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Caroline E. Sanders
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The Tyrant Under the Skin
It is May 1649 in England. The King is dead, and the Levellers in the New Model Army have mutinied against Oliver Cromwell at Banbury. Captain Thompson and his trusted comrades are galloping towards Northampton, fleeing his certain revenge. Brilliana Barebone, her brother William, and friend Nathaniel Elkin, are occupied in their own desperate acts of rebellion. They find their lives altered forever, as they become entangled in the Leveller mutiny: the bloodshed, and the battle for principle and ideal. Will the friends escape the clutches of the evil slaver Elber Choke, and the godly John Barebone? Will they conquer tyranny, find themselves, and ultimately find love?
Caroline Drama
This study of Caroline Drama concentrates on the public theatre playwriting of Philip Massinger, John Ford, James Shirley and Richard Brome between 1625 and 1642. Setting their plays within a social and political context, Julie Sanders reveals their concern with issues of community and hierarchy in the decades leading up to the English Civil Wars.
The 1630s
Examining the Caroline era - a period of great importance to English history in the build-up to the Civil War, these essays address politics, religion, the monarchy, culture, literature, and art history.
Hunted
In the third installment of the Belle Morte series, follow vampire Ludovic and human Roux who are on the hunt to bring renegade vampires to justice while denying the complicated feelings for one another. With the help of Renie and Edmond, the battle for Belle Morte has been fought and won. However, the bigger fight is not over, as enemy vampires have escaped into the city and the future of vampirekind hangs in the balance. The escapees must be brought to justice - and fast. For fellow Belle Morte celebrity, the reclusive vampire Ludovic de Vauban, this is the perfect opportunity to confront his fears about the world beyond the mansion's walls. But he can't do this alone. Enter donor Roux Hay...
Handbook of the Sociology of Health, Illness, and Healing
The Handbook of the Sociology of Health, Illness & Healing advances the understanding of medical sociology by identifying the most important contemporary challenges to the field and suggesting directions for future inquiry. The editors provide a blueprint for guiding research and teaching agendas for the first quarter of the 21st century. In a series of essays, this volume offers a systematic view of the critical questions that face our understanding of the role of social forces in health, illness and healing. It also provides an overall theoretical framework and asks medical sociologists to consider the implications of taking on new directions and approaches. Such issues may include the importance of multiple levels of influences, the utility of dynamic, life course approaches, the role of culture, the impact of social networks, the importance of fundamental causes approaches, and the influences of state structures and policy making.
A Jovial Crew
A Jovial Crew, or the Merry Beggars, is a comedy about four noble lovers who join the beggar community for a pastoral life of dance and song. Or is it? Whilst maintaining its unremitting good humour, A Jovial Crew shows that the literary depiction of beggar life, and real beggar life, are profoundly different. Daily aspects of life in the beggar world – poverty, dirt, licentiousness – come as a surprise to the well-born, who are ultimately led to question their own values. The last production mounted before theatres were closed for the English Civil War, A Jovial Crew's exploration of class, commonwealth, kinship and kingship shows an intense engagement with contemporary politics. This edition, with dedicated sections on music and language in the play, argues that A Jovial Crew also offers a nostalgic farewell to English theatre. It explores Brome's attitude to performance and print, and follows A Jovial Crew from its first, Caroline staging, to its later manifestations as a Restoration comedy, an eighteenth-century opera, and a twentieth-century proto-Marxist tragicomedy.
