This book studies a crucial phase in the history of Roman slavery, beginning with the transition to chattel slavery in the third century bce and ending with antiquity’s first large-scale slave rebellion in the 130s bce. Slavery is a relationship of power, and to study slavery – and not simply masters or slaves – we need to see the interactions of individuals who speak to each other, a rare kind of evidence from the ancient world. Plautus’ comedies could be our most reliable source for reconstructing the lives of slaves in ancient Rome. By reading literature alongside the historical record, we can conjure a thickly contextualized picture of slavery in the late third and early second centuries bce, the earliest period for which we have such evidence. The book discusses how slaves were captured and sold; their treatment by the master and the community; the growth of the conception of the slave as “other than human,” and as chattel; and the problem of freedom for both slaves and society.
Rather than looking at particular individuals and personalities in Roman politics, Stewart focuses on the religious institution of the allotment of duties among elected officials. She traces the definition of allotments and their historical development with examples from the Reforms of 444, 406 and 367 BC.
A biographical account of the life of Norman Bethune, detailing the story of his life including his career as a surgeon, his fight to eradicate tuberculosis, his commitment to establish a medicare system in Canada, and his communist ideologies, through considerable research and interviews with friends, family, former patients and colleagues.
The Last Duchess is the touching story of Princess Anastasia and Dunia, two girls whose lives were worlds apart, but whosefriendship lasted a lifetime. When Dunia runs away from her tiny village in the forests of Siberia, she never imagines she'll meet the Tsar of Russia. But before long she's visiting the palace and making friends with the impish young princess, Anastasia. Life couldn't be happier... until the dark clouds of revolution loom over Russia. Could Dunia lose her new world, her new friend - even her own life?
The first book in a new series that picks up where the Royal Diaries left off! Previously published as The Dark Tower, this riveting novelis written as the diary of Princess Marie Thérèse Charlotte of France, daughter of Louis XVI and Marie Antoinette, who was imprisoned during the French Revolution. One by one her parents and her brother were taken from her - Louis and Marie Antoinette beheaded, her brother dead of neglect.Though she lost everything, Mousseline, as she was called,was determined to be as brave and honourable asshe could be during a time of tragedy and upheaval. A gripping story about a real princess that history nearly forgot! Shortlisted for both the Red Cedar Award and the Geoffrey Bilson Award for Historical Fiction when it was published in 1998, this is the first book in a new series from Scholastic which will feature royal-themed books in a format made popular by the Dear Canada and Royal Diaries series.
Kristen Jaymes Stewart is an American actress, model and director. She is the recipient of several accolades, including a César Award, making her the first American woman to win the award.Born in Los Angeles to parents who worked in show business, Stewart began her career as a child actor in 1999. She gained notice in 2002 for playing Jodie Foster's daughter in the thriller Panic Room, which garnered her a Young Artist Award nomination for Best Leading Actress in a Feature Film. She subsequently starred in Speak (2004), Catch That Kid (2004), Zathura: A Space Adventure (2005), and Into the Wild (2007). In 2010, she was awarded the BAFTA Rising Star Award. Stewart went on to gain wide recognition for playing Bella Swan in The Twilight Saga film series (2008-12), which collectively grossed over $3.3 billion worldwide. Her work in the series established her as one of the highest-paid actresses in the world.
Tok, the most nimble-winged of the young ravens, is banished for a crime he did not commit, and the only way he can restore his honor and his father's name is to perform a brave and daring deed to benefit all ravenkind.
During the French Revolution, the 11-year-old daughter of King Louis XVI is imprisoned in a dismal tower. Based on the original journals of the princess" Cf. Our choice, 1998-1999.
At the heart of one of the most successful transmedia franchises of all time, Star Trek, lies an initially unsuccessful 1960s television production, Star Trek: The Original Series. In Star Trek and American Television, Pearson and Messenger Davies, take their cue from the words of the program’s first captain, William Shatner, in an interview with the authors: "It’s a television show." In focusing on Star Trek as a television show, the authors argue that the program has to be seen in the context of the changing economic conditions of American television throughout the more than four decades of Star Trek’s existence as a transmedia phenomenon that includes several films as well as the various television series. The book is organized into three sections, dealing with firstly, the context of production, the history and economics of Star Trek from the original series (1966-1969) to its final television incarnation in Enterprise (2002-2005). Secondly, it focuses on the interrelationships between different levels of production and production workers, drawing on uniquely original material, including interviews with star captains William Shatner and Sir Patrick Stewart, and with production workers ranging from set-builders to executive producers, to examine the tensions between commercial constraints and creative autonomy. These interviews were primarily carried out in Hollywood during the making of the film Nemesis (2002) and the first series of Star Trek: Enterprise. Thirdly, the authors employ textual analysis to study the narrative "storyworld" of the Star Trek television corpus and also to discuss the concept and importance of character in television drama. The book is a deft historical and critical study that is bound to appeal to television and media studies scholars, students, and Star Trek fans the world over. With a foreword by Sir Patrick Stewart, Captain Jean-Luc Picard in Star Trek: The Next Generation.
At the heart of one of the most successful transmedia franchises of all time, Star Trek, lies an initially unsuccessful 1960s television production, Star Trek: The Original Series. In Star Trek and American Television, Pearson and Messenger Davies, take their cue from the words of the program’s first captain, William Shatner, in an interview with the authors: "It’s a television show." In focusing on Star Trek as a television show, the authors argue that the program has to be seen in the context of the changing economic conditions of American television throughout the more than four decades of Star Trek’s existence as a transmedia phenomenon that includes several films as well as the various television series. The book is organized into three sections, dealing with firstly, the context of production, the history and economics of Star Trek from the original series (1966-1969) to its final television incarnation in Enterprise (2002-2005). Secondly, it focuses on the interrelationships between different levels of production and production workers, drawing on uniquely original material, including interviews with star captains William Shatner and Sir Patrick Stewart, and with production workers ranging from set-builders to executive producers, to examine the tensions between commercial constraints and creative autonomy. These interviews were primarily carried out in Hollywood during the making of the film Nemesis (2002) and the first series of Star Trek: Enterprise. Thirdly, the authors employ textual analysis to study the narrative "storyworld" of the Star Trek television corpus and also to discuss the concept and importance of character in television drama. The book is a deft historical and critical study that is bound to appeal to television and media studies scholars, students, and Star Trek fans the world over. With a foreword by Sir Patrick Stewart, Captain Jean-Luc Picard in Star Trek: The Next Generation.
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