a hopeful journey through combinations of words - from poets on opposite sides of the world

Lecture course at the College de France (1977-1978).

The Routledge Companion to Research in the Arts is a major collection of new writings on research in the creative and performing arts by leading authorities from around the world. It provides theoretical and practical approaches to identifying, structuring and resolving some of the key issues in the debate about the nature of research in the arts which have surfaced during the establishment of this subject over the last decade. Contributions are located in the contemporary intellectual environment of research in the arts, and more widely in the universities, in the strategic and political environment of national research funding, and in the international environment of trans-national cooperation and communication. The book is divided into three principal sections – Foundations, Voices and Contexts – each with an introduction from the editors highlighting the main issues, agreements and debates in each section. The Routledge Companion to Research in the Arts addresses a wide variety of concepts and issues, including: the diversity of views on what constitutes arts-based research and scholarship, what it should be, and its potential contribution the trans-national communication difficulties arising from terminological and ontological differences in arts-based research traditional and non-traditional concepts of knowledge, their relationship to professional practice, and their outcomes and audiences a consideration of the role of written, spoken and artefact-based languages in the formation and communication of understandings. This comprehensive collection makes an original and significant contribution to the field of arts-based research by setting down a framework for addressing these, and other, topical issues. It will be essential reading for research managers and policy-makers in research councils and universities, as well as individual researchers, research supervisors and doctoral candidates.

In this humorous, rhyming story a little girl's attempts to befriend a monster lead from one disaster to the next. All is not lost though as this unlikely pair may have more in common than you think.

Written by the winner of IBBY's Best Book Award, Mohammad Hadi Mohammadi, In the Meadow of Fantasies is one girl's luminous escapade into a land of seven mysterious horses. A young girl with a physical disability gazes up at a mobile of spinning horses from her little pink bed in her room filled with leafy plants. As she watches them prance about, the tufted snout of a real live horse peeks through her bedroom door. Soon enough, our bright protagonist is off and cantering on an adventure with seven majestic horses. The first six are easily understood: their colors, dreams, families, and origins are described and accompanied with exquisite drawings. The seventh horse, however, is an enigmatic creature with no clear hue or history, a lack that is soon filled in by the loving offerings of the other ponies. A story about dreaming and about caring for others, In the Meadow of Fantasies will remind young readers of their own reveries and conjure new fantasies of friendly creatures in far off lands.

Doctrine provides a military organization with unity of effort and a common philosophy, language, and purpose. This manual, "Theater Army Operations" (FM3-93), discusses the organization and operations of the theater army headquarters, including its role as the Army Service component command (ASCC) to the geographic combatant commander (GCC) and the relationships between the theater army headquarters and the theater enabling commands. The manual also discusses theater army responsibilities for setting the theater, Title 10 functions and responsibilities, generally referred to as the combatant commander's daily operations requirements, as well as the operational employment of the theater army's contingency command post (CCP) to directly mission command limited types of operations.

Foreword and essay by Doug Ashford. Introduction by Anne Pasternak.