LEADER 02071nam 2200577 a 450 001 9910461858003321 005 20210726213112.0 010 $a1-280-59920-0 010 $a9786613629036 010 $a0-231-52008-5 035 $a(CKB)2670000000187158 035 $a(OCoLC)787845148 035 $a(CaPaEBR)ebrary10538326 035 $a(MiAaPQ)EBC908677 035 $a(Au-PeEL)EBL908677 035 $a(CaPaEBR)ebr10538326 035 $a(CaONFJC)MIL362903 035 $a(OCoLC)826476340 035 $a(EXLCZ)992670000000187158 100 $a20090403d2009 uy 0 101 0 $aeng 135 $aurcn||||||||| 200 10$aFirestorm$b[electronic resource] $eAmerican film in the age of terrorism /$fStephen Prince 210 $aNew York $cColumbia University Press$dc2009 215 $a1 online resource (401 p.) 311 $a0-231-14871-2 320 $aIncludes bibliographical references and index. 320 $aIncludes filmography. 327 $aIntroduction -- Theater of mass destruction -- Shadows once removed -- Ground Zero in focus -- Battleground Iraq -- Terrorism on the small screen -- No end in sight. 606 $aMotion pictures$zUnited States$xHistory$y21st century 606 $aSeptember 11 Terrorist Attacks, 2001$xInfluence 606 $aMotion pictures$xPolitical aspects$zUnited States 606 $aTerrorism in motion pictures 606 $aPsychic trauma in motion pictures 606 $aWar films$xHistory and criticism 608 $aElectronic books. 615 0$aMotion pictures$xHistory 615 0$aSeptember 11 Terrorist Attacks, 2001$xInfluence. 615 0$aMotion pictures$xPolitical aspects 615 0$aTerrorism in motion pictures. 615 0$aPsychic trauma in motion pictures. 615 0$aWar films$xHistory and criticism. 676 $a791.43/6552 700 $aPrince$b Stephen$f1955-2020.$01019991 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910461858003321 996 $aFirestorm$92480074 997 $aUNINA LEADER 03554nam 2200709 a 450 001 9910454148203321 005 20200520144314.0 010 $a9786612004988 010 $a1-282-00498-0 010 $a0-226-64195-3 024 7 $a10.7208/9780226641959 035 $a(CKB)1000000000707190 035 $a(EBL)432141 035 $a(OCoLC)471133760 035 $a(SSID)ssj0000282471 035 $a(PQKBManifestationID)11220191 035 $a(PQKBTitleCode)TC0000282471 035 $a(PQKBWorkID)10317199 035 $a(PQKB)10607869 035 $a(StDuBDS)EDZ0000123092 035 $a(MiAaPQ)EBC432141 035 $a(DE-B1597)523593 035 $a(OCoLC)1135571407 035 $a(DE-B1597)9780226641959 035 $a(Au-PeEL)EBL432141 035 $a(CaPaEBR)ebr10280043 035 $a(CaONFJC)MIL200498 035 $a(EXLCZ)991000000000707190 100 $a20070307d2007 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aOn the nature of limbs$b[electronic resource] $ea discourse /$fRichard Owen ; with a preface by Brian K. Hall ; with introductory essays by Ron Amundson ... [et. al] 205 $aUniversity of Chicago Press ed. 210 $aChicago $cUniversity of Chicago Press$d2007 215 $a1 online resource (231 p.) 300 $aDescription based upon print version of record. 311 $a0-226-64193-7 311 $a0-226-64194-5 320 $aIncludes bibliographical references. 327 $tFrontmatter -- $tContents -- $tPreface -- $t"Richard Owen and Animal Form" -- $t"Richard Owen's Quadrophenia: The Pull of Opposing Forces in Victorian Cosmogony" -- $t"The Mystery of Richard Owen's Winged Bull-Slayer" -- $tOn the Nature of Limbs -- $tPlates 330 $aThe most prominent naturalist in Britain before Charles Darwin, Richard Owen made empirical discoveries and offered theoretical innovations that were crucial to the proof of evolution. Among his many lasting contributions to science was the first clear definition of the term homology-"the same organ in different animals under every variety of form and function." He also graphically demonstrated that all vertebrate species were built on the same skeletal plan and devised the vertebrate archetype as a representation of the simplest common form of all vertebrates. Just as Darwin's ideas continue to propel the modern study of adaptation, so too will Owen's contributions fuel the new interest in homology, organic form, and evolutionary developmental biology. His theory of the archetype and his views on species origins were first offered to the general public in On the Nature of Limbs, published in 1849. It reemerges here in a facsimile edition with introductory essays by prominent historians, philosophers, and practitioners from the modern evo-devo community. 606 $aExtremities (Anatomy)$xEvolution 608 $aElectronic books. 615 0$aExtremities (Anatomy)$xEvolution. 676 $a571.3/1 700 $aOwen$b Richard$f1804-1892.$0236556 701 $aAmundson$b Ronald$0988287 701 $aCoggon$b Jennifer$0988288 701 $aHall$b Brian K$0149974 701 $aPadian$b Kevin$0988289 701 $aWinsor$b Mary P$0988290 702 $aAmundson$b Ronald, $4edt$4http://id.loc.gov/vocabulary/relators/edt 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910454148203321 996 $aOn the nature of limbs$92259957 997 $aUNINA LEADER 02770nam 2200553Ia 450 001 9910786574103321 005 20230801225723.0 010 $a1-283-85363-9 010 $a1-4081-9077-X 035 $a(CKB)2670000000309759 035 $a(EBL)1080379 035 $a(SSID)ssj0000942410 035 $a(PQKBManifestationID)11566006 035 $a(PQKBTitleCode)TC0000942410 035 $a(PQKBWorkID)10972117 035 $a(PQKB)10280800 035 $a(MiAaPQ)EBC1080379 035 $a(EXLCZ)992670000000309759 100 $a20500101d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPresent indicative$b[electronic resource] /$fNoel Coward, with an introduction by Sheridan Morley 210 $aLondon $cMethuen Drama$d2012 215 $a1 online resource (353 p.) 225 1 $aBiography and Autobiography 300 $aIncludes index. 311 $a0-413-77413-9 327 $aCover; Contents; Introduction; Present Indicative; PART ONE; 1; 2; 3; 4; 5; 6; 7; 8; 9; 10; 11; 12; 13; 14; 15; 16; 17; 18; 19; 20; 21; 22; PART TWO; 1; 2; 3; 4; 5; PART THREE; 1; 2; 3; 4; 5; 6; 7; 8; 9; 10; 11; 12; PART FOUR; 1; 2; 3; 4; 5; PART FIVE; 1; 2; 3; 4; 5; 6; 7; 8; 9; 10; 11; 12; PART SIX; 1; 2; 3; 4; 5; 6; 7; 8; 9; 10; 11; 12; 13; 14; 15; 16; 17; 18; 19; 20; 21; 22; PART SEVEN; 1; 2; 3; PART EIGHT; 2; 3; 4; 5; 6; 7; 8; 9; 10; 11; 12; 13; 14; 15; 16; 17; 18; PART NINE; 1; 2; 3; 4; 5; 6; 7; 8; 9; 10; 11; 12; 13; 14; 15; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S 327 $aTU; V; W; Y; Z 330 $a""I was photographed naked on a cushion very early in life, an insane, toothless smile slitting my face and pleats of fat overlapping me like an ill-fitting overcoat. Later, at the age of two, I was photographed again. This time in a lace dress, leaning against a garden roller and laughing hysterically. If these photographs can be found they will adorn this book."" Thus begins the life story of one of the most celebrated characters in British theatrical history, in the first of Coward''s autobiographies, first published in 1937. Displaying an early dedication to the theatre, Present Indicative 410 0$aBiography and Autobiography 606 $aDramatists, English$y20th century$vBiography 606 $aActors$zGreat Britain$vBiography 615 0$aDramatists, English 615 0$aActors 676 $a822.912 676 $a822/.912 700 $aCoward$b Noe?l$f1899-1973.$0131529 701 $aMorley$b Sheridan$f1941-2007.$0222453 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910786574103321 996 $aPresent indicative$93747359 997 $aUNINA