Mimi Looks For Mio

Mimi is preparing for her birthday party when her dog Mio suddenly runs away. Where in the vast, crowded city is he hiding? Help Mimi spot him, and find out what he is really up to . . . Bienvenue à Lyon, the city of this thrilling search-and-find adventure! Put on your detective glasses and see if you can find Mio in each location. Mimi Looks For Mio is an action-packed book with a heartwarming message about the goodwill of a silly but loving pet.

Reprint of the original, first published in 1873.

Aldous Leonard Huxley was an English writer who spent the latter part of his life in the United States, living in Los Angeles. Best known for his novels and wide-ranging output of essays, he also published short stories, poetry, travel writing, and film stories and scripts. Huxley was a humanist but was also interested towards the end of his life in spiritual subjects such as parapsychology and philosophical mysticism. By the end of his life, he was widely acknowledged as one of the pre-eminent intellectuals of his time. THE NOVELS Crome Yellow Antic Hay Those Barren Leaves Point Counter Point Brave New World Eyeless in Gaza After Many a Summer Time Must Have a Stop Ape and Essence The Genius and the Goddess Island THE TRANSLATION A Virgin Heart by Remy de Gourmont THE SHORTER FICTION Limbo Mortal Coils Little Mexican Two or Three Graces Brief Candles Miscellaneous Short Stories SELECTED NON-FICTION The Olive Tree and Other Essays The Perennial Philosophy Science, Liberty and Peace The Devils of Loudun The Doors of Perception Heaven and Hell Brave New World Revisited THE MEMOIR The Art of Seeing

A premier singer and master teacher here tells other singers how to get the most from 151 famous arias selected for their popularity or their greatness from 66 operas, ranging in time and style from Christopher Gluck to Carlisle Floyd, from Mozart to Menotti. “The most memorable thrills in an opera singer's life,” according to the author's Introduction, “may easily derive from the great arias in his or her repertoire.” This book continues the work Martial Singher has done, in performances, in concerts, and in master classes and lessons, by drawing attention “not only to precise features of text, notes, and markings but also to psychological motivations and emotional impulses, to laughter and tears, to technical skills, to strokes of genius, and even here and there to variations from the original works that have proved to be fortunate.” For each aria, the author gives the dramatic and musical context, advice about interpretation, and the lyric—with the original language (if it is not English) and an idiomatic American English translation, in parallel columns. The major operatic traditions—French, German, Italian, Russian, and American—are represented, as are the major voice types—soprano, mezzo-soprano, tenor, baritone, bass-baritone, and bass. The dramatic context is not a mere summary of the plot but is a penetrating and often witty personality sketch of an operatic character in the midst of a situation. The musical context is presented with the dramatic situation in a cleverly integrated way. Suggestions about interpretation, often illustrated with musical notation and phonetic symbols, are interspersed among the author's explication of the music and the action. An overview of Martial Singher’s approach—based on fifty years of experience on stage in a hundred roles and in class at four leading conservatories—is presented in his Introduction. As the reader approaches each opera discussed in this book, he or she experiences the feeling of participation in a rehearsal on stage under an urbane though demanding coach and director. The Interpretive Guide will be of value to professional singers as a source of reference or renewed inspiration and a memory refresher, to coaches for checking and broadening personal impressions, to young singers and students for learning, to teachers who have enjoyed less than a half century of experience, and to opera broadcast listeners and telecast viewers who want to understand what goes into the sounds and sights that delight them.

For many years, Hawaiian Dictionary has been the definitive and authoritative work on the Hawaiian language. Now this indispensable reference volume has been enlarged and completely revised. More than 3,000 new entries have been added to the Hawaiian-English section, bringing the total number of entries to almost 30,000 and making it the largest and most complete of any Polynesian dictionary. Other additions and changes in this section include: a method of showing stress groups to facilitate pronunciation of Hawaiian words with more than three syllables; indications of parts of speech; current scientific names of plants; use of metric measurements; additional reconstructions; classical origins of loan words; and many added cross-references to enhance understanding of the numerous nuances of Hawaiian words. The English Hawaiian section, a complement and supplement to the Hawaiian English section, contains more than 12,500 entries and can serve as an index to hidden riches in the Hawaiian language. This new edition is more than a dictionary. Containing folklore, poetry, and ethnology, it will benefit Hawaiian studies for years to come.