty job -- especially the way they did it. Lab Animal -- specimen 19-GB was not happy at the prospect of being dissected, so he did something about it. What happened set the federal government on its ear. The Garden -- life was a carefree romp among hovering harmonicas for Cloey and the orange kitten . . . until they confronted the crystal box. Primal Self -- he was an ordinary house cat leading an ordinary existence. A shadowy memory from another time changed all that. Garfield -- the marvelous cat we all know and love. This is his life in a nutshell. Space Cat -- he was lost in space with a computer built by the lowest bidder. And, he was not about to let his life slip away that easily.

Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!

Cult, as used in this book, means a system of religious belief and worship, especially the rites and ceremonies employed in such worship. The present book treats of the cults of a few of the Siouan tribes—that is, with two exceptions, of such tribes as have been visited by the author. "Siouan" is a term originated by the Bureau of Ethnology. It is derived from "Sioux," the popular name for those Indians who call themselves "Dakota" or "Lakota," the latter being the Teton appellation. "Siouan" is used as an adjective, but, unlike its primitive, it refers not only to the Dakota tribes, but also to the entire linguistic stock or family. The Siouan family includes the Dakota, Assiniboin, Omaha, Ponka, Osage, Kansa, Kwapa, Iowa, Oto, Missouri, Winnebago, Mandan, Hidatsa, Crow, Tutelo, Biloxi, Catawba, and other Indians.

This book surveys the entire range of crime films, including important subgenres such as the gangster film, the private eye film, film noir, as well as the victim film, the erotic thriller, and the crime comedy. Focusing on ten films that span the range of the twentieth century, Thomas Leitch traces the transformation of the three leading figures that are common to all crime films: the criminal, the victim and the avenger. Analyzing how each of the subgenres establishes oppositions among its ritual antagonists, he shows how the distinctions among them become blurred throughout the course of the century. This blurring, Leitch maintains, reflects and fosters a deep social ambivalence towards crime and criminals, while the criminal, victim and avenger characters effectively map the shifting relations between subgenres, such as the erotic thriller and the police film, within the larger genre of crime film that informs them all.

This collection of essays addresses emergent trends in the meeting of the disciplines of phenomenology and performance. It brings together major scholars in the field, dealing with phenomenological approaches to dance, theatre, performance, embodiment, audience, and everyday performance of self. It argues that despite the wide variety of philosophical, ontological, epistemological, historical and methodological differences across the field of phenomenology, certain tendencies and impulses are required for an investigation to stand as truly phenomenological. These include: description of experience; a move towards fundamental conditions or underlying essences; and an examination of taken-for-granted presuppositions. The book is aimed at scholars and practitioners of performance looking to deepen their understanding of phenomenological concepts and methods, and philosophers concerned with issues of embodiment, performativity and enaction.