Hydrogeology, Water Quality, and Ecology of Anderton Branch Near Quail Hollow Landfill, Bedford County, Tennessee, 1995-99 PDF Download
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Author: James J. Farmer
Publisher:
ISBN:
Category : Fills (Earthwork)
Languages : en
Pages : 78
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Book Description
Author: James J. Farmer
Publisher:
ISBN:
Category : Fills (Earthwork)
Languages : en
Pages : 78
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Book Description
Author:
Publisher: DIANE Publishing
ISBN: 1428984216
Category :
Languages : en
Pages : 38
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Book Description
Author: James J. Farmer
Publisher:
ISBN:
Category : Fills (Earthwork)
Languages : en
Pages : 44
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Book Description
Author:
Publisher:
ISBN:
Category : Earth sciences
Languages : en
Pages : 182
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Book Description
Author: David Phillip Mau
Publisher:
ISBN:
Category : Drinking water
Languages : en
Pages : 432
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Book Description
Author:
Publisher:
ISBN:
Category : Government publications
Languages : en
Pages : 1102
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Book Description
Author: United States. Army. Corps of Engineers
Publisher:
ISBN:
Category : Flood control
Languages : en
Pages : 32
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Book Description
Author: Robert B. Williams
Publisher: Van Nostrand Reinhold Company
ISBN:
Category : Technology & Engineering
Languages : en
Pages : 1136
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Book Description
Author: Shyon Baumann
Publisher: Princeton University Press
ISBN: 0691187282
Category : Performing Arts
Languages : en
Pages : 242
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Book Description
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
Author: Jack London
Publisher: IndyPublish.com
ISBN:
Category : Fiction
Languages : en
Pages : 572
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Book Description
JACK LONDON (1876-1916), American novelist, born in San Francisco, the son of an itinerant astrologer and a spiritualist mother. He grew up in poverty, scratching a living in various legal and illegal ways -robbing the oyster beds, working in a canning factory and a jute mill, serving aged 17 as a common sailor, and taking part in the Klondike gold rush of 1897. This various experience provided the material for his works, and made him a socialist. "The son of the Wolf" (1900), the first of his collections of tales, is based upon life in the Far North, as is the book that brought him recognition, "The Call of the Wild" (1903), which tells the story of the dog Buck, who, after his master ́s death, is lured back to the primitive world to lead a wolf pack. Many other tales of struggle, travel, and adventure followed, including "The Sea-Wolf" (1904), "White Fang" (1906), "South Sea Tales" (1911), and "Jerry of the South Seas" (1917). One of London ́s most interesting novels is the semi-autobiographical "Martin Eden" (1909). He also wrote socialist treatises, autobiographical essays, and a good deal of journalism.
