Valerie Johnson – författare

Following in the tradition of recent work by cultural geographers and historians of maps, this collection examines the apparently familiar figure of Robin Hood as he can be located within spaces that are geographical, cultural, and temporal. The volume is divided into two sections: the first features an interrogation of the literary and other textually transmitted spaces to uncover the critical grounds in which the Robin Hood ’legend’ has traditionally operated. The essays in Part Two take up issues related to performative and experiential space, demonstrating the reciprocal relationship between page, stage, and lived experience. Throughout the volume, the contributors contend with, among other things, modern theories of gender, literary detective work, and the ways in which the settings that once advanced court performances now include digital gaming and the enactment of ’real’ lives.

Following in the tradition of recent work by cultural geographers and historians of maps, this collection examines the apparently familiar figure of Robin Hood as he can be located within spaces that are geographical, cultural, and temporal. The volume is divided into two sections: the first features an interrogation of the literary and other textually transmitted spaces to uncover the critical grounds in which the Robin Hood ’legend’ has traditionally operated. The essays in Part Two take up issues related to performative and experiential space, demonstrating the reciprocal relationship between page, stage, and lived experience. Throughout the volume, the contributors contend with, among other things, modern theories of gender, literary detective work, and the ways in which the settings that once advanced court performances now include digital gaming and the enactment of ’real’ lives.

Following in the tradition of recent work by cultural geographers and historians of maps, this collection examines the apparently familiar figure of Robin Hood as he can be located within spaces that are geographical, cultural, and temporal. The volume is divided into two sections: the first features an interrogation of the literary and other textually transmitted spaces to uncover the critical grounds in which the Robin Hood ’legend’ has traditionally operated. The essays in Part Two take up issues related to performative and experiential space, demonstrating the reciprocal relationship between page, stage, and lived experience. Throughout the volume, the contributors contend with, among other things, modern theories of gender, literary detective work, and the ways in which the settings that once advanced court performances now include digital gaming and the enactment of ’real’ lives.

Pray without Ceasing will teach you the basic foundation of prayer that you can build upon. If you are one of those people who have desired to have a better understanding of prayer, this book is for you. It is written simply, in an easy to understand format so that all can gain knowledge. I believe that it is essential to not only know how to pray but what Gods word says where prayer is concerned. Equipped with this knowledge, you will become more effective in prayer.Topics included are:What is prayer? Intercession Praying in the Holy Ghost The Armour of God Pointing of the Finger

With the rise of terrorist, poverty and corruption. A need for world peace is in high demand. But that peace can only come from God and his word. Even religions that only believein the Old Testament must interpret the Bible properly. Search the scriptures for in them they believe they have eternal life and these are those thattestify of God.

Its my desire to open the minds of people all over the world, toward understanding the word of God, he has blessed many and we tend to forget that hes a God that never changes. His word is his bond.

Abortion has been around during the Old and New Testament. God plan for salvation would be through abortion and by exposing the corruption of mankind. God want to make us the apple of his eye, but we sometimes have to pluck the polluted out.

Micah 6:7 Will the Lord be pleased with thousands of rams or with ten thousands of rivers of oil? Shall I give my fi rstborn for my transgression, the fruit of my body for the sin of my soul?

Following in the tradition of recent work by cultural geographers and historians of maps, this collection examines the apparently familiar figure of Robin Hood as he can be located within spaces that are geographical, cultural, and temporal. The volume is divided into two sections: the first features an interrogation of the literary and other textually transmitted spaces to uncover the critical grounds in which the Robin Hood ’legend’ has traditionally operated. The essays in Part Two take up issues related to performative and experiential space, demonstrating the reciprocal relationship between page, stage, and lived experience. Throughout the volume, the contributors contend with, among other things, modern theories of gender, literary detective work, and the ways in which the settings that once advanced court performances now include digital gaming and the enactment of ’real’ lives.

In recent years big data initiatives, not to mention Hollywood, the video game industry and countless other popular media, have reinforced and even glamorized the public image of the archive as the ultimate repository of facts and the hope of future generations for uncovering ‘what actually happened’. The reality is, however, that for all sorts of reasons the record may not have been preserved or survived in the archive. In fact, the record may never have even existed – its creation being as imagined as is its contents. And even if it does exist, it may be silent on the salient facts, or it may obfuscate, mislead or flat out lie.The Silence of the Archive is written by three expert and knowledgeable archivists and draws attention to the many limitations of archives and the inevitability of their having parameters.Silences or gaps in archives range from details of individuals’ lives to records of state oppression or of intelligence operations. The book brings together ideas from a wide range of fields, including contemporary history, family history research and Shakespearian studies. It describes why these silences exist, what the impact of them is, how researchers have responded to them, and what the silence of the archive means for researchers in the digital age. It will help provide a framework and context to their activities and enable them to better evaluate archives in a post-truth society.This book includes discussion of: enforced silencesexpectations and when silence means silencedigital preservation, authenticity and the futuredealing with the silencepossible solutions; challenging silence and acceptancethe meaning of the silences: are things getting better or worse?user satisfaction and audience development.This book will make compelling reading for professional archivists, records managers and records creators, postgraduate and undergraduate students of history, archives, librarianship and information studies, as well as academics and other users of archives.

In recent years big data initiatives, not to mention Hollywood, the video game industry and countless other popular media, have reinforced and even glamorized the public image of the archive as the ultimate repository of facts and the hope of future generations for uncovering ‘what actually happened’. The reality is, however, that for all sorts of reasons the record may not have been preserved or survived in the archive. In fact, the record may never have even existed – its creation being as imagined as is its contents. And even if it does exist, it may be silent on the salient facts, or it may obfuscate, mislead or flat out lie.

The Silence of the Archive is written by three expert and knowledgeable archivists and draws attention to the many limitations of archives and the inevitability of their having parameters.

Silences or gaps in archives range from details of individuals’ lives to records of state oppression or of intelligence operations. The book brings together ideas from a wide range of fields, including contemporary history, family history research and Shakespearian studies. It describes why these silences exist, what the impact of them is, how researchers have responded to them, and what the silence of the archive means for researchers in the digital age. It will help provide a framework and context to their activities and enable them to better evaluate archives in a post-truth society.

This book includes discussion of:

enforced silences expectations and when silence means silence digital preservation, authenticity and the future dealing with the silence possible solutions; challenging silence and acceptance the meaning of the silences: are things getting better or worse? user satisfaction and audience development.

This book will make compelling reading for professional archivists, records managers and records creators, postgraduate and undergraduate students of history, archives, librarianship and information studies, as well as academics and other users of archives.