When Raina Beck is given an invitation to The Players Club, all she wants is a night of decadence with a gorgeous, sexy stranger. The seductive, mysterious man she meets fulfills her deepest desires, giving her a night she’ll never forget. But forgetting him isn’t quite so easy. Logan Cruz prefers his women submissive and compliant in the bedroom…everything the independent Raina is not. Yet from the first moment he lays eyes on her, he’s determined to make Raina his. Despite her resistance. When Logan is assigned to protect Raina from a stalker, everything between them changes and emotions run deep. Falling in love was never on Raina’s agenda, but can she let go of the past and surrender the one thing he wants the most . . . her heart?

Dogma 95, the avant-garde filmmaking movement founded by the Danish director Lars von Trier and three of his fellow directors, was launched in 1995 at an elite cinema conference in Paris—when von Trier was called upon to speak about the future of film but instead showered the audience with pamphlets announcing the new movement and its manifesto. A refreshingly original critical commentary on the director and his practice, Playing the Waves is a paramount addition to one of new media’s most provocative genres: games and gaming. Playing the Waves cleverly puns on the title of one of von Trier’s most famous features and argues that Dogma 95, like much of the director’s low-budget realist productions, is a game that takes cinema beyond the traditional confines of film aesthetics and dramatic rules. Simons articulates the ways in which von Trier redefines the practice of filmmaking as a rule-bound activity, and stipulates the forms and structures of games von Trier brings to bear on his films, as well as the sobering lessons he draws from economic and evolutionary game theory. Much like the director’s films, this fascinating volume takes the traditional point of view of film theory and film aesthetics to the next level and demonstrates we have much to learn from the perspective of game studies and game theory.

There is no question that life is definitely more fun when we win. Unfortunately, many of us are just drifting through life while often facing defeat at every turn. We long to improve our relationships, our health, and our finances, but for many of us, it seems as though we are just getting by in life. The good news is that God does not want us just to survive so that we can enjoy eternity. God wants for us the same thing that we all want for ourselvesto win in life. He wants for us to win in our relationships, in our health, and in our finances. This book will help you do just that. Winning begins with a brief self-assessment that encourages honest reflection on the kinds of behaviors that trigger freedom, peace, and inner strength. Travis Moody, a former college athlete and corporate executive turned life coach and stewardship consultant relies on his personal experiencesboth good and badto provide practical and spiritual advice intended to help you move from merely surviving to living a life of success and ultimately a life fulfilling your own unique purpose. In this step-by-step guide, you will learn how to win in every area of your life.

The argument of the present book is based on a comparison of two Shakespearean figures: the Fool of Lear and Iago from Othello. Regarding the number of the obvious differences between the Fool and Iago, a question may be raised as to the validity of such an undertaking. The characters clearly embody opposite poles of behaviour and even their function may be contrasted. It is enough just to think of the Fool who always utters the truth, while Iago is the great liar and deceiver. The Fool says things that are true but difficult to accept, while Iago tells credible lies. If we leave out the character of the Fool from the play (as he was indeed left out after Shakespeare had been ironed to fit the neoclassical taste) the play may still be called The Tragedy of King Lear, while Othello without Iago is just unimaginable. The Fool is not an intriguer, he does not have a direct effect on the events, he is rather a mere commentator, while Iago is the engine of the plot in his play. Still, in spite of all these differences, there are a number of generic, dramatic and functional similarities between them that I would like to expand.

This third book in the Differentiation in Practice series presents annotated lesson plans to illustrate how real teachers incorporate differentiation principles and strategies throughout an entire instructional unit.