Sterling learns the hard way that Earth is taken for granted. A warm bed, somewhere to live, and a nice family. What could go wrong? After he is tricked by some Meddlemice into suicide, he sees that everything might just get a little bit out of hand when living with two women that always fight and a small child, as well as a queen that wants to rid the world of everyone that doesn't love her.
Everyone hates the autumn that Princess Glânthel brings to the world of Sofabiǫð. Her father is the King of Summer, which is loved for the warmth, her brother, Prince of Spring, is loved for bringing the animals out, and even her cold-spirited uncle, King of Winter, is loved for the beauty of the white winters brought. Those become the least of her worries after they discover that a dragon from the dwarven kingdom of Goldharbor is trying to steal the lives of innocent creatures everywhere. It is up to her and a group of ten dwarves that have never seen the light of day to stop the dragon, and hey, maybe they can have an adventure while they're at it?
With the inclusion of original and archival material, this book is a unique contribution to the history of the modern right to privacy. This book will appeal to an audience of academic and postgraduate researchers, as well as to the judiciary and legal practice.
During the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies. Engagement with the reenactment in film and media studies has come almost entirely from the field of documentary studies and has focused almost exclusively on non-fiction, even though reenactments are being employed across fiction and non-fiction film and television genres. Working with an eclectic collection of case studies from Milk, Monster, Boys Don't Cry, and The Battle of Orgreave to CSI and the video of police assaulting Rodney King, this book examines the relationship between the status of theatricality in the reenactment and the ways in which its relationships to reference are performed. Carrigy shows that while the practice of reenactment predates technically reproducible media, and continues to exist in both live and mediated forms, it has been thoroughly transformed through its incorporation within forms of technical media.
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