Download County Kill by William Campbell Gault PDF

By William Campbell Gault

Brock Callahan doesn’t have many enthusiasts left from his glory days at the gridiron. actually, Warren Temple Lund III could be the final one. So how can Callahan refuse his request for support? It doesn’t topic that Warren isn't really fairly twelve with resources totaling thirty-two dollars.

Callahan could have a gentle spot for children, but if he units out to discover his client’s lacking father, issues get nasty certainly. no one - now not the neighborhood police, the wealthy mom, nor her live-in-love - wishes Callahan blending in. And if he doesn’t watch his step, Callahan may well locate himself in a county morgue with a tag tied to his great toe . . .

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Extra resources for County Kill

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Jacques Lacan employs the same word (Genuß as well as its French translation, jouissance) to reference a different kind of enjoyment that implies usufruct and ownership, clearly different from Adorno’s concept. 56 51. Svetlana Boym describes restorative nostalgia as a desire to recreate an idealized past. See Svetlana Boym, The Future of Nostalgia (New York: Basic Books, 2001), 49. 52. Boym, The Future, 49. 53. Boym, The Future, 50. 54. Josh Kun, Audiotopia. Music, Race, and America (Berkeley: University of California Press, 2005), 18 and 23.

See Ramón H. Rivera-Servera, “Musical Trans(actions): Intersections in Reggaetón,” Trans. Revista Transcultural de Música, No. com/trans/a62/ musical-transactions-intersections-in-reggaeton (accessed on July 20, 2012). 20. María de los Ángeles Córdoba and Natalí Méndez Díaz discuss genre similarly as a “mundo de sentido” or “world of feeling,” drawing on the work of Spaniard Héctor Fouce, in “El género en la música: una aproximación a su estudio,” Clave 12, no. 1–3 (2010), 91. The idea bears some similarity to Raymond Williams’s earlier discussion of “structures of feeling” in Marxism and Literature (New York: Oxford University Press, 1977), 128–35.

See also González, “Manuel Saumell,” 5. 6. John F. Szwed and Morton Marks, “The Afro-American Transformation of European Set Dances and Dance Suites,” Dance Research Journal 20, no. 1 (1988), 29. 7 By the nineteenth century, Cubans considered local contradance variants their preeminent music genre. The music existed in many forms: as dance pieces interpreted by early ensembles that included violin, the five-key baroque flute, and harp; in the mid-century as repertoire for the orquesta típica (discussed later); and as stylized salon repertoire for the piano, written by early nationalist composers Manuel Saumell, Ignacio Cervantes, and others.

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