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Magical Mallins Wood is under threat from developers. Unknown to everyone but the members of the top secret Society for the Protection of Mythical Creatures, the wood is the home of the last gorgon, a creature so deadly she can kill with a look. Col's difficult mother is the gorgon's Companion - a human with a special bond with the gorgon - and she's determined to save it. So determined, that she'll allow the evil shapeshifter Kullervo to help her, even if it means having to sacrifice her son to him. But Kullervo wants more than to help the gorgon. He wants universal power, and he needs Col's best friend Connie to get it. Col's mum tells Col that she wants to meet this powerful girl. But is it a trap? And, if so, who is the hunter, and who the hunted?
Mallins Wood is home to the last surviving gorgon, and Col's mother, the gorgon's supernatural Companion, is determined to save it from encroaching development--even to the point of endangering Col and his best friend Connie, the most powerful Companion alive.
Mythical creatures still exist, hidden from the modern world by a secret society determined to keep these wild and mysterious creatures safe from those who wish to destroy them.
Mallins Wood is home to the last surviving gorgon, and Col's mother, the gorgon's supernatural Companion, is determined to save it from encroaching development--even to the point of endangering Col and his best friend Connie, the most powerful Companion alive.
This book explores the ways in which social relations are profoundly changing modern society, arguing that, constituting a reality of their own, social relations will ultimately lead to a new form of society: an aftermodern or relational society. Drawing on the thought of Simmel, it extends the idea that society consists essentially of social relations, in order to make sense of the operation of dichotomous forces in society and to examine the emergence of a "third" in the morphogenetic processes. Through a realist and critical relational sociology, which allows for the fact that human beings are both internal and external to social relations, and therefore to society, the author shows how we are moving towards a new, trans-modern society – one that calls into question the guiding ideas of Western modernity, such as the notion of linear progression, that science and technology are the decisive factors of human development, and that culture can entirely supplant nature. As such, it will appeal to sociologists, social theorists, economists, political scientists, and social philosophers with interests in relational thought, critical realism, and social transformation.
"Originally published in the UK by Oxford University Press, 2006."
Women occupy a privileged place in horror film. Horror is a space of entertainment and excitement, of terror and dread, and one that relishes the complexities that arise when boundaries – of taste, of bodies, of reason – are blurred and dismantled. It is also a site of expression and exploration that leverages the narrative and aesthetic horrors of the reproductive, the maternal and the sexual to expose the underpinnings of the social, political and philosophical othering of women. This book offers an in-depth analysis of women in horror films through an exploration of ‘gynaehorror’: films concerned with all aspects of female reproductive horror, from reproductive and sexual organs, to virginity, pregnancy, birth, motherhood and finally to menopause. Some of the themes explored include: the intersection of horror, monstrosity and sexual difference; the relationships between normative female (hetero)sexuality and the twin figures of the chaste virgin and the voracious vagina dentata; embodiment and subjectivity in horror films about pregnancy and abortion; reproductive technologies, monstrosity and ‘mad science’; the discursive construction and interrogation of monstrous motherhood; and the relationships between menopause, menstruation, hagsploitation and ‘abject barren’ bodies in horror. The book not only offers a feminist interrogation of gynaehorror, but also a counter-reading of the gynaehorrific, that both accounts for and opens up new spaces of productive, radical and subversive monstrosity within a mode of representation and expression that has often been accused of being misogynistic. It therefore makes a unique contribution to the study of women in horror film specifically, while also providing new insights in the broader area of popular culture, gender and film philosophy.
Conceptual ordering, spatial and social narrative are fundamental to the ways in which buildings are shaped, used and perceived. This intriguing book explores the ways in which these three dimensions interact in the design and life of buildings.
Towards the end of the fifth century BC Ctesias of Cnidus wrote his 23 book History of Persia. Ctesias is a remarkable figure: he lived and worked in the Persian court and, as a doctor, tended to the world’s most powerful kings and queens. His position gave him special insight into the workings of Persian court life and access to the gossip and scandal surrounding Persian history and court politics, past and present. His History of Persia was completed at a time when the Greeks were fascinated by Persia and seems very much to cater to contemporary interest in Persian wealth and opulence, powerful Persian women, the institution of the harem, kings and queens, eunuchs and secret plots. Presented here in English translation for the first time with commentaries, Ctesias offers a fascinating insight into Persia in the fifth century BC.
Laurie Ellinghausen here analyzes how the concept of labor as a calling, which was assisted by early modern experiments in democracy, print, and Protestant religion, had a lasting effect on the history of authorship as a profession. Among the authors discussed are Ben Jonson; the maidservant and poet Isabella Whitney; the journalist and satirist Thomas Nashe; the boatman John Taylor "The Water Poet"; and the Puritan radical George Wither.