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A funny, touching, thought-provoking novel, peopled with memorable characters and pulsing with ideas, from the inimitable author of Antonio S and the Mystery of Theodore Guzman and Hazel Green.
"Amelia had looked in this particular book before. She remembered it very well because it was the book with the silver dragon and the golden knight on its cover. She had really wanted to read it but couldn't since the pages were all white, blank. Not anymore though! For some bizarre reason, the young princess could not explain nor understand, the book was writing itself!" What happens when a young princess decides to run away from the palace to live a little adventure of her own? Things do not always turn out the way she plans them to. Strange encounters in a magical world of witches, knights and dragons and Amelia who must find a way to save her parents, but also the rest of the realm, from an ancient curse hunting to destroy them all.
Mastering Fear analyzes horror as play and examines what functions horror has and why it is adaptive and beneficial for audiences. It takes a biocultural approach, and focusing on emotions, gender, and play, it argues we play with fiction horror. In horror we engage not only with the negative emotions of fear and disgust, but with a wide range of emotions, both positive and negative. The book lays out a new theory of horror and analyzes female protagonists in contemporary horror from child to teen, adult, middle age, and old age. Since the turn of the millennium, we have seen a new generation of female protagonists in horror. There are feisty teens in The Vampire Diaries (2009–2017), troubled mothers in The Babadook (2014), and struggling women in the New French extremity with Martyrs (2008) and Inside (2007). At the fuzzy edges of the genre are dramas like Pan's Labyrinth (2006) and Black Swan (2010), and middle-age women are now protagonists with Carol in The Walking Dead (2010–) and Jessica Lange's characters in American Horror Story (2011–). Horror is not just for men, but also for women, and not just for the young, but for audiences of all ages.
"Engaging images accompany information about the Loch Ness Monster. The combination of high-interest subject matter and light text is intended for students in grades 3 through 7"--Provided by publisher.
Sleeping Beauty, Victoria, Cleopatra, Snow White, Elizabeth, Pocahontas, Mia Thermopolis: all princesses Do YOU have what it takes to be a princess? princess mia will help you find out Best-selling Princess Diaries author Meg Cabot and acclaimed fashion artist Chesley McLaren team up again to display this clever royal roster of princesses of the world. Big or small, old or new, fact or fiction, our favorite princess Amelia Mignonette Grimaldi Thermopolis Renaldo (aka Mia) will point out why these princesses rule, and how any girl can too!
George has always felt burdened by his princely duties, and even more by the need to hide the magic through which he speaks with animals, but when he is betrothed to the strange princess of a neighboring kingdom, his secret, and the persecution of people like himself, must come to an end.
When Amelia, a precocious, ten-year-old girl, is diagnosed with a brain tumor, she fights her horrible disease the only way she knows how--with her vivid imagination. In her alter-ego guise of a demigoddess warrior princess, she battles against a powerful demonic invader named Romut and his horde of monsters to protect the people of her imaginary world. Ardentia is a lush forest and home to the fairy folk. Its verdant trees, flowers, pristine waters, and wildlife is not only the heart and soul of Amelia's make-believe world, but a symbol of her very existence. When Romut invades the core of her being, Amelia must fight, not just for her people and their home, but for her very life.
This book focuses on how the abject spectacle of the ‘monstrous feminine’ has been reimagined by recent and contemporary screen horrors focused on the desires and subjectivities of female monsters who, as anti-heroic protagonists of revisionist and reflexive texts, exemplify gendered possibility in altered cultures of 21st century screen production and reception. As Barbara Creed notes in a recent interview, the patriarchal stereotype of horror that she named ‘the monstrous-feminine’ has, decades later, ‘embarked on a life of her own’. Focused on this altered and renewed form of female monstrosity, this study engages with an international array of recent and contemporary screen entertainments, from arthouse and indie horror films by emergent female auteurs, to the franchised products of multimedia conglomerates, to 'quality' television horror, to the social media-based creations of horror fans working as ‘pro-sumers’. In this way, the monograph in its organisation and scope maps the converged and rapidly changing environment of 21st century screen cultures in order to situate the monstrous female anti-hero as one of its distinctive products.
What started out as a strange assignment, lead to one of the most gruesome murder mysteries of our times. My friends and I are set and determined to find out who is killing off Fae and Witches alike.