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Take Him to Court
Ecclesiastes says: “To everything there is a season, and a time for every purpose under heaven.” After seasons of disappointments, setbacks, and discouragements, author Sarah Jane Mackey’s season suddenly changed. She came to her senses. After seasons of ignorance and losing battles, she found faith, courage, and strength. She found purpose. She finally understood her rights and her inheritance. In Take Him to Court, she shares her real-life drama of her struggle to gain control of her inheritance and the legal rights to her blessings. For years, she fell prey to the dominant voices in her head. Set against the backdrop of a fictional court case and trial, Mackey tells of her battle against the devil and evil and God as Judge. Follow Mackey as she takes her case to the highest court to get justice and answered prayers.
THE COMPLETE BOOK OF THE COMMONWEALTH GAMES
Now in its third fully updated edition The Complete Book of the Commonwealth Games covers every result of every event of every sport in the Games history, from its inception in 1930 to the most recent edition in 2014. It is the ideal companion for following the 2018 Gold Coast Games in Australia.
Refiguring Melodrama in Film and Television
The notion of mode is critical in the reevaluation of melodrama. As a mode, melodrama appears not only as a dramatic genre pervaded by sensationalism, exaggerations, and moral polarities, but also as a cultural imaginary that shapes the emotional experience of modernity, characterized by anxiety, moral confusion, and the dissolution of hierarchy. Despite its usefulness, the notion of mode remains mystifying: What exactly are modes and how do they differ from genres? Refiguring Melodrama in Film and Television: Captive Affects, Elastic Sufferings, Vicarious Objects argues that, whereas genres divide a universe in terms of similarities and differences, modes express or modify an indivisible whole. This study contends that the melodramatic mode is concerned with the expression of the social whole in terms of suffering. Zarzosa explains how melodrama is not a cultural imaginary that proclaims the existence of a defunct moral order in a post-sacred world, but an apparatus that shapes suffering and redistributes its visibility. The moral ideas we associate with melodrama are only a means to achieve this end.
