Caught in a career slump, actor Philip Fletch is delighted to be offered a lucrative part in a movie, but, after accepting, he finds his life suddenly being threatened during filming and must turn the tables on his predator in an attempt to save his life from impending harm.
There's something about Lewis that women can't resist. There's something about Peter, too. But he's rich. They have Peter's wife, Julie in common - and when Lewis and Peter meet by chance, the lives of the three of them can never be the same again.
Killer blonde PI Grace Cornish returns in the follow-up to Simon Shaw's psychological chiller Killing Grace Grace is in trouble. She's always had a cavalier attitude towards legal niceties, and when her inquiries demand a spot of breaking-and-entering, she doesn't hesitate. But when she's caught on a security camera and her old nemesis from her police days gets ready to throw the book at her, it looks as if this time she's overstepped the mark. Out of the blue, her ex-flame Bob rings up to offer his help, but there's a catch. Working for a hush-hush anti-narcotics unit, Bob's been targeting an elusive money-launderer, and from an intercepted phonecall now knows he'll be in London the following weekend. He doesn't know where, though, but he does know who his man's meeting: a playboy and professional gambler with a taste for fast cars and loose women. The gambler always calls the same escort agency when he's in town and Bob's boys have put the screws on the owner so that the next girl he gets sent will be working undercover. Which is where Grace comes in. All she has to do is sell her body for one night and her impending court case could disappear, is that too much to ask? But as usu
This text explores the relationship between music and the visual arts in the late 19th and 20th centuries, focusing on the modernist period. It argues that the boundaries between art and music were permeable at this time.
Philip Fletcher, actor-murderer, is thrown into a jealous rage when he hears that his rival is up for a knighthood. The death of a fellow actor and the subsequent threat of scandal to his family and colleagues opens up a possibility for Fletcher; he could
Central to the development of abstract art, in the early decades of the 20th century was the conception (most famously articulated by Walter Pater) that the most appropriate paradigm for non-figurative art was music. The assumption has always been that this model was most effectively understood as Western art music (classical music). However, the musical form that was abstract art's true twin is jazz, a music that originated with African Americans, but which had a profound impact on European artistic sensibilities. Both art forms share creative techniques of rhythm, groove, gesture and improvisation. This book sets out to theorize affinities and connections between, and across, two seemingly diverse cultural phenomena.
Eye hEar The Visual in Music' employs the concept of the visual in proximate relation to music, producing a tension: 'is it not the case that there is a gulf between painting and music, between the visible and the audible? One is full of colour and light yet silent; one is invisible and marvellously noisy.' Such a belief, this book argues, betrays an ideological constraint on music, desiccating it to sound, and art to vision. The starting point of this study is more hybrid (and hydrating): that music is never employed without numerous and complex intersections with the visual. By involving the concept of synaesthesia, the book evokes music?s multi-sensory nature, stops it from sounding alone, and offers music as a subject for art historians. Music bleeds into art and visuality, in its graphic depiction in notation, in the theatre of performance, its sights and sites. This book looks at music in its absolute guise as a model for art; at notation and the conductor as the silent visual fulcra around which music circulates; at the music and image of Erik Satie; at the concert hall as white cube; at the symphonic film '2001: A Space Odyssey'; and at the liminality of John Cage and Andy Warhol.
The second book in the Essential Tools For series... on the topic of Management Consulting Based on Simon Burtonshaw-Gunn's successful The Essential Management Toolbox, this book focuses in greater depth on the topic of Management Consulting. This second book looks at how a management consultant needs to think, view and analyse the workings of an existing organisation in order to efficiently and effectively work to improve the issues facing a business. Check out the new series website featuring sample chapters, tool of the month and solve your management problems by talking direct to the author www.essentialtoolsseries.com Second title in a new series that expands on the information in Simon Burtonshaw-Gunn’s The Essential Toolbox This volume includes 30% new material in the form of new tools and techniques for guiding consultants Covers: Development of Management Consultancy; Problem resolution and Decision Making; Top 10 Tools for Consultancy Interventions; Consultancy delivery and Facilitation; Consultancy Governance and Ethics Active author, Simon Burtonshaw-Gunn speaks regularly Easy to use practical tools and techniques guiding the consultant and business person through their organisational conflicts About the Author: Simon Burtonshaw-Gunn is a practising management consultant with over 30 years experience in both the public and private sectors and covering a range of organizations and industries. He holds two Master's degrees and a PhD in various Strategic Management topics. This second book includes a forward by Malik Salameh.
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