Amanda comes from a small mining village in North Wales, a place where you never expect momentous things to happen, but when a young girl is found hacked to death in a pond it sends shock waves through the village. Amanda marries Paul Marriott, although he is fifteen years her senior it is a marriage made in heaven. Paul buys a big house on the mountain, a lonely and desolate place that he manages to get at a very cheap price. The former tenants who owned the property disappeared leaving all their possessions behind. There are three more deaths in the village, brutal and horrific, after the police arrest a suspect they have to let him go, there is not enough evidence to charge him. Paul goes out to buy cigarettes one night and suffers a near fatal accident, eventually leading to his sad and sudden death. Amanda is left to cope with her grief. Now,the killer stalks Amanda, so Madeline who has been her friend for so many years stays with her in the big rambling house. After coming home late one night she finds Madeline has been murdered and mutilated in the house, she tries to call for help but the phone is dead, but she does hear the killers distant breathing on the end of the line. The killer is still in the house and he is upstairs somewhere where her daughter is sleeping, she can't leave her child alone in the house while she goes for help so that leaves only one option, she has to fight for their survival. After sustaining terrible injuries she manages to get Bethany and herself into the cellar where she discovers the terrible secret of the dark house.
This wide-ranging volume goes to the heart of the revisionist debate about the crisis of government that led to the English Civil War. The author tackles questions about the patronage that structured early modern society, arguing that the increase in royal bounty in the early seventeenth century redefined the corrupt practices that characterized early modern administration.
Both from the Ears and Mind offers a bold new understanding of the intellectual and cultural position of music in Tudor and Stuart England. Linda Phyllis Austern brings to life the kinds of educated writings and debates that surrounded musical performance, and the remarkable ways in which English people understood music to inform other endeavors, from astrology and self-care to divinity and poetics. Music was considered both art and science, and discussions of music and musical terminology provided points of contact between otherwise discrete fields of human learning. This book demonstrates how knowledge of music permitted individuals to both reveal and conceal membership in specific social, intellectual, and ideological communities. Attending to materials that go beyond music’s conventional limits, these chapters probe the role of music in commonplace books, health-maintenance and marriage manuals, rhetorical and theological treatises, and mathematical dictionaries. Ultimately, Austern illustrates how music was an indispensable frame of reference that became central to the fabric of life during a time of tremendous intellectual, social, and technological change.
The Reformation of the Subject is a study of the cultural contradictions that gave birth to the English Protestant epic. In lucid and theoretically sophisticated language, Linda Gregerson examines the fraught ideological, political and gender conflicts that are woven into the texture of The Faerie Queene and Paradise Lost. She reminds us that Reformation iconoclasts viewed verbal images with the same aversion as visual images, because they too were capable of waylaying the human imagination. Through a series of detailed readings, Gregerson examines the different strategies adopted by Spenser and Milton as they sought to distinguish their poems from idols yet preserve the shaping power that iconoclasts have long attributed to icons. Tracing the transformation of the epic poem into an instrument for the reformation of the political subject, Gregerson thus provides an illuminating contribution to our understanding of the ways in which subjectivities are historically produced.
Originally published in 1992, Music in English Children’s Drama of the Later Renaissance is the first book-length study to examine the Elizabethan and Jacobean children’s drama, not only from a musicological perspective, but also drawing on the histories of literature, culture, and the theater. It gives the children’s companies new historical significance, showing that they were an integral and ultimately influential part of the London theatrical world. These companies originated important features of later drama, such as music before and between acts, and the exploitation of different timbres for specific effects. Those interested in music history, English literature, theater history, and cultural history will find this a comprehensive and fascinating study. Of special note are the appendices, which offer a unique and important reference source by providing the only definitive list of the plays and songs used by the children.
Portable and up-to-date, this drug handbook contains all of the essential data for administering the most common prescription and over-the-counter drugs, including more than 1,300 generic and 4,500 trade names. Over 50 new monographs for drugs recently approved by the FDA are included in this edition. Thoroughly revised and updated, the handbook features more than 1,000 new drug facts.
The Madwoman is a powerful psychological and emotional energy that lives in us all—both men and women—and speaks to us all, inhabiting our dreams, our lives, our collective cultural memory. Ignored or suppressed, she becomes a force of self-destruction; acknowledged and understood, she becomes a source of creativity and power. In this remarkable and revolutionary book, Linda Schierse Leonard explores how we can overcome the inner turmoil of contemporary life—unexpressed rage, the buildup of guilt and anxiety—by harnessing this primal expression of our natural instincts. From Medea to Ophelia to Thelma and Louise, the paradox and patterns of “madness” are as old as time. But the chain can be broken; the Madwoman within each of us can and must be freed, openly expressed, and transformed into a source of constructive, creative energy. Leonard draws upon an extraordinary range of sources—ancient myths and fairy tales, films and literature, contemporary and historical women’s lives—to design a model of empowerment for women today. With its fresh perspectives and bold insights, Meeting the Madwoman is a provocative work of profound cultural significance, one whose ideas are sure to resonate for years to come. Praise for Meeting the Madwoman “A book loaded with practical insights that’s also fun to read . . . With refreshing originality, Leonard reverses some traditional perceptions.”—New Woman “A vigorous exploration . . . Throughout, Leonard writes passionately, seeing the Madwoman as an empowering symbol and the discovery process as a spiritual exercise—a kind of purification and ultimate triumph of the feminine spirit.”—Kirkus Reviews
Amanda comes from a small mining village in North Wales, a place where you never expect momentous things to happen, but when a young girl is found hacked to death in a pond it sends shock waves through the village. Amanda marries Paul Marriott, although he is fifteen years her senior it is a marriage made in heaven. Paul buys a big house on the mountain, a lonely and desolate place that he manages to get at a very cheap price. The former tenants who owned the property disappeared leaving all their possessions behind. There are three more deaths in the village, brutal and horrific, after the police arrest a suspect they have to let him go, there is not enough evidence to charge him. Paul goes out to buy cigarettes one night and suffers a near fatal accident, eventually leading to his sad and sudden death. Amanda is left to cope with her grief. Now,the killer stalks Amanda, so Madeline who has been her friend for so many years stays with her in the big rambling house. After coming home late one night she finds Madeline has been murdered and mutilated in the house, she tries to call for help but the phone is dead, but she does hear the killers distant breathing on the end of the line. The killer is still in the house and he is upstairs somewhere where her daughter is sleeping, she can't leave her child alone in the house while she goes for help so that leaves only one option, she has to fight for their survival. After sustaining terrible injuries she manages to get Bethany and herself into the cellar where she discovers the terrible secret of the dark house.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.