Niemi (Mehr als 1.300 Ergebnisse)

Paperback. Zustand: Good. From Patrick Swayze's widow--the moving, New York Times bestselling account of grief, loss, caregiving, and moving on, with touching stories from their final months together. When Lisa Niemi first exchanged vows with Patrick Swayze, she promised to be with her husband "till death do us part." But how many couples stop and think about what that truly means? Worth Fighting For is both a candid tribute to a marriage and a celebration of the healing power that each day holds, even in the most difficult of circumstances. Lisa shares the details of Patrick's twenty-one-month battle with Stage IV pancreatic cancer, and she describes his last days, when she simply tried to keep him comfortable. She writes with heartbreaking honesty about her grief in the aftermath of his death and openly discusses the challenges that the years without him have posed. Her story is an emotionally honest and unflinching depiction of loss, but it is also a hopeful and life-affirming exploration of the power of the human spirit. "I tell you, I am a different person now," she writes, "one who has been thrown into the fire and forged.".…

Paperback. Zustand: Very Good. In a controversial and tumultuous filmmaking career that spanned nearly fifty years, Robert Altman mocked, subverted, or otherwise refashioned Hollywood narrative and genre conventions. Altman's idiosyncratic vision and propensity for formal experimentation resulted in an uneven body of work: some rank failures and intriguing near-misses, as well as a number of great films that are among the most influential works of New American Cinema. While Altman always professed to have nothing authoritative to say about the state of contemporary society, this volume surveys all of his major films in their sociohistorical context to reposition the director as a trenchant satirist and social critic of postmodern America, depicted as a lonely wasteland of fraudulent spectacle, exploitative social relations, and unfulfilled solitaries in search of elusive community.…

Hardback. Zustand: Good. From Patrick Swayze's widow--the moving, New York Times bestselling account of grief, loss, caregiving, and moving on, with touching stories from their final months together. When Lisa Niemi first exchanged vows with Patrick Swayze, she promised to be with her husband till death do us part. But how many couples stop and think about what that truly means? Worth Fighting For is both a candid tribute to a marriage and a celebration of the healing power that each day holds, even in the most difficult of circumstances. Lisa shares the details of Patrick's twenty-one-month battle with Stage IV pancreatic cancer, and she describes his last days, when she simply tried to keep him comfortable. She writes with heartbreaking honesty about her grief in the aftermath of his death and openly discusses the challenges that the years without him have posed. Her story is an emotionally honest and unflinching depiction of loss, but it is also a hopeful and life-affirming exploration of the power of the human spirit. I tell you, I am a different person now, she writes, one who has been thrown into the fire and forged.…

Paperback. Zustand: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting. Niemi, Alina (illustrator).

Paperback. Zustand: Good. Brings together the best work in the study of American voting behavior. This title includes election turnout, political sophistication, vote determinants, congressional and state elections, party identification, and historical perspectives.

Paperback. Zustand: Fair. Reprint. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

Paperback. Zustand: Very Good. In the space of the thirty-some years I have called myself a storyteller, the balance of what I tell has shifted from children''s stories and traditional folk and fairy tales told in schools, churches, and community centers to stories drawn directly from my own experiences. But I also understand that by adapting and re-imagining traditional folk and fairy tale material, you can provide a point of entry for contemporary listeners to experience, as psychologist Bruno Bettelheim has suggested in his book The Uses of Enchantment, the continuing power of the old stories to speak to the imagination and heart.             Wanting to make a connection between the older stories and our existential circumstance, I sought to re-interpret folk and fairy tales by placing them in a more contemporary context. The confusing Black Forest of the Brothers Grimm became the crowded shopping mall. Rapunzel''s mother sought a more familiar drug than the painkilling herbs of the witch''s garden. I also created stories that were in the style of the older folk and fairy tales. One featured a lowly cucumber plant that, after consuming radioactive water and junk-food compost, became the glowing, green Godzilla of pickles. Another featured a boy named Jack, who found fame and fortune racing inner-city cockroaches.             In creating and performing original stories and reimagined folk tales, as well as teaching stories to students of all ages, it has become clear to me that how we tell the story, as much as why, is at the very heart of the art. By "how," I do not mean how we use voice and gesture, etc., but how we organize stories to get across their meanings to an audience.             There are two central facts at the heart of the oral story. The first is that it begins when the teller begins and ends when the teller ends it, though I could argue that it actually ends when the audience dismisses it. This is fundamentally different from the written story, where a reader can go back and read the same words again. With the spoken word, we are in the moment. Even if we could ask the teller to go back and say something again, the very act of asking would alter the way in which the information is conveyed to us. This leads directly to the second basic fact: the act of telling is an expression of the relationship of the teller to the audience. We always tell to someone, even if it is to ourselves. It is incumbent upon us to recognize that the choice we make about how we tell a story to a given audience is as much about our understanding of who that audience is as it is about what we are saying to the audience. It is this crucial understanding of how the narrative is shaped and the choices we make as tellers to share a particular version of a story with a particular audience that I wish to explore with you. Whether we are working with a live audience in performance or with an imagined one while typing away on our laptops, the creation of compelling fiction and non-fiction begins with how to frame the story.              This book is for storytellers and would-be storytellers, whether you call yourself a writer, minister, politician, journalist, lawyer, teacher, therapist, or street-corner b.s.''er. Whatever the name, the benefit you derive from the application of this material to your creative process will come from understanding how narrative is shaped and making conscious decisions about shaping that narrative content. This book was developed in workshops and classes I''ve conducted with storytellers and writers since 1986. In the course of those years, this teaching practice has refined my thinking and improved my ability to help participants discover new approaches to creating powerful, authentic, and entertaining stories. Much of what I say will be framed around the creation of stories as oral performance, but the concepts and exercises I suggest apply to written material as well. Whether the stories are oral or written, this book is about three things: the choice of an appropriate narrative form to provide the story''s structure, the choice of an appropriate point of view and timeframe to support the story''s emotional arc, and how those choices help or hinder the transmission of the meaning of the story to an audience.…

Paperback. Zustand: Very Good. From the widow of Patrick Swayze, a remarkably moving account of grief and moving on, with never-before-revealed stories from Patrick's final months.

Paperback. Zustand: Good. In the space of the thirty-some years I have called myself a storyteller, the balance of what I tell has shifted from children''s stories and traditional folk and fairy tales told in schools, churches, and community centers to stories drawn directly from my own experiences. But I also understand that by adapting and re-imagining traditional folk and fairy tale material, you can provide a point of entry for contemporary listeners to experience, as psychologist Bruno Bettelheim has suggested in his book The Uses of Enchantment, the continuing power of the old stories to speak to the imagination and heart.             Wanting to make a connection between the older stories and our existential circumstance, I sought to re-interpret folk and fairy tales by placing them in a more contemporary context. The confusing Black Forest of the Brothers Grimm became the crowded shopping mall. Rapunzel''s mother sought a more familiar drug than the painkilling herbs of the witch''s garden. I also created stories that were in the style of the older folk and fairy tales. One featured a lowly cucumber plant that, after consuming radioactive water and junk-food compost, became the glowing, green Godzilla of pickles. Another featured a boy named Jack, who found fame and fortune racing inner-city cockroaches.             In creating and performing original stories and reimagined folk tales, as well as teaching stories to students of all ages, it has become clear to me that how we tell the story, as much as why, is at the very heart of the art. By "how," I do not mean how we use voice and gesture, etc., but how we organize stories to get across their meanings to an audience.             There are two central facts at the heart of the oral story. The first is that it begins when the teller begins and ends when the teller ends it, though I could argue that it actually ends when the audience dismisses it. This is fundamentally different from the written story, where a reader can go back and read the same words again. With the spoken word, we are in the moment. Even if we could ask the teller to go back and say something again, the very act of asking would alter the way in which the information is conveyed to us. This leads directly to the second basic fact: the act of telling is an expression of the relationship of the teller to the audience. We always tell to someone, even if it is to ourselves. It is incumbent upon us to recognize that the choice we make about how we tell a story to a given audience is as much about our understanding of who that audience is as it is about what we are saying to the audience. It is this crucial understanding of how the narrative is shaped and the choices we make as tellers to share a particular version of a story with a particular audience that I wish to explore with you. Whether we are working with a live audience in performance or with an imagined one while typing away on our laptops, the creation of compelling fiction and non-fiction begins with how to frame the story.              This book is for storytellers and would-be storytellers, whether you call yourself a writer, minister, politician, journalist, lawyer, teacher, therapist, or street-corner b.s.''er. Whatever the name, the benefit you derive from the application of this material to your creative process will come from understanding how narrative is shaped and making conscious decisions about shaping that narrative content. This book was developed in workshops and classes I''ve conducted with storytellers and writers since 1986. In the course of those years, this teaching practice has refined my thinking and improved my ability to help participants discover new approaches to creating powerful, authentic, and entertaining stories. Much of what I say will be framed around the creation of stories as oral performance, but the concepts and exercises I suggest apply to written material as well. Whether the stories are oral or written, this book is about three things: the choice of an appropriate narrative form to provide the story''s structure, the choice of an appropriate point of view and timeframe to support the story''s emotional arc, and how those choices help or hinder the transmission of the meaning of the story to an audience. …

Paperback. Zustand: Very Good. First Edition, 1st. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Zustand: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Zustand: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting. Workbook.

Hardcover. Zustand: Fair. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

Hardcover. Zustand: Very Good. With dust jacket. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Zustand: Fair. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

Paperback. Zustand: Fair.

Paperback. Zustand: Very Good.

Paperback. Zustand: Good. Translated by Laurie Thompson A Top-Ten BookSense 76 pick Popular Music from Vittula tells the fantastical story of a young boy's unordinary existence, peopled by a visiting African priest, a witch in the heart of the forest, cousins from Missouri, an old Nazi, a beautiful girl with a black Volvo, silent men and tough women, a champion-bicyclist music teacher with a thumb in the middle of his hand, and, not least, on a shiny vinyl disk, the Beatles. The story unfolds in sweltering wood saunas; amidst chain thrashings and gang warfare; learning to play the guitar in the garage; over a traditional wedding meal; on the way to China; during drinking competitions; while learning secret languages, playing ice hockey surrounded by snow drifts, outsmarting mice, discovering girls, staging a first rock concert, peeing in the snow, skiing under a sparkling midnight sky. More generally, Popular Music from Vittula offers a tender glimpse into a less trendy Sweden. Miles away from the urbane Stockholm or fashionable Malm in the south, Vittula is almost another universe, surrounded by tundra and taiga, forest and potato field. In Vittula, one is as likely to speak Finnish as Swedish, and young boys and old folk alike may distill homemade alcohol from yeast and sugar. Laurie Thompson's brilliant translation from the Swedish allows us to enjoy the silent, surprising beauty of Mikael Niemi's prose. Here is language that is humorous and lively and sad, an imaginative and a truly original fiction.…

Hardcover. Zustand: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. Missing dust jacket; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. Missing dust jacket; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. Missing dust jacket; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. Missing dust jacket; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.