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Two years after his parents' sudden disappearance, Ben Greenwood stumbles upon a cryptic letter that could shed some light on their whereabouts. But before he can track them down, he'll need to find the mysterious organization that sent the letter: The Royal Institute of Magic. To succeed, Ben will have to navigate a land filled with fantastic creatures and Spellshooters, where magic can be bought and sold, to unravel an ancient family secret that could hold the key to defeating an evil the Institute has been fighting for the last five hundred years.
even as she lifted her hands from her lap, over the child's face spread a calculating look that was thoroughly unnerving, for it was so like Jane. "Did you know my mother?" she asked, her eyes veering away. Geneva had a sickening sensation that Jane was reaching out from the grave. "Not really. I met her once," she said. Elizabeth grew more alert. "Where?" "Here at Brookhurst at a dinner party." She thought of Jane's tidy figure in a pink chemise and silver slave bracelets; her cold blue eyes and cruel mouth set in a pale, flat complexion. The saucy way she sat with feet tucked under her on the sofa in the drawing room-the most formal chamber in the house. A considerable pause. A frown of concentration. "Then, was this before she married my father?" Elizabeth asked slowly. "Yes. Why?" Another pause. "So you knew my father before he married my mother." "Yes," Geneva said. She would have thought this obvious, given that Emelye was Tony's child with her, and was several months older than Elizabeth. Then she realized it would be far beyond the ability of a child less than eight years old to piece that sort of information together. Elizabeth pressed her bangs again, ran her tongue over her lips. Still avoiding looking at Geneva, she asked, "Was my mother was she nice then?"
Historical-fiction based on the young life of Elizabeth "Libba" Cotten, the noted African American folksinger, who wrote the famous song "Freight Train" when she was just eleven years old. Elizabeth's Song is the true-life story of Elizabeth (Libba) Cotten, the noted African American folksinger, guitarist, and songwriter. Against all odds, young Elizabeth teaches herself to play guitar left-handed on a borrowed instrument. Eventually, she earns enough money to buy a guitar of her very own, and is then inspired to write her first song--the folk classic "Freight Train," written when she was eleven years old. Elizabeth's unique style of playing guitar (upside down and backwards), from which the term "cotten picking" is derived, has influenced countless other artists. Elizabeth's story is one that will inspire people of all ages.
Taking its title from Umberto Eco's postscript to The Name of the Rose, the novel that inaugurated the New Historical Fiction in the early 1980s, Constructing the World provides a guide to the genre's defining characteristics. It also serves as a lively account of the way Shakespeare, Marlowe, Raleigh, Queen Elizabeth I, and their contemporaries have been depicted by such writers as Anthony Burgess, George Garrett, Patricia Finney, Barry Unsworth, and Rosalind Miles. Innovative historical novels written during the past two or three decades have transformed the genre, producing some extraordinary bestsellers as well as less widely read serious fiction. Shakespearean scholar Martha Tuck Rozett engages in an ongoing conversation about the genre of historical fiction, drawing attention to the metacommentary contained in "Afterwords" or "Historical Notes"; the imaginative reconstruction of the diction and mentality of the past; the way Shakespearean phrases, names, and themes are appropriated; and the counterfactual scenarios writers invent as they reinvent the past.
Elizabeth Belfiore offers a striking new interpretation of Aristotle's Poetics by situating the work within the Aristotelian corpus and in the context of Greek culture in general. In Aristotle's Rhetoric, the Politics, and the ethical, psychological, logical, physical, and biological works, Belfiore finds extremely important but largely neglected sources for understanding the elliptical statements in the Poetics. The author argues that these Aristotelian texts, and those of other ancient writers, call into question the traditional view that katharsis in the Poetics is a homeopathic process--one in which pity and fear affect emotions like themselves. She maintains, instead, that Aristotle considered katharsis to be an allopathic process in which pity and fear purge the soul of shameless, antisocial, and aggressive emotions. While exploring katharsis, Tragic Pleasures analyzes the closely related question of how the Poetics treats the issue of plot structure. In fact, Belfiore's wide-ranging work eventually discusses every central concept in the Poetics, including imitation, pity and fear, necessity and probability, character, and kinship relations. Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Maureen Quilligan explores the remarkable presence in the Renaissance of what she calls "incest schemes" in the books of a small number of influential women who claimed an active female authority by writing in high canonical genres and who, even more transgressively for the time, sought publication in print. It is no accident for Quilligan that the first printed work of Elizabeth I was a translation done at age eleven of a poem by Marguerite de Navarre, in which the notion of "holy" incest is the prevailing trope. Nor is it coincidental that Mary Wroth, author of the first sonnet cycle and prose romance by a woman printed in English, described in these an endogamous, if not legally incestuous, illegitimate relationship with her first cousin. Sir Philip Sidney and his sister, the Countess of Pembroke, translated the psalms together, and after his death she finished his work by revising it for publication; the two were the subject of rumors of incest. Isabella Whitney cast one of her most important long poems as a fictive legacy to her brother, arguably because such a relationship resonated with the power of endogamous female agency. Elizabeth Carey's closet drama about Mariam, the wife of Herod, spends important energy on the tie between sister and brother. Quilligan also reads male-authored meditations on the relationship between incest and female agency and sees a far different Cordelia, Britomart, and Eve from what traditional scholarship has heretofore envisioned. Incest and Agency in Elizabeth's England makes a signal contribution to the conversation about female agency in the early modern period. While contemporary anthropological theory deeply informs her understanding of why some Renaissance women writers wrote as they did, Quilligan offers an important corrective to modern theorizing that is grounded in the historical texts themselves.
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ABOUT THIS BOOK This is a book about the life of Queen Elizabeth II of England, her legacies, heritage, family, her contributions during the war, achievements and her impact on various structures in the society by Lacey S. Chilton. At the hour of her introduction to the world, the vast majority didn't understand Elizabeth would some time or another become the sovereign of Incredible England. Her rule as a lone kid finished at age four, in 1930, with the introduction of her sister. Elizabeth initially met Philip, child of Ruler Andrew of Greece, when she was just 13. She was stricken with him all along. The two stayed in contact throughout the long term and at last fell head over heels.
Erving Goffman (1922-82) was arguably one of the most influential American sociologists of the twentieth century. A keen observer of the interaction order of everyday life, Goffman's books, which have sold in the hundreds of thousands, continue to be widely read and his concepts have permanently entered the sociology lexicon. This volume consists of twelve original essays, all written by prominent Goffman scholars, that critically assess Goffman's many contributions to various areas of study, including functionalism, social psychology, ethnomethodology, and feminist theory.