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Built airplane. Flew airplane. Crashed airplane. Met God. all set. Jim Bruton knows life. His past is marked by relentless curiosity and remarkable achievement. He was an African wilderness guide, Emmy Award-winning wildlife film director, aviator, adventurer, inventor of the satellite videophone, NBC News Middle East war correspondent, a husband, and a father. His passion - building and flying WWI-era aircraft - led him where he never imagined he'd go: a horrific crash that left him for dead. For one week, Jim Bruton hovered in the place that is not life and not death, a place he came to know as the In Between. He came back, and this is his report of what he has seen. Bruton takes us along for a by turns hair-raising and ultimately triumphant story of his coming to grips with what has happened to him. As he heals, his experiences in the In Between become more and more pressing. They download into his mind like rushing movie stills. His life of action turns internal. He uses all he knows - from quantum physics and battlefield memories to scenes of childhood and familial love - for a new deeper understanding of what it means to live. Jim Bruton, the man who fell from the sky, is not the same man who flew into it. And if you walk some of his journey with him, neither are you. About the author: Jim Bruton has lived a life many people dream of but few experience. As a little boy, he lived within an active imagination, including a love for wildlife filming, international travel, science fiction, and vintage aviation. In adulthood, he checked every one of those off his list with internationally recognized achievements, an Emmy for a National Geographic wildlife film, traveling to all seven continents, the Titanic, the North Pole, and Mt. Everest, shrinking a satellite TV truck into a backpack, and transmitting live video from places before impossible and building and flying historical reproduction aircraft from World War I and the early 1930s. For many, any one of these adventures resulted in a single lifetime achievement. For Jim, it was just the beginning, climaxing with the crash of his last aircraft and the near-death experience that followed.
This heartbreaking story—perfect for fans of If I Stay and Five Feet Apart—follows a girl swept up in the magic of her first love, until it all comes to a tragic end that might lead her into the afterlife itself. Soon to be a motion picture. After bouncing around in foster homes for most of her childhood, seventeen-year-old Tessa Jacobs doesn’t believe she deserves love—not from her adoptive parents, and certainly not from anyone at school. But everything changes when she has a chance encounter with Skylar, a senior from a neighboring town who’s a true romantic. Their budding relationship quickly leads to the kind of passion you only see in the movies. As her heart begins to open, Tessa starts to believe she might be deserving of love after all. When tragedy strikes, Tessa wakes up alone in a hospital room with no memory of how she got there. And then she learns the horrifying news: Skylar is dead. As Tessa searches for answers, Skylar’s spirit reaches out to her from the other side. Desperate to see him one last time, Tessa must race against the clock to uncover the shocking truth of their relationship—a truth that might just lead to the afterlife itself.
The In-Between is a story that will have you laughing, crying, and on the edge of your seat all at the same time. Once you have started to read this book you won't want to put it down. There are some stories that inspire the reader with hope, courage, faith, and compassion, and this is one of them. Life started off full of promises for Marnie Williams. However, the wrong choices led her down a dark, dangerous, and terrifying road to destruction. Marnie was working toward her dream of competing at the Olympics, but life had other plans in store. By age twelve she was taking drugs, and by thirteen she was pregnant. She developed anger issues. Marnie eventually married Ryan, who was also on drugs. The downward spiral continued, leading them further into a life of drugs and violence. Marnie ended up in deep depression. The only answer seemed to be to end it all--to take her own life. But God had other plans If God was willing to take on Marnie in her condition, you have to believe that there is truly hope for everyone. It doesn't matter who you are, where you have been, or what you have done. God never gives up on us, and we are never too far from his reach, never too far from his love. Walk with Marnie and Ryan through the pages of this true story, on a journey that took them from deepest darkness into his glorious light.
Set in a school facing the real-life challenges of immigration, income inequality, and fears of violence in our schools, The In-Between is a realistic, relatable exploration of the complex social circumstances students must navigate in contemporary schools.
"The In Between" is an inspiring book about a fairy who has lost her wings by being seen by an elderly human. It is forbidden for a fairy to be seen by any human. He takes her into his home and together they set out to win back her wings by doing good deeds and fighting evil. The book contains a lot of moral teachings and is written with a spiritual backbone with little religious content. It often reminds us of the small things in life we all tend to take so much for granted.
Dystopia, Utopia and the realm of gods intersect through the inter-dimensional seeings of one girl, Maya, The In-between. She is humanity's channel between life & death.
The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection gathers fourteen individual case studies where intermedial issues?issues concerning that which takes place in between media?are explored in relation to a range of different cultural objects and contexts, different methodological approaches, and different disciplinary perspectives. The cases investigate the intermediality of such manifold objects and phenomena as contemporary installation art, twentieth-century geography books, renaissance sculpture, media theory, and public architecture of the 1970s. They also bring together scholars from the disciplines of art history, comparative literature, theatre studies, musicology, and the history of ideas.Starting out from an inclusive understanding of intermediality as ?relations between media conventionally perceived as different,? each author specifies and investigates ?intermediality? in their own particular case; that is, each examines how it is inflected by particular objects, methods, and research questions. ?Intermediality? thus serves both as a concept employed to cover an inclusive range of cultural objects, cultural contexts, methodological approaches, and so on, and as a concept to be modelled out by the particular cases it is brought to bear on. Rather than merely applying a predefined concept, the objectives are experimental. The authors explore the concept of intermediality as a malleable tool of research.This volume further makes a point of transgressing the divide between media history and semiotically and/or aesthetically oriented intermedial studies. The former concerns the specificity of media technologies and media interrelations in socially, politically, and epistemologically defined space and time, and the latter targets formal considerations of media objects and its various meaning-making elements. These two conventionally separated fields of research are integrated in order to produce a richer understanding of the analytical and historical, as well as the aesthetic and technological, conditions and possibilities of intermedial phenomena.
Since then, among Christians the word has signified theological distortion, although anthropologists have employed it neutrally to describe the phenomena of religious mixtures resulting from intercultural contacts.".
Examining films from several genres by key directors of the Transition, Inhabiting the In-Between explores how the child is represented as both subject and object, self and other, and consistently cast in a position between categories or binary poles.
Can films philosophize rather than simply represent philosophical ideas developed outside of the cinematic medium? Taking up this crucial question for the emergent field of film philosophy, American Avant-Garde Cinema's Philosophy of the In-Between argues that the films of the American avant-garde do in fact do philosophy and illuminates the ethical stakes of their aesthetic interventions. Author Rebecca A. Sheehan contends that American avant-garde cinema's characteristic self-reflexivity is an interrogation of the modes and stakes of our engagement with the world on and beyond the screen. The book demonstrates this with the theory of the in-between: a pervasive figure that helps clarify how avant-garde cinema's reflections on the creation of images construct an ethics of perception itself, a responsibility to perpetuate thought in an enduring re-encounter with the world and with meaning's unfinished production. The book is structured by a taxonomy of the multiple in-betweens evident in American avant-garde filmmaking. Rather than systematically seeking reproductions of particular philosophers' ideas in avant-garde films, Sheehan derives categories of analysis and the philosophical claims they disclose from close readings of the films themselves. This methodology opposes mapping preconfigured philosophical concepts and values onto these films, as too many philosophical approaches to cinema have done, silencing the philosophies uniquely articulated by these films in the interest of making them ventriloquize philosophies advanced elsewhere. The chapters of this book trace three modes of the in-between that function philosophically in American avant-garde cinema: the material, the dimensional, and the conceptual. Although the chapters are organized around discrete aesthetic and philosophical preoccupations that unify several filmmakers, these three presentations of the in-between cut through all the chapters, allowing the subjects of each to converse over the course of the book.
This is a book for audiences. It is a book about audiences. It is a book for anyone who watches, is watched, and all the spaces in between. Introducing the idea of performance as a shared transformative experience, this engaging book will help you make sense of the performer/audience interaction in a landscape where boundaries are collapsing. Drawing on themes of performance, exchange and the body, it offers an accessible entry into the philosophy of spectatorship.
Reluctant to see any changes in his life on Dove Island, eleven-year-old George tries to get rid of his father's new girlfriend.
Alban Senior Consultant Mann draws on her lengthy experience in helping congregations deal with the hurdles and anxieties of expansion or contraction in size. Often, congregations experiencing size change do not recognize the need to change culture and form as part of the successful adaptation process. Mann details the adjustments in attitude-as well as practice-that are necessary to support successful size change.
Draws from Latina feminism, existential phenomenology, and race theory to explore the concept of selfhood. This original study intertwining Latina feminism, existential phenomenology, and race theory offers a new philosophical approach to understanding selfhood and identity. Focusing on writings by Gloría Anzaldúa, María Lugones, and Linda Martín Alcoff, Mariana Ortega articulates a phenomenology that introduces a conception of selfhood as both multiple and singular. Her Latina feminist phenomenological approach can account for identities belonging simultaneously to different worlds, including immigrants, exiles, and inhabitants of borderlands. Ortega’s project forges new directions not only in Latina feminist thinking on such issues as borders, mestizaje, marginality, resistance, and identity politics, but also connects this analysis to the existential phenomenology of Martin Heidegger and to such concepts as being-in-the-world, authenticity, and intersubjectivity. The pairing of the personal and the political in Ortega’s work is illustrative of the primacy of lived experience in the development of theoretical understandings of who we are. In addition to bringing to light central metaphysical issues regarding the temporality and continuity of the self, Ortega models a practice of philosophy that draws from work in other disciplines and that recognizes the important contributions of Latina feminists and other theorists of color to philosophical pursuits.

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