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All Australians will easily identify with the initial setting of this book, the location of Botany Bay and Captain James Cook being on board the Endeavour. The book begins with Cooks discovery, his claiming and subsequent skirmish with the local indigenous people, who were at his landing site. These recorded facts are ongoing indigenous rights issues. The book continues with Cooks return to England, the recording of Cooks journey, altered to suit the state of affairs, then the delay and planning for the First Fleet to return to Australia, named New South Wales. The introduced fictional character, Lucy, is a young woman unjustly imprisoned for a crime she did not commit. Lucy is sent as part ...
A Preacher is run down on the by-pass, a Right Reverend falls under the London Express; a fisherman drowns in the canal. Accident suicide, or murder? Inspector Walter Darriteau of Chester police doesn't believe in coincidences. His doubts are confirmed with another killing. Maggie O'Brien on a bench in the forest, dew dripping from her nose, a cobweb from her hat to the bench, death by carbon monoxide poisoning, yet no car in the damp car park. There's a killer at large, a random killer, a serial killer, a ruthless killer who'll stop at nothing. Why? What's the purpose behind these unrelated deaths? It's a race against time; he or she must be stopped before they kill again. The Murder Diaries is set in the City of Chester. Darriteau is an adopted Cestrian, he's nearing retirement, and his oppo Sergeant Karen Greenwood covets his job. Walter isn't ready to end things on a sour note. He knows this case will define his career. He determines to trap the killer, putting his own life on the line.
A rash act by Marcus starts off a catalogue of events that turns into a frightening roller-coaster ride of theft, intrigue and deception; testing the two men's friendship to the limit. As the two struggle with their predicament they become inextricably drawn ever deeper into the shadowy past of the Romanov dynasty.
Dramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of "play making." Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multimedia to filmmaking and robotics. In our global, mediated context of multinational group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: intercultural mediat...
Watch out, Harry Dresden, Kinsey Milhone and Mercy Thompson: there's a new kick-ass guardian in town and Verity Fassbinder's taking no nonsense from anyone, not even the fox-spirit assassins who are invading Brisbane in this fast-paced sequel to VIGIL. Life in Brisbane is never simple for those who walk between the worlds. Verity's all about protecting her city, but right now that's mostly running surveillance and handling the less exciting cases for the Weyrd Council - after all, it's hard to chase the bad guys through the streets of Brisbane when you're really, really pregnant. 'Verity is the best thing about the book . . . she's a surly, straight-talking, Doc Marten-wearing punchbag who i...
For this updated critical edition of Romeo and Juliet, Hester Lees-Jeffries has written a completely new introduction. It draws on recent research in theatre to set Romeo and Juliet in its mid-1590s context, making connections with other plays by Shakespeare and other literature of the period, as well as with the social and cultural contexts of the day, with discussions of London and Italy, dancing and duelling, marriage, gender and sexuality. It includes detailed discussion of the play in performance from the Restoration to the present day, with a particular focus on film (including global cinema), music and dance, and also explores other adaptations and afterlives, including young-adult fiction. The edition retains the commentary and Textual Analysis of the previous editor, G. Blakemore Evans; the Textual Analysis is prefaced with a short note contextualising its conclusions in the light of more recent research.
Shakespeare is both the world's most quoted author and a frequent quoter himself. This volume unites these creative practices.
In German spoken theatre, prompt books used to be written by multiple participants engaging in diverse manuscript practices which continually revise the unfixed literary text within its theatrical context. Based on examples of the vast Hamburg »Theatre-Library« from the 1770s to 1820s, this study proposes a transdisciplinary approach towards handwritten artefacts in modern European theatre. Martin Jörg Schäfer and Alexander Weinstock examine the many-handed creation, handwritten transformation and often decades of use of prompt books in a time increasingly dominated by print. This perspective changes our notion of theatre history around 1800 as well as that of literature and authorship.
Judith clerked for the Tennessee Court of Appeals, practiced for ten years, and then was named to a judgeship with a domestic relations docket. The problems began almost immediately, with her home being shot up. And then things got worse.