There is, in the human soul, as in the depths of the ocean, a state of eternal calm. Around it the waves of unrest may surge and roar but there peace reigns. In that sanctuary the tides are born and, in their appointed time, swelling and rising, they carry the poor jetsam and flotsam of life before them. The tide was rising in the soul of Meredith Thornton; she was awake at last. Awake as people are who have lived with their faculties drugged. The condition was partly due to the education and training of the woman, and largely to her own ability in the past to close her senses to any conception of life that differed from her desires. She had always been like that. She loved beauty and music; she loved goodness and happiness; she loved them whom she loved so well that she shut all others out. Consequently, when Life tore her defences away she had no guidance upon which to depend but that which had lain hidden in the secret place of her soul.

The Shield of Silence looks at the culture of the workplace and its impact on women and other groups who bear the impact of sexual harassment, bullying, lewd and inappropriate remarks, and other behaviors that can negatively impact the experiences of people each day.

In ancient Greece, the spoken word connoted power, whether in the free speech accorded to citizens or in the voice of the poet, whose song was thought to know no earthly bounds. But how did silence fit into the mental framework of a society that valued speech so highly? Here Silvia Montiglio provides the first comprehensive investigation into silence as a distinctive and meaningful phenomenon in archaic and classical Greece. Arguing that the notion of silence is not a universal given but is rather situated in a complex network of associations and values, Montiglio seeks to establish general principles for understanding silence through analyses of cultural practices, including religion, literature, and law. Unlike the silence of a Christian before an ineffable God, which signifies the uselessness of words, silence in Greek religion paradoxically expresses the power of logos--for example, during prayer and sacrifice, it serves as a shield against words that could offend the gods. Montiglio goes on to explore silence in the world of the epic hero, where words are equated with action and their absence signals paralysis or tension in power relationships. Her other examples include oratory, a practice in which citizens must balance their words with silence in very complex ways in order to show that they do not abuse their right to speak. Inquiries into lyric poetry, drama, medical writings, and historiography round out this unprecedented study, revealing silence as a force in its own right.

Even a brief comparison with its canonical counterparts demonstrates that the Gospel of Luke is preoccupied with the power of spoken words; still, words alone do not make a language. Just as music without silence collapses into cacophony, so speech without silence signifies nothing: silences are the invisible, inaudible cement that hold the entire edifice together. Though scholars across diverse disciplines have analyzed silence in terms of its contexts, sources, and functions, these insights have barely begun to make inroads in biblical studies. Utilizing conceptual tools from narratology and reader-response criticism, this study is an initial exploration of largely uncharted territory – the various ways that narrative intersections of speech and silences function together rhetorically in Luke’s Gospel. Considering speech and silence to be mutually constituted in intricate and inextricable ways, Dinkler demonstrates that attention to both characters’ silences and the narrator’s silences helps to illuminate plot, characterization, theme, and readerly experience in Luke’s Gospel. Focusing on both speech and silence reveals that the Lukan narrator seeks to shape readers into ideal witnesses who use speech and silence in particular ways; Luke can be read as an early Christian proclamation – not only of the gospel message – but also of the proper ways to use speech and silence in light of that message. Thus, we find that speech and silence are significant matters of concern within the Lukan story and that speech and silence are significant tools used in its telling.

“The alpha author of paranormal romance” (Booklist) draws us back into her extraordinary Psy-Changeling world, a world torn between violence and peace, passion and ice... Assassin. Soldier. Arrow. That is who Vasic is, who he will always be. His soul drenched in blood, his conscience heavy with the weight of all he’s done, he exists in the shadows, far from the hope his people can almost touch—if only they do not first drown in the murderous insanity of a lethal contagion. To stop the wave of death, Vasic must complete the simplest and most difficult mission of his life. For if the Psy race is to survive, the empaths must wake… Having rebuilt her life after medical “treatment” that violated her mind and sought to suffocate her abilities, Ivy should have run from the black-clad Arrow with eyes of winter frost. But Ivy Jane has never done what she should. Now, she’ll fight for her people, and for this Arrow who stands as her living shield, yet believes he is beyond redemption. But as the world turns to screaming crimson, even Ivy’s fierce will may not be enough to save Vasic from the cold darkness…

Documenting the Documentary features essays by 27 film scholars from a wide range of critical and theoretical perspectives. Each essay focuses on one or two important documentaries, engaging in questions surrounding ethics, ideology, politics, power, race, gender, and representation-but always in terms of how they arise out of or are involved in the reading of specific documentaries as particular textual constructions. By closely reading documentaries as rich visual works, this anthology fills a void in the critical writing on documentaries, which tends to privilege production over aesthetic pleasure. As we increasingly perceive and comprehend the world through visual media, understanding the textual strategies by which individual documentaries are organized has become critically important. Documenting the Documentary offers clear, serious, and insightful analyses of documentary films, and is a welcome balance between theory and criticism, abstract conceptualization and concrete analysis.

Hadrian Marlowe, a man revered as a hero and despised as a murderer, chronicles his tale in the galaxy-spanning debut of the Sun Eater series, merging the best of space opera and epic fantasy. It was not his war. The galaxy remembers him as a hero: the man who burned every last alien Cielcin from the sky. They remember him as a monster: the devil who destroyed a sun, casually annihilating four billion human lives—even the Emperor himself—against Imperial orders. But Hadrian was not a hero. He was not a monster. He was not even a soldier. On the wrong planet, at the right time, for the best reasons, Hadrian Marlowe starts down a path that can only end in fire. He flees his father and a future as a torturer only to be left stranded on a strange, backwater world. Forced to fight as a gladiator and navigate the intrigues of a foreign planetary court, Hadrian must fight a war he did not start, for an Empire he does not love, against an enemy he will never understand.