This series supports learners through the Cambridge International AS & A Level Travel & Tourism syllabus (9395). From sustainable tourism to managing events, this third edition helps students understand key travel and tourism ideas and equips them with technical and practical skills. Help students develop their analytical skills to build a deeper understanding of modern tourism, through case studies exploring topics such as conservation and sustainability in the Galapagos Islands. Suitable for the Cambridge International AS & A Level Travel & Tourism syllabus (9395), for examination from 2024. The coursebook supports students whose first language is not English, with key terms and concept links, as well as visual tools throughout, to aid understanding.

Miniature books, eighteenth-century novels, Tom Thumb weddings, tall tales, and objects of tourism and nostalgia: this diverse group of cultural forms is the subject of On Longing, a fascinating analysis of the ways in which everyday objects are narrated to animate or realize certain versions of the world. Originally published in 1984 (Johns Hopkins University Press), and now available in paperback for the first time, this highly original book draws on insights from semiotics and from psychoanalytic, feminist, and Marxist criticism. Addressing the relations of language to experience, the body to scale, and narratives to objects, Susan Stewart looks at the miniature as a metaphor for interiority and at the gigantic as an exaggeration of aspects of the exterior. In the final part of her essay Stewart examines the ways in which the souvenir and the collection are objects mediating experience in time and space.

What is the role of the senses in the creation and reception of poetry? How does poetry carry on the long tradition of making experience and suffering understood by others? With Poetry and the Fate of the Senses, Susan Stewart traces the path of the aesthetic in search of an explanation for the role of poetry in our culture. The task of poetry, she tells us, is to counter the loneliness of the mind, or to help it glean, out of the darkness of solitude, the outline of others. Poetry, she contends, makes tangible, visible, and audible the contours of our shared humanity. It sustains and transforms the threshold between individual and social existence.

Herself an acclaimed poet, Stewart not only brings the intelligence of a critic to the question of poetry, but the insight of a practitioner as well. Her new study draws on reading from the ancient Greeks to the postmoderns to explain how poetry creates meanings between persons. Poetry and the Fate of the Senses includes close discussions of poems by Stevens, Hopkins, Keats, Hardy, Bishop, and Traherne, of the sense of vertigo in Baroque and Romantic works, and of the rich tradition of nocturnes in visual, musical, and verbal art. Ultimately, Stewart explores the pivotal role of poetry in contemporary culture. She argues that poetry can counter the denigration of the senses and can expand our imagination of the range of human expression.

Poetry and the Fate of the Senses won the 2004 Truman Capote Award for Literary Criticism in Memory of Newton Arvin, administered for the Truman Capote Estate by the University of Iowa Writers' Workshop. It also won the Phi Beta Kappa Society's 2002 Christian Gauss Award for Literary Criticism.

Throughout history, women (and men) have applied make-up to enhance, alter, conceal and even to disguise their appearance. Also, to a greater or lesser degree over time, cosmetics have been used as a visible marker of social status, gender, wealth and well-being. A closer look at the world of make-up gives us not only a mirror reflecting day-to-day life in the past, but also an indicator of the culture and politics of earlier periods in history. Susan Stewart guides the reader through the bewildering, fascinating and complex story of cosmetics, from the ancient world to the present day. Anyone who has ever wondered how the Romans used algae to colour their faces and urine to whiten their teeth, how Radium came to be a popular 1930s beauty trend, or how make-up survived the war will enjoy this colourful journey through the human obsession with improving how we look.

Pleasant smells have long been associated not only with health, wealth and good hygiene but also sound moral character; bad smells indicate lack of cleanliness, ill health, poverty ‒ and immorality. Throughout history, people have applied scents to their bodies and clothing. They have carried perfumed objects, worn scented jewellery, sent scented letters, even exchanged scented coins. Aromas have been used to perfume private houses and public spaces from the ancient world to today. Gaining an understanding of how scents were used allows us to get up close and personal to daily life in any given period. Some uses of scent are particularly revealing: the smell of the impressive quantities of blood spilt in the Colosseum of Ancient Rome was masked by a sprinkler system discharging saffron into the arena. Cosmus the perfumier's scented pastilles designed to hide bad breath were famous enough to be lauded by the poet Martial. Leather gloves in the Renaissance period stank to high heaven and had to be perfumed. The first designer perfume was created by the fashion designer Paul Poiret in 1920, who scented the hems of the dresses in his collection. The 'democratization' of perfume by the introduction of synthetic scent is a fascinating story in itself. Susan Stewart's analysis is in line with the very latest research into sensory history, tailored to the general reader.

From a sequence, The Countries Surrounding the Garden of Eden

Gihon, that compasseth the whole land

At the first frost we found our sheep with strangled hearts, lying on their backs in the frozen clover, their eyes wide open as if they were surprised by a constellation of drought or endless winter. The wolves walked into the snow, like men who have given up living without love; cows would no longer let go of their calves, hiding them deep in the birch groves. Everywhere the roads gave off their wild animal cries, running toward the edge of what we had thought was the world. And the names of things as we knew them would no longer bring them to us.

Conflict Resolution will be of interest to people who deal with disputes - of whatever kind - including through mediation and alternative dispute resolution procedures. Contents What is Conflict? Strategies for Resolving Conflict Approach to the Territory Family Mediation Mediation Between Neighbours Restorative Justice Mediation in Schools Cross-Cultural and Multi-Faith Mediation Environmental Conflict David and Goliath The World of Work Training Academic Study and Research Issues for the Future Author Susan Stewart has taught conflict resolution and mediation and been involved in the development of innovative university courses covering these topics. She has published extensively in the education field, including works on adult learning. In recent years she has been engaged in mediation as a teacher, researcher and community consultant.

The greatest deterrent to a good life is fear. Anxiety traps far too many of us in lifestyles, jobs and relationships that are mundane and unfulfilling, while causing our self-esteem and self-confidence to suffer. In Navigating Through Fear, family therapist Susan Stewart takes you along with her as she backpacks solo through Europe as a 50-year old, while teaching her well-proven methods for navigating through fear and expanding risk-taking behaviors. Each chapter contains practical workbook questions, giving you a hands-on opportunity to explore your own limiting patterns. A sample of what you will learn: to replace cautiousness with a delightful zest for living, to let go, lighten up & become more playful, to improve self-confidence and feelings of worthiness, and to discover your spiritual strength through surrender.

One of the finest poets of the last fifty years. --Salt

to the Nth, like the truth of an ending
unskeined across the crust of the white field.
Though it happened only once, I
am sending the thought
of the thought
continuing.
To return to
the field before the mowing.
When a goldfinch swayed
on a blue stem stalk,
and the wind and the sun
stirred the hay.

--from After the Mowing

Cinder: New and Selected Poems gathers for the first time poetry from across Susan Stewart's thirty-five-year career, including many extraordinary new poems. From brief songs to longer meditative sequences, and always with formal innovation and exquisite precision, Stewart evokes the innocence of childhood, the endangered mysteries of the natural world, and deeply felt perceptions, both acute and shared.

Stewart explores our insatiable desire to remember and make meaning out of this remembering, Ange Mlinko writes in The Nation. Stewart's elegiac bent has broadened, over time, from the personal lyric . . . to what might be called the cultural lyric. Fewer and fewer of her poems reference what she alone remembers; they are about what you and I remember.

Reading across this retrospective collection is a singular experience of seeing the unfolding development of one of the most ingenious and moving lyric writers in contemporary poetry.

Modelled on the 17th century practice of century forms, or books of one hundred pages, Columbarium expresses the bond between the living and the dead in voices of parent to child, lover to beloved, and mortal to the gods

How have ruins become so valued in Western culture and so central to our art and literature? Covering a vast chronological and geographical range, from ancient Egyptian inscriptions to twentieth-century memorials, Susan Stewart seeks to answer this question as she traces the appeal of ruins and ruins images, and the lessons that writers and artists have drawn from their haunting forms.

Stewart takes us on a sweeping journey through founding legends of broken covenants and original sin, the Christian appropriation of the classical past, and images of decay in early modern allegory. Stewart looks in depth at the works of Goethe, Piranesi, Blake, and Wordsworth, each of whom found in ruins a means of reinventing his art. Lively and engaging, The Ruins Lesson ultimately asks what can resist ruination--and finds in the self-transforming, ever-fleeting practices of language and thought a clue to what might truly endure.

The Hive, Susan Stewart's second collection of poetry, brings together new work into three sections that telescope out from private speech to the public and more deeply historical language of the witness. Recurring poems explore the possibilities of language as ceremony while others are rewritings of romanticism and its places.

Of Susan Stewart's first collection, Yellow Stars and Ice, James Cory wrote in the Philadelphia Inquirer that it is a reading experience to exult in, and Library Journal stated that there is magic as well as finesse in this beautiful collection.

In Columbarium, Susan Stewart gives us a series of splendid, numinous poems about truths learned with the mind but set free through the senses.

Poets often have responded vitally to the art of their time, and ever since Susan Stewart began writing about art in the early 1980s, her work has resonated with practicing artists, curators, art historians, and art critics. Rooted in a broad and learned range of references, Stewart's fresh and independent essays bridge the fields of literature, aesthetics, and contemporary art.

Gathering most of Stewart's writing on contemporary art--long and short pieces first published in small magazines, museum and gallery publications, and edited collections--The Open Studio illuminates work ranging from the installation art of Ann Hamilton to the sculptures and watercolors of Thomas Schütte, the prints and animations of William Kentridge to the films of Tacita Dean. Stewart's essays are often the record of studio conversations with living artists and curators, and of the afterlife of those experiences in the solitude of her own study. Considering a wide variety of art forms, Stewart finds pathbreaking ways to explore them. Whether she is following central traditions of painting, drawing, sculpture, film, photography, and printmaking or exploring the less well-known realms of portrait miniatures, collecting practices, doll-making, music boxes, and gardening, Stewart speaks to the creative process in general and to the relation between art and ethics.

The Open Studio will be read eagerly by scholars of art, poetry, and visual theory; by historians interested in the links between contemporary and classic literature and art; and by teachers, students, and practitioners of the visual arts.

Red Rover is both the name of a children's game and a formless spirit, a god of release and permission, called upon in the course of that game. The red rover is also a thread of desire, and a clue to the forces of love and antipathy that shape our fate. In her most innovative work to date, award-winning poet and critic Susan Stewart remembers the antithetical forces--falling and rising, coming and going, circling and centering--revealed in such games and traces them out to many other cycles. Ranging among traditional, open, and newly-invented forms, and including a series of free translations of medieval dream visions and love poems, Red Rover begins as a historical meditation on our fall and grows into a song of praise for the green and turning world.

Pure Gold is a collection of letters, memoirs, photographs and personal interviews that have been skillfully woven into an engaging and revealing glimpse in the inner workings of a one-of-a-kind man. Packed with more than eighty years of life's lessons and adventures, Pure Gold is the perfect book for anyone looking to tap into his own mother lode of gold as found in the gospel of Jesus Christ.

How widely did women use make-up in ancient Rome and what evidence exists? In this pioneering study, the author draws on literary, non-literary, visual, and archaeological evidence to show the importance of cosmetics and perfumes for health, ideas of beauty, social status, as a demonstration of wealth and luxury, and as an expression of gender within the Roman Empire. Covering the 300 years from the writings of Ovid to the Price Edict of Diocletian in AD 301, the study acts as a survey of the perception and reality behind the use of cosmetics and perfumes under the Roman Empire.

From the origins of modern copyright in early eighteenth-century culture to the efforts to represent nature and death in postmodern fiction, this book explores a series of problems regarding the containment of representation. Stewart focuses on specific cases of crimes of writing--the forgeries of George Psalmanazar; the production of fakelore; the ballad scandals of the eighteenth and nineteenth centuries; the imposture of Thomas Chatterton; and contemporary legislation regarding graffiti and pornography. She emphasizes the issues that arise once language is seen as a matter of property, and authorship is viewed as a matter of originality. Finally, Stewart demonstrates that crimes of writing are delineated by the law because they specifically undermine the status of the law itself: the crimes illuminate the irreducible fact that law is written and therefore subject to temporality and interpretation. This valuable and pioneering work, originally published in 1991 (Oxford University Press), will be of interest to literary and legal theorists, folklorists, anthropologists, and scholars of eighteenth-century and postmodern culture.

Susan Stewart plumbs human history in an attempt to articulate the way language, memory, and art join in evoking consciousness. The Forest is about violence and memory: the violence we do to our surroundings and to ourselves; and the propensity of the human mind to exploit and rationalize in its longing for truth.

As hairdressers we can afford to forget the 'real us'. No matter how we are feeling we tend to put on a 'show' for our clients. A good friend once said, There are two Sue's - Sue, my friend, and Sue, my hairdresser

Have You Had Lunch? aims to guide you through a realistic career in everyday Hairdressing. It will give you an insight as to what life as a Saturday girl/boy, apprentice and stylist is all about.

Throughout this demanding yet very rewarding career, you may bathe in much glory, but will also unfortunately suffer the occasional disaster. How you learn from and deal with these obstacles could transform you in to something amazing.

A career in Hairdressing may take you around the world, see you working in television or on movie sets, but at the end of the day seeing an individual transformed by your vision is an experience which is second to none.