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Plays about Shivaji, Raja, 1627-1680 and Muhammad Bahadur Shah II, King of Delhi, 1775-1862; translations from Hindi by Kumar Shant Rakshit and Javed Rahman respectively, with critical introduction.
The only survivor of the ambitious Boleyn family, lady-in-waiting Jane Boleyn testifies against Henry VIII's latest queen, Anne of Cleeves, and conspires to place her young cousin, Catherine Howard, on the throne. By the author of The Other Boleyn Girl. Reprint. 200,000 first printing.
"Filled with fabulously British banter, wit, and heart, this delightful book is one of my must-read rom coms of the year." - Evie Dunmore, USA Today bestselling author of Portrait of a Scotsman “Virginia Heath’s fun characters and situations will have you laughing out loud! Don’t miss this wonderful read!” - Sabrina Jeffries, New York Times bestselling author The first in a new historical rom-com series, a handsome earl hires a fake fiancée to keep his matchmaking mother at bay, but hilarity ensues when love threatens to complicate everything. The last thing Hugh Standish, Earl of Fareham, ever wants is a wife. Unfortunately for him, his mother is determined to find him one, even from across the other side of the ocean. So Hugh invents a fake fiancée to keep his mother’s matchmaking ways at bay. But when Hugh learns his interfering mother is on a ship bound for England, he realizes his complicated, convoluted but convenient ruse is about to implode. Until he collides with a beautiful woman, who might just be the miracle he needs. Minerva Merriwell has had to struggle to support herself and her two younger sisters ever since their feckless father abandoned them. Work as a woodcut engraver is few and far between, and the Merriwell sisters are nearly penniless. So when Hugh asks Minerva to pose as his fiancée while his mother is visiting, she knows that while the scheme sounds ludicrous, the offer is too good to pass up. Once Minerva and her sisters arrive at Hugh's estate, of course nothing goes according to his meticulous plan. As hilarity and miscommunication ensue while everyone tries to keep their tangled stories straight, Hugh and Minerva’s fake engagement starts to turn into a real romance. But can they trust each other when their relationship started with a lie? The first book in the Merriwell Sisters series, Never Fall for Your Fiancée is a hilarious, sparkling historical romantic comedy from Virginia Heath.
Based on Evan Wright's National Magazine Award-winning story in Rolling Stone, this is the raw, firsthand account of the 2003 Iraq invasion that inspired the HBO® original mini-series. Within hours of 9/11, America’s war on terrorism fell to those like the twenty-three Marines of the First Recon Battalion, the first generation dispatched into open-ended combat since Vietnam. They were a new pop-culture breed of American warrior unrecognizable to their forebears—soldiers raised on hip hop, video games and The Real World. Cocky, brave, headstrong, wary and mostly unprepared for the physical, emotional and moral horrors ahead, the “First Suicide Battalion” would spearhead the blitzkrieg on Iraq, and fight against the hardest resistance Saddam had to offer. Hailed as “one of the best books to come out of the Iraq war”(Financial Times), Generation Kill is the funny, frightening, and profane firsthand account of these remarkable men, of the personal toll of victory, and of the randomness, brutality and camaraderie of a new American War.
This book defines and exemplifies a major genre of modern dramatic writing, termed historiographic metatheatre, in which self-reflexive engagements with the traditions and forms of dramatic art illuminate historical themes and aid in the representation of historical events and, in doing so, formulates a genre. Historiographic metatheatre has been, and remains, a seminal mode of political engagement and ideological critique in the contemporary dramatic canon. Locating its key texts within the traditions of historical drama, self-reflexivity in European theatre, debates in the politics and aesthetics of postmodernism, and currents in contemporary historiography, this book provides a new critical idiom for discussing the major works of the genre and others that utilize its techniques. Feldman studies landmarks in the theatre history of postwar Britain by Weiss, Stoppard, Brenton, Wertenbaker and others, focusing on European revolutionary politics, the historiography of the World Wars and the effects of British colonialism. The playwrights under consideration all use the device of the play-within-the-play to explore constructions of nationhood and of Britishness, in particular. Those plays performed within the framing works are produced in places of exile where, Feldman argues, the marginalized negotiate the terms of national identity through performance.
Describes the accuracy, historical context, plot, and entertainment value of over three hundred significant films
"An entirely original, illuminating work of critical scholarship. Wagner brings to bear a formidable familiarity with the Chinese practice of allusion, together with a good understanding of the issues confronting Mao, the Chinese Communist Party and the Chinese nation since 1949. An important contribution to the study of contemporary Chinese political history."--Cyril Birch, University of California, Berkeley "An entirely original, illuminating work of critical scholarship. Wagner brings to bear a formidable familiarity with the Chinese practice of allusion, together with a good understanding of the issues confronting Mao, the Chinese Communist Party and the Chinese nation since 1949. An important contribution to the study of contemporary Chinese political history."--Cyril Birch, University of California, Berkeley