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Attorney Sabre O. Brown takes on three disconcerting new cases, each with its own illusion: a woman claiming she's been impregnated by a ghost, a threatening parent prone to violence, and a child bride with a heart-breaking First Amendment issue. At the same time, Sabre tries to protect her mother who is dating a suspicious widower she met on online. In Sabre’s search for justice, she is found near death after a magician’s illusion deviously goes wrong

Whether depicting desolate landscapes, the homeless, or the bodies of Cuban prostitutes, Kander’s photos illuminate the fragile, the ephemeral, and the disconcerting. Whatever the subject, Kander’s work shuns traditional categories.

What counts? In work, as in other areas of life, it is not always clear what standards we are being judged by or how our worth is being determined. This can be disorienting and disconcerting. Because of this, many organizations devote considerable resources to limiting and clarifying the logics used for evaluating worth. But as David Stark argues, firms would often be better off, especially in managing change, if they allowed multiple logics of worth and did not necessarily discourage uncertainty. In fact, in many cases multiple orders of worth are unavoidable, so organizations and firms should learn to harness the benefits of such "heterarchy" rather than seeking to purge it. Stark makes this argument with ethnographic case studies of three companies attempting to cope with rapid change: a machine-tool company in late and postcommunist Hungary, a new-media startup in New York during and after the collapse of the Internet bubble, and a Wall Street investment bank whose trading room was destroyed on 9/11. In each case, the friction of competing criteria of worth promoted an organizational reflexivity that made it easier for the company to change and deal with market uncertainty. Drawing on John Dewey's notion that "perplexing situations" provide opportunities for innovative inquiry, Stark argues that the dissonance of diverse principles can lead to discovery.

This 368-page monograph is the first substantial publication in 15 years to take on Russia's most famous performance artist, Oleg Kulik. Also a sculptor and curator, Kulik is most renowned for his disconcerting performances as a dog. Art in America reviewed his 1997 solo exhibition at New York's Deitch Projects thus: ""On a sunny afternoon, Oleg Kulik emerged from the dark cage where he had spent the preceding two weeks on public view, living a dog's life in a gallery. Naked except for a studded leather collar, he had romped on hands and knees, eaten from bowls, slept on a mat and uttered only guttural growlsÖ Kulik's past performances as a dog include a turn as Pavlov's pet in a laboratory where he was subjected to the sort of behavioral experiments routinely endured by lab animals. Most notorious was a Stockholm exhibition in which Kulik bit several visitors (including an art critic), leading to his arrest at the request of the curator.

This book proposes a fresh and original interpretation of Keats' use of classical mythology in his verse. Dr Aske argues that classical antiquity appears to Keats as a supreme fiction, authoritative yet disconcerting, and his poems represent hard endeavours to come to terms with the influence of that fiction. The major poems (most notably Endymion, Hyperion, the Ode on a Grecian Urn and Lamia) form a stage, as it were, upon which is played out a psychic drama between the modern poet and his classical muse. The study is especially bold in its assimilation of historical scholarship and literary theory to a close reading of the texts. Individual poems are discussed in the context of late Enlightenment and Romantic attitudes towards antiquity and in the light of recent critical theory, in particular the theory of literary history and influence formulated by Harold Bloom and Geoffrey Hartman. Keats emerges as a significant example of the way in which a poet tries to establish a distinct identity under the burden of history and of literary tradition.

Lydia Lunch and Cypress Grove previously unsettled the conventionally calm and respectful world of the cover song with a number of fractured productions. As you might expect, the choice of songs on this collection is a disconcerting array of material ranging from the hugely popular to the wildly obscure; from Jon Bon Jovi to Nashville troubadour Aaron Lee Tasjan, Doors and many others.

You are my sister. You're supposed to drive me crazy. Twenty-eight-year-old organization freak Valerie Tyler loves her 16-year-old sister, Holly. Even if Holly is rambunctious. Spontaneous. Impulsive. Disconcerting. And definitely disorganized. Then Holly moves in with Val, and the sisters discover they may make better siblings than roomies. Amanda Bynes and Jennie Garth star as the Tylers, and Simon Rex and Wesley Jonathan star as two of the men in their lives in this bright, giddy comedy set i

OVER 100.000 Already sold in this newly released English Translaion This is the book that has been electrifying Rome and the rest of Europe for three years! This fascinating inquiry into the theories and the truths of the most disconcerting mystery of the 20th Century was a huge best-seller in Europe. On June 26, 2000, Vatican officials (including Cardinal Bertone) released what they claim was the Third Secret of Fatima. They further said that it was a prediction of the attempted assassination of Pope John Paul II in 1981. Antonio Socci, an acclaimed Italian journalist and television personality, originally sided with the Vatican s interpretation of the Third Secret. Upon closer investigation of this matter, the evidence led him to the conclusion that there is another document of the Third Secret containing the actual words of Our Lady. So far, the Vatican is still hiding this text while claiming that all is released. Antonio Socci, for the first time, in this book produces the testimony of a still-living witness from the inner circle of Pope John XXIII, to prove his point. This book has caused a public sensation and debate. Far from being a dead issue the urgent message of Our Lady to the shepherd children of Fatima is now being more critically discussed and examined than ever before.

OVER 100.000 Already sold in this newly released English Translaion This is the book that has been electrifying Rome and the rest of Europe for three years! This fascinating inquiry into the theories and the truths of the most disconcerting mystery of the 20th Century was a huge best-seller in Europe. On June 26, 2000, Vatican officials (including Cardinal Bertone) released what they claim was the Third Secret of Fatima. They further said that it was a prediction of the attempted assassination of Pope John Paul II in 1981. Antonio Socci, an acclaimed Italian journalist and television personality, originally sided with the Vatican s interpretation of the Third Secret. Upon closer investigation of this matter, the evidence led him to the conclusion that there is another document of the Third Secret containing the actual words of Our Lady. So far, the Vatican is still hiding this text while claiming that all is released. Antonio Socci, for the first time, in this book produces the testimony of a still-living witness from the inner circle of Pope John XXIII, to prove his point. This book has caused a public sensation and debate. Far from being a dead issue the urgent message of Our Lady to the shepherd children of Fatima is now being more critically discussed and examined than ever before.

With insight reminiscent of The Screwtape Letters, Rev. Louis J. Cameli invites readers to reconsider what they've always believed about the devil. While contemporary media showcase demonic possession and exorcism, Cameli highlights the subtler, more disconcerting tactics of the devil: deception, division, diversion, and discouragement that hinder the spiritual journey.In some ways, it's easy to believe in a devil who makes heads spin round and enables people to levitate. Ubiquitous movies and books about possession and exorcism have trained spiritual seekers to identify evil by its expected Hollywood conventions. By contrast, Rev. Louis J. Cameli, nationally renowned pastoral leader and priest of the Archdiocese of Chicago, paints a challenging, unsettling portrait of the devil as a formidable adversary who works great harm, often in quiet, less-seen ways. While remaining a fixture of popular culture, the devil has--until now--been largely ignored in contemporary spiritual writing. Cameli exposes the devil's tactics of deception, division, diversion, and discouragement, in individuals and also in institutions. This thoroughly biblical, deft exploration considers the personal and social dimensions of sin, and offers both enlightenment and hope in the power of Christ at work to overcome evil.

Jean-Auguste-Dominique Ingres (1780–1867) produced a body of work that strongly appealed to his contemporaries while disconcerting them. Even today, the odd qualities of his work continue to fascinate scholars, critics, and artists.   In this handsomely illustrated and elegantly written book, Susan L. Siegfried argues that the strangeness associated with Ingres’s paintings needs to be located in the complex and richly invested nature of the work itself, as well as in the artist’s very powerful―if often perverse―sense of artistic project.  She shows that his major re-thinking of pictorial narrative – in his classical literary, historical, and religious subjects – was as central to his achievement as his distinctive rendering of the female figure in classical nudes and portraits. He was engaged in a complex process of giving visual form to narrative, which he did in new and unusual ways that involved him in a close reading of the texts on which he drew, including authors such as Homer, Virgil, Ariosto, and Dante, as well as religious narratives and stories about medieval and early modern French history. 

Determined to win his class's Good Deed Contest, Justin outdoes himself with his good intentions, which have a disconcerting and hilarious way of backfiring. Reprint.

123pp + 36pp, profusely illustrated in color and b&w. Text in Japanese (with translation pamphlet in English Laid in). This is an intricately produced and appropriately disconcerting catalogue published to accompany an exhibition of David Lynch's artwork at the Tokyo Museum of Contemporary Art. Cinema's Master of the Weird displays his skewed genius in a different medium here, to an equally fascinating and unnerving end.

Jean-Auguste-Dominique Ingres (1780–1867) produced a body of work that strongly appealed to his contemporaries while disconcerting them. Even today, the odd qualities of his work continue to fascinate scholars, critics, and artists.   In this handsomely illustrated and elegantly written book, Susan L. Siegfried argues that the strangeness associated with Ingres’s paintings needs to be located in the complex and richly invested nature of the work itself, as well as in the artist’s very powerful―if often perverse―sense of artistic project.  She shows that his major re-thinking of pictorial narrative – in his classical literary, historical, and religious subjects – was as central to his achievement as his distinctive rendering of the female figure in classical nudes and portraits. He was engaged in a complex process of giving visual form to narrative, which he did in new and unusual ways that involved him in a close reading of the texts on which he drew, including authors such as Homer, Virgil, Ariosto, and Dante, as well as religious narratives and stories about medieval and early modern French history. 

What counts? In work, as in other areas of life, it is not always clear what standards we are being judged by or how our worth is being determined. This can be disorienting and disconcerting. Because of this, many organizations devote considerable resources to limiting and clarifying the logics used for evaluating worth. But as David Stark argues, firms would often be better off, especially in managing change, if they allowed multiple logics of worth and did not necessarily discourage uncertainty. In fact, in many cases multiple orders of worth are unavoidable, so organizations and firms should learn to harness the benefits of such "heterarchy" rather than seeking to purge it. Stark makes this argument with ethnographic case studies of three companies attempting to cope with rapid change: a machine-tool company in late and postcommunist Hungary, a new-media startup in New York during and after the collapse of the Internet bubble, and a Wall Street investment bank whose trading room was destroyed on 9/11. In each case, the friction of competing criteria of worth promoted an organizational reflexivity that made it easier for the company to change and deal with market uncertainty. Drawing on John Dewey's notion that "perplexing situations" provide opportunities for innovative inquiry, Stark argues that the dissonance of diverse principles can lead to discovery.

The message of To Believe in Jesus is heartening, if disconcerting, for it stands a common assumption of religious writing on its head. The way to holiness is not through dramatic renunciation, and holiness itself is not just for the 'specialists,' clergy and religious. Holiness cannot be struggled for or won - it can only be given, and all that is necessary is that we should ask. As soon as we cease to strive for virtue, concentrating attention uselessly on ourselves, and instead recognize our weakness, our need, the way is open to encounter God and the holiness of Jesus, which is his gift.

What counts? In work, as in other areas of life, it is not always clear what standards we are being judged by or how our worth is being determined. This can be disorienting and disconcerting. Because of this, many organizations devote considerable resources to limiting and clarifying the logics used for evaluating worth. But as David Stark argues, firms would often be better off, especially in managing change, if they allowed multiple logics of worth and did not necessarily discourage uncertainty. In fact, in many cases multiple orders of worth are unavoidable, so organizations and firms should learn to harness the benefits of such "heterarchy" rather than seeking to purge it. Stark makes this argument with ethnographic case studies of three companies attempting to cope with rapid change: a machine-tool company in late and postcommunist Hungary, a new-media startup in New York during and after the collapse of the Internet bubble, and a Wall Street investment bank whose trading room was destroyed on 9/11. In each case, the friction of competing criteria of worth promoted an organizational reflexivity that made it easier for the company to change and deal with market uncertainty. Drawing on John Dewey's notion that "perplexing situations" provide opportunities for innovative inquiry, Stark argues that the dissonance of diverse principles can lead to discovery.

A survey of modern paintings, whose disconcerting fidelity to life prompts a reexamination of common, everyday sights that are taken for granted

Emily becomes a different animal every day, making it a lively week for her but a disconcerting one for her family

The writings of Carl Schmitt form what is arguably the most disconcerting, original, and yet still unfamiliar body of twentieth-century political thought. In the English-speaking world, he is terra incognita, a name associated with Nazism, the author of a largely untranslated oeuvre forming no recognizable system, coming to us from a disturbing place and time in the form of fragments.The Enemy is a comprehensive reconstruction and analysis of all of Schmitt’s major works—his books, articles and pamphlets from 1919 to 1950—presented in an arresting narrative form. The revelation of his work is that, unlike mainstream Nazi ideology, Schmitt makes a strong philosophical claim for the necessity of confrontational politics within a democratic system; a claim that has resonance in today’s hegemony of consensual politics.