Cats Masquerade War! The rights of women! The growing gap between the rich and the poor! Sound familiar? All of this was happening in the year 1803, when Caitlyn Llewellyn, only child and heiress to a large fortune, ran away, disguised as a maid, from her arranged marriage to her fathers old friend, the Earl of Falconbridge, to find love and a marriage of her own choosing during Londons Season. Caitlyns plan to run away to London and her Aunt Henrietta goes awry immediately. Caitlyn anticipated a lighthearted acceptance of her own unmasking, but she quickly realizes that her employer, the rich and beautiful young Clarissa Thomas, would not welcome a rival. The exposure of Cats masquerade as the ladys maid Cat Griffyn would imperil Caitlyns plan of having a Season. When Cat arrives in London, she finds that her aunt will not arrive for several weeks, obliging Cat to continue as a servant. Cat finds herself in danger from another source, the rich and mysterious Vere Courtenay Fairfax. When he first meets her upon the road to London, in her guise as a ladys maid, he is immediately taken by her beauty and resolves to follow her to London. After their first meeting, he seeks to hide the deep and powerful currents of his sensual desire behind a mien of disinterested and proper etiquette, but Cat is not deceived. Fairfax is never far from Cat as she goes about her days as Clarissas maid. A perfect correctness marks the manner of Lucien Montclair, the Comte du Foix, who also notices Cat during her service to Clarissa Thomas. He is a French migr. His charm and lightness of manner in the face of the tragedy of the French Revolution touch Cat, and she is enchanted by his kindness. Not so charming is the Thomases skulking footman, Roberts, whose desire to exact revenge on Cat puts everyone in danger. With the assistance of Lady Bullstrode, a bustling busybody, Cat escapes scandal and enters the glittering world of London Society. Sponsored by her Aunt Henrietta and aided by Lady Bullstrode, Cat scales the heights of the fashionable world. There she meets Mr. Fairfax and the Comte again. Against her will, she is drawn to Mr. Fairfax, whose passion has ignited her own. She is relieved when her father confesses by letter that her arranged bridegroom was not the old Lord Falconbridge, but his son, the Count of Montferrato. The new Earl of Falconbridge begins a correspondence with Cat, who hopes to find the answer to her passionate longings for Mr. Fairfax in marriage to the Earl of Falconbridge, whose letters hint at a nature well matched to her own. The Duchess of Devonshires masquerade ball begins the shattering climax that will reveal the true faces of Caitlyn and her suitors in Cats Masquerade. The evocation of the London of 1803 in Cats Masquerade is replete with the historical personages of that time and their milieu. The rich historical tapestry through which the main fictional characters move, with its real people, sights, sounds, and places, comes alive through the prose and dialogue. The Duchess of Devonshire, Beau Brummell, the Prince of Wales, Gentleman Jackson, and Tom Cribb live again in this story, which takes the reader to all the highlights of the Season, from Presentation at Court, dancing at Almacks, and promenading in the Park to boxing at the Fives Court and bidding at Tattersalls. The sumptuous life of the upper classes, with its hidden shoals of danger, is recreated in vivid detail. There is something for everyone at Cats Masquerade: mystery, intrigue, passion, sexual awakening, coming of age, and danger, all woven in a fabric of horse racing, boxing, operas, balls, social ambition, and a love both forbidden and dangerous.
Join Thea Stilton and the Thea Sisters on an adventure packed with mystery and friendship! The Thea Sisters help their friend Beatrice prepare for the Summer Olympics!
Governor Marshall Avery is America's most eligible bachelor, a millionaire businessman positioning himself to run for the highest office in the land. Marshall is smart enough and tough enough, but not quite warm enough for the job. He needs a wife who can soften his image, show his human side. Beth Wilford is all he could wish for - young, beautiful, and with an impeccable political pedigree. Yet in the corridors of power, no match is perfect. Her presence in Marshall Avery's life charms journalists and voters hungry for a political romance, but it splits his conservative team. And why does Marshall seem to retreat from her once their liaison is made public.
Join Thea Stilton and the Thea Sisters in this adventure packed with mystery and friendship! The Thea Sisters are in Hawaii to compete in an international hula festival. The mouselets are having a great time -- until they learn that the festival is located on the side of a volcano that is about to erupt! No one else seems know about the danger. The Thea Sisters don't have any time to lose!
Lady Azalais, daughter of a dead traitor whose lands are forfeit, whose mother is forced by King Henry II to wed the victorious and vicious Sir Hugo du Champ, is sent, in disguise, along with three falcons, first to her cousin in Parthenay, then to the court of Queen Eleanor in Poitiers. The man chosen by her mother to take the falcons and Azalais is the troubadour Sir Gervais du Quercy, notorious throughout the Limousin, one of the many landless younger sons of the Occitan, who must live by his skills with sword and song. Azalais is irresistibly attracted to him and he too finds himself falling in love, but with Azalais’s beautiful cousin Argentine. Wound together first at the court at Poitiers in a life of love, intrigue, and tournaments of arms and poetry, entangled by desire then separated by a war of rebellion, can true love triumph or will all be destroyed in Love’s Pure Flame?
Cats Masquerade War! The rights of women! The growing gap between the rich and the poor! Sound familiar? All of this was happening in the year 1803, when Caitlyn Llewellyn, only child and heiress to a large fortune, ran away, disguised as a maid, from her arranged marriage to her fathers old friend, the Earl of Falconbridge, to find love and a marriage of her own choosing during Londons Season. Caitlyns plan to run away to London and her Aunt Henrietta goes awry immediately. Caitlyn anticipated a lighthearted acceptance of her own unmasking, but she quickly realizes that her employer, the rich and beautiful young Clarissa Thomas, would not welcome a rival. The exposure of Cats masquerade as the ladys maid Cat Griffyn would imperil Caitlyns plan of having a Season. When Cat arrives in London, she finds that her aunt will not arrive for several weeks, obliging Cat to continue as a servant. Cat finds herself in danger from another source, the rich and mysterious Vere Courtenay Fairfax. When he first meets her upon the road to London, in her guise as a ladys maid, he is immediately taken by her beauty and resolves to follow her to London. After their first meeting, he seeks to hide the deep and powerful currents of his sensual desire behind a mien of disinterested and proper etiquette, but Cat is not deceived. Fairfax is never far from Cat as she goes about her days as Clarissas maid. A perfect correctness marks the manner of Lucien Montclair, the Comte du Foix, who also notices Cat during her service to Clarissa Thomas. He is a French migr. His charm and lightness of manner in the face of the tragedy of the French Revolution touch Cat, and she is enchanted by his kindness. Not so charming is the Thomases skulking footman, Roberts, whose desire to exact revenge on Cat puts everyone in danger. With the assistance of Lady Bullstrode, a bustling busybody, Cat escapes scandal and enters the glittering world of London Society. Sponsored by her Aunt Henrietta and aided by Lady Bullstrode, Cat scales the heights of the fashionable world. There she meets Mr. Fairfax and the Comte again. Against her will, she is drawn to Mr. Fairfax, whose passion has ignited her own. She is relieved when her father confesses by letter that her arranged bridegroom was not the old Lord Falconbridge, but his son, the Count of Montferrato. The new Earl of Falconbridge begins a correspondence with Cat, who hopes to find the answer to her passionate longings for Mr. Fairfax in marriage to the Earl of Falconbridge, whose letters hint at a nature well matched to her own. The Duchess of Devonshires masquerade ball begins the shattering climax that will reveal the true faces of Caitlyn and her suitors in Cats Masquerade. The evocation of the London of 1803 in Cats Masquerade is replete with the historical personages of that time and their milieu. The rich historical tapestry through which the main fictional characters move, with its real people, sights, sounds, and places, comes alive through the prose and dialogue. The Duchess of Devonshire, Beau Brummell, the Prince of Wales, Gentleman Jackson, and Tom Cribb live again in this story, which takes the reader to all the highlights of the Season, from Presentation at Court, dancing at Almacks, and promenading in the Park to boxing at the Fives Court and bidding at Tattersalls. The sumptuous life of the upper classes, with its hidden shoals of danger, is recreated in vivid detail. There is something for everyone at Cats Masquerade: mystery, intrigue, passion, sexual awakening, coming of age, and danger, all woven in a fabric of horse racing, boxing, operas, balls, social ambition, and a love both forbidden and dangerous.
Between 1700 and 1900, the subject of disinterment (exhumation) attracted the attention of antiquaries, who constructed a comprehensive memory of the past by 'reading' corpses as documents describing an idealised past. Between 1700 and 1900, the sixteenth and seventeenth centuries were stereotyped, idealised, and held as a standard by which the present time could be measured. Various figures in politics, academia, and the church pointed to historical persons such as Henry VIII, Shakespeare, Charles I, and Oliver Cromwell as icons whose lives, deaths and corpses illustrated the victories of English Protestantism, the values of Monarchism (or Republicanism), and the superiority of the English culture and its language. In particular, the subject of disinterment (exhumation) attracted the attention of antiquaries. They constructed a comprehensive memory of the past by 'reading' corpses as documents describing an idealised past. These 'texts' accompanied and enhanced the traditional texts of chronicle, literature, and epitaph. This study explores the cooperation of ideology and aesthetic, the paradox of allure and revulsion, and the uncanny attraction to death. In each case there is a desire for the dead to speak in a contemporary voice; each historical personage becomes symbolic of larger aspects of the contemporary culture. The discourse of the noble body in death is reconfigured to validate English nationalist ideals and to establish the past as a Golden Era of unimpeachable superiority. It was not enough simply to study the lives and deaths of historical figures. Itwas necessary to disinter the corpses, engage physically with the dead, and experience the discourse of validation. THEA TOMAINI is Associate Professor of English (Teaching) at the University of Southern California.
Ekina was made in America with African parts, but unfortunately this has never made him indestructible. Precocious at ten years old, Ekina knows that physical strength wont help him fend off his overbearing parents, cruel teachers, and one-sided romance. It wont help him save his baby sister from their traditionally-misogynist father or protect his little brother from their mothers expectations either, although it mightve helped him master an adagioif he hadnt quit ballet class. Nigerian boys dont wear pointe shoes, and anyway, who does he think he isan American? So You Think Youre American is a novel about growing up in that world between foreign and native cultures. Poignant, funny, and sometimes hopelessly heartbreaking, So You Think Youre American will evoke profound emotions, tears or laughter, in even the most stoic of readers.
Full of practical strategies and lesson plans, this book is brimming with clear and inspiring ideas for teachers eager to help their students develop an empathic and accurate understanding of history.
Unsettled Belonging tells the stories of young Palestinian Americans as they navigate and construct lives as American citizens. Following these youth throughout their school days, Thea Abu El-Haj examines citizenship as lived experience, dependent on various social, cultural, and political memberships. For them, she shows, life is characterized by a fundamental schism between their sense of transnational belonging and the exclusionary politics of routine American nationalism that ultimately cast them as impossible subjects. Abu El-Haj explores the school as the primary site where young people from immigrant communities encounter the central discourses about what it means to be American. She illustrates the complex ways social identities are bound up with questions of belonging and citizenship, and she details the processes through which immigrant youth are racialized via everyday nationalistic practices. Finally, she raises a series of crucial questions about how we educate for active citizenship in contemporary times, when more and more people’s lives are shaped within transnational contexts. A compelling account of post-9/11 immigrant life, Unsettled Belonging is a steadfast look at the disjunctures of modern citizenship.
The Model as Performance investigates the history and development of the scale model from the Renaissance to the present. Employing a scenographic perspective and a performative paradigm, it explores what the model can do and how it is used in theatre and architecture. The volume provides a comprehensive historical context and theoretical framework for theatre scholars, scenographers, artists and architects interested in the model's reality-producing capacity and its recent emergence in contemporary art practice and exhibition. Introducing a typology of the scale model beyond the iterative and the representative model, the authors identify the autonomous model as a provocative construction between past and present, idea and reality, that challenges and redefines the relationship between object, viewer and environment. The Model as Performance was shortlisted for the best Performance Design & Scenography Publication Award at the Prague Quadrennial (PQ) 2019.
This collection of critical essays investigates an emergent and increasingly important field of cultural production in Latin America: cyberliterature and cyberculture in their varying manifestations, including blogs and hypertext narratives, collective novels and e-mags, digital art and short Net-films. Highly innovative in its conception, this book provides the first sustained academic focus on this area of cultural production, and investigates the ways in which cyberliterature and cyberculture in the broadest sense are providing new configurations of subjects, narrative voices, and even political agency, for Latin Americans. The volume is divided into two main sections. The first comprises eight chapters on the broad area of cyberculture and identity formation/preservation including the development of different types of cybercommunities in Latin America. While many of the chapters applaud the creative potential of these new virtual communities, identities and cultural products to create networks across boundaries and offer new contestatory strategies, they also consider whether such phenomena may risk reinforcing existing social inequalities or perpetuate conservatism. The second section comprises six chapters and an afterword that deal with the nature of cyberliterature in all its many forms, from the (cyber)cultural legacies of writers such as Julio Cortázar and Jorge Luis Borges, to traditional print literature from the region that reflects on the subject of new technology, to weblogs and hypertext and hypermedia fiction proper.
The Thea Sisters are visiting a friend in sunny California - and she invites them to the set of a movie in Hollywood! The mice love being around famouse and fabumouse directors and actors as they're working. But then an important reel of film is stolen from the studio! Can the Thea Sisters catch the thief and save the movie?"--Back cover.
This will be a book for the world’s last reader, she decided, chewing pen-end over an open exercise book. In the dying town of Drylands, Janet Deakin sells papers to lonely locals. At night, in her flat above the newsagency, she attempts to write a novel for a world in which no one reads—‘full of people, she envisaged, glaring at a screen that glared glassily back.’ Drylands is the story of the townsfolk’s harsh, violent lives. Trenchant and brilliant, Thea Astley’s final novel is a dark portrait of outback Australia in decline. Thea Astley was born in Brisbane in 1925. Her first novel, Girl with a Monkey, was published in 1958 and her third, The Well Dressed Explorer (1962), won the Miles Franklin Literary Award. Many notable books followed, among them the groundbreaking A Kindness Cup (1974), which addressed frontier massacres of Indigenous Australians, and It’s Raining in Mango (1987). Her last novel was Drylands (1999), her fourth Miles Franklin winner. Her fiction is distinguished by vivid imagery and metaphor; a complex, ironic style; and a desire to highlight oppression and social injustice. One of the most distinctive and influential Australian novelists of the twentieth century, Astley died in 2004. ‘It is impossible to put this book down. It seethes with energy and passion.’ Herald Sun 'Wonderful.' Australian
The untold stories of seven revolutionary teen shows (The Fresh Prince of Bel-Air, My So-Called Life, Dawson’s Creek, Freaks and Geeks, The O.C., Friday Night Lights, and Glee) that shaped the course of modern television and our pop cultural landscape forever. The modern television landscape is defined by influential and ambitious shows for and about teenagers. Groundbreaking series like Euphoria, Sex Education, and Pen15 dominate awards season and lead the way when it comes to progressive, diverse, and creative storytelling. So how did we get here from Beverly Hills, 90210? In Freaks, Gleeks, and Dawson’s Creek, entertainment journalist Thea Glassman takes readers behind the scenes of seven of the most culturally significant series of the last three decades, drawing on dozens of new interviews with showrunners, cast, crewmembers, and more. These shows not only launched the careers of such superstars as Will Smith, Michael B. Jordan, Claire Danes, and Seth Rogen, but they also took young people seriously, proving that teen TV could be smart, revolutionary, and “important”—and stay firmly entrenched in pop culture long after it finished airing. And while many critics insist that prestige dramas like The Sopranos and Mad Men paved the way for television, some of the most groundbreaking work was actually happening inside the fictional hallways of high schools across America in teen shows whose impact remains visible on our screens today.
The swearing of oaths is a cultural phenomenon that pervades English history and was remarkably important during the sixteenth century. This multi-disciplinary work explores how writers of the Tudor era addressed the subject in response to the profound changes of the Reformation and the creative explosion of the Elizabethan period. Topics include how the art of rhetoric was deployed in polemic, the way in which oaths formed bonds between Church and State, and how oaths functioned in literature, as ceremony and as a language England used to describe itself during times of radical change.
This volume provides an innovative and timely approach to a fast growing, yet still under-studied field in Latin American cultural production: digital online culture. It focuses on the transformations or continuations that cultural products and practices such as hypermedia fictions, net.art and online performance art, as well as blogs, films, databases and other genre-defying web-based projects, perform with respect to Latin American(ist) discourses, as well as their often contestatory positioning with respect to Western hegemonic discourses as they circulate online. The intellectual rationale for the volume is located at the crossroads of two, equally important, theoretical strands: theories of digital culture, in their majority the product of the anglophone academy; and contemporary debates on Latin American identity and culture.
It is 1919 and Elizabeth Hughes, the eleven-year-old daughter of America's most-distinguished jurist and politician, Charles Evans Hughes, has been diagnosed with juvenile diabetes. It is essentially a death sentence. The only accepted form of treatment – starvation – whittles her down to forty-five pounds skin and bones. Miles away, Canadian researchers Frederick Banting and Charles Best manage to identify and purify insulin from animal pancreases – a miracle soon marred by scientific jealousy, intense business competition and fistfights. In a race against time and a ravaging disease, Elizabeth becomes one of the first diabetics to receive insulin injections – all while its discoverers and a little known pharmaceutical company struggle to make it available to the rest of the world. Relive the heartwarming true story of the discovery of insulin as it's never been told before. Written with authentic detail and suspense, and featuring walk-ons by William Howard Taft, Woodrow Wilson, and Eli Lilly himself, among many others.
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