Between the Lines
Livres Canada Books
View Rights PortalThis book is based on a story. Its main protagonists are a London clergyman, Stephen Denison, and a lay sectmaster and prophet, John Etherington. The dispute between the two men blew up in the mid-1620s, but its reverberations can be traced back to the 1590s and continued to 1640. Through Denison the book analyses the tensions and contradictions within the 'religion of protestants' that dominated great swathes of the early Stuart church. Through Etherington, it eavesdrops on a London puritan underground that has remained largely hidden from view and which, while it was related to, indeed, parasitic upon, was not coterminous with, the order and orthodoxy-centred puritanism of Stephen Denison. By placing the Denison/Etherington dispute in its multiple contexts, the book becomes a study of puritan theology and intra-puritan theological dispute; of lay clerical relations and of the politics of the parish; and thus of the social history of parish and puritan religion in London. ;
Damián flees from two assassins who are chasing him on a lonely desert road. He manages to elude them but his car is running out of gas. In the distance he discovers a hotel that looks abandoned from the outside. He knocks on the door and is greeted by Mercedes, a beautiful blonde who invites him in. Inside the hotel is spectacular: every detail is taken care of to perfection, but there is something shady lurking within its walls and corridors. Damián thinks he hears voices calling his name, although he attributes them to stress and fatigue. Our anguished protagonist lives a terrifying experience when he tries to leave the next day and inexplicable things happen that prevent him from doing so. Suddenly, Damian will be trapped in this place that changes, that whispers, that makes us doubt if he is living a nightmare or if everything is a product of his hallucinations. A novel written to the rhythm of rock, with nods to horror classics and a twist that will take you to a place you may never be able, or want, to leave.
A black and white photograph; a little girl; a small town. Dolores and Jacinta are sisters-in-law who cope with parallel grief. Dolores cannot seem to find a place inside her husband’s heart, not a simple life as she is surrounded by children. Jacinta carries the burden and sadness of being unable to get pregnant. It will be Inés, one of Dolores’ daughters, who strikes the balance and determines the destiny, love, and loss path not only of those women, but of the entire town. The Roots of All Evil happens in a town where hate is so deeply grounded, and where stories get tangled up with superstition, and where the roots of both touch each other, to the point where reality is suspended between veils of evil and sheer coincidence.
Many early modern plays use poison, most famously Hamlet, where the murder of Old Hamlet showcases the range of issues poison mobilises. Its orchard setting is one of a number of sinister uses of plants which comment on both the loss of horticultural knowledge resulting from the Dissolution of the Monasteries and also the many new arrivals in English gardens through travel, trade, and attempts at colonisation. The fact that Old Hamlet was asleep reflects unease about soporifics troubling the distinction between sleep and death; pouring poison into the ear smuggles in the contemporary fear of informers; and it is difficult to prove. This book explores poisoning in early modern plays, the legal and epistemological issues it raises, and the cultural work it performs, which includes questions related to race, religion, nationality, gender, and humans' relationship to the environment.
Born in Shanghai, the pianist Tu Junsheng, from the boyhood, first fell into the "sacred and classic" love dilemma, and then turned to marriage and failed. He became desperate in a free and lonely love later. Finally he wake up, see the light in pain. The author wrote the first love, the loss of love, the betrayal, the obsession with love…and there is no trace of carving in writing. This is a wonderful book about the ultimate experience of spirit and body. It is a thrilling love epic.
While there is a story of "Three Little Pigs" in the western world, there is another story "A Little Pig and Ten Wolves" in China. An evil old wolf wanted to eat a piglet living alone but he was taught a lesson. The angry wolf found another nine wolves to take a revenge. The piggy was brave and scheming, and he repelled those wolves again.
John Ford's tragedy, first printed in 1633, is the first major English play to take as its theme a subject still rarely handled: fulfilled incest between brother and sister. This Revels Plays edition is a scholarly, modern-spelling edition of one of the most studied and performed of all plays of the period. White's critical introduction explores the textual and theatrical histories of the play, exploring closely its relationship to the particular stage and audience for which it was written. This Revels edition allows the modern reader to become, in Ford's words, an 'actor that but reads'.
This invigorating study places medieval romance narrative in dialogue with theories and practices of gift and exchange, opening new approaches to questions of storytelling, agency, gender and materiality in some of the most engaging literature from the Middle Ages. It argues that the dynamics of the gift are powerfully at work in romances: through exchanges of objects and people; repeated patterns of love, loyalty and revenge; promises made or broken; and the complex effects that time works on such objects, exchanges and promises. Ranging from the twelfth century to the fifteenth, and including close discussions of poetry by Chaucer, the Gawain-Poet and romances in the Auchinleck Manuscript, this book will prompt new ideas and debate amongst students and scholars of medieval literature, as well as anyone curious about the pleasures that romance narratives bring.
The "revenge" play became the most durable and commercially successful type of drama on the Elizabethan stage. This example by Thomas Kyd, who was one of the originators of the genre, brings to life the intrigues of the Spanish court, dramatically juxtaposing romantic passion with sudden violent death and clandestine politics. The ghost of Dan Andrea and his guide Revenge observe the dark and bloody action throughout, provoking questions about the nature of the human condition. ;
Book 1 in Shizu Historical fiction series: Twins Safari and Betty are thrust into the Kasigau community during WWI, where a mistaken betrayal between British and German forces leads to deadly consequences.
This play depicts a morally corrupt world where the desire for justice is contaminated by the obsession for revenge. The characters take pleasure in watching adultery, incest and murder. The play's chief moral spokesman, Vindice, is at the same time enamoured of and disgusted by, the luxury of the court. Locating the play in relation to the best recent criticism, and exploring its complexities with a contemporary eye, furthers the reputation of these comprehensive student editions. ;
False profits of ethical capital is a thought-provoking approach to understanding stakeholder capitalism. Rather than focusing on the inadequacies of corporate responsibility, sustainable investment and consumer politics, this book grapples with the technical and rhetorical functions of ethical capital for profit and accumulation. It provides a unique and eclectic analysis of the political dynamics between finance, capital and labour, offering a refreshing perspective on struggles interlocking social, ecological and economic crises, and suggesting new ways of thinking about sustainability politics.
The career of Wisconsin-born Joseph Losey spanned over four decades and several countries. A self-proclaimed Marxist and veteran of the 1930s Soviet agit-prop theater, he collaborated with Bertholt Brecht before directing noir B-pictures in Hollywood. A victim of McCarthyism, he later crossed the Atlantic to direct a series of seminal British films such as "Time Without Pity," "Eve," "The Servant," and "The Go-Between," which mark him as one of the cinema's greatest baroque stylists. His British films reflect on exile and the outsider's view of a class-bound society in crisis through a style rooted in the European art house tradition of Resnais and Godard. Gardner employs recent methodologies from cultural studies and poststructural theory, exploring and clarifying the films' uneasy tension between class and gender, and their explorations of fractured temporality.
Three generations in a remote village, stuck with an endless grudge. Love and power are not enough to unite them. Manaf and Mujahid have deepened the suffering borne by Bidan Senah. The woman is willing to do anything to get revenge on behalf of her mother. The children of Manaf and Mujahid had to dealed terrible consequences due to their father action against Bidan Senah. Although Bidan Senah hatred against them was massive, she tried not to kill them. Instead just torture them at a leisurely pace. Bariah and Neng have tried to end the dispute between their father and Bidan Senah. Everything must end with an unexpected self-sacrifice.
Ethnic Tujia, one of Chinese minorities, has a hero named Qin Hou, who was born supernaturally and gifted with amazing power. When Qin Hou grew up, he assassinated the emperor with three magic arrows in order to revenge for his parents, but failed. The angry emperor sent a troop to catch him. For protecting his fellows from being besieged, Qin Hou surrendered voluntarily. At the moment when Qin Hou was killed, three golden dragons flew out from his body, and then the heaven and earth changed their colors. The emperor was scared and covered Qin Hou’s body with his dragon robe and sent it back to Tujia. The people of Tujia kept that dragon robe all the time.
Two boys look at the crescent moon in the sky: Orkhan sees in it a Muslim symbol, and young Petrus — a Cossack chaika (boat). The events of The Crescent over Kinburn date back to the time when there were constant clashes between the Christian and Muslim worlds on the Kinburn Foreland near the Black Sea. Everyone has their own truth and their own path to freedom, so this story teaches mercy and acceptance because the path of revenge and violence can only bring more offence and mistrust in the world. From 5 to 8 years, 4819 words Rightsholders: a.makhnyk@portalbooks.com.ua
Kyd is arguably Shakespeare's most important tragic predecessor. Brilliantly fusing the drama of the academic and popular traditions, Thomas Kyd's plays are of central importance for understanding how the drama of Shakespeare and his contemporaries came about. Called 'an extraordinary dramatic . genius' by T.S. Eliot, Thomas Kyd invented the revenge tragedy genre that culminated in Shakespeare's Hamlet some twelve years later. In this study, The Spanish Tragedy - the most popular of all plays on the English Renaissance stage - receives the extensive scholarly and critical treatment it deserves, including a full reception and modern stage history. Yet as Erne shows, Thomas Kyd is much more than the author of a single masterpiece. Don Horatio (partly extant in The First Part of Hieronimo), the lost early Hamlet, Soliman and Perseda, and Cornelia all belong to what emerges in this work as a coherent dramatic oeuvre. This groundbreaking study is now in paperback. ;
Journey to the Land of Men follows Gege, a skilled orphan raised by a sword master near Puna in Los Andes. In a post-apocalyptic future, the Southern Globe (formerly South America) is governed by women who nurture the Earth with mestizo knowledge. Invading armies of men threaten their peaceful existence due to outdated extractive economies. Gege becomes crucial in the conflict, joining a group of young warriors to uncover the enemy's leaders. With Ena, the future leader of the Southern Globe and Gege's love interest, they embark on a dangerous mission dragged as men. Tragedy strikes when Gege's teacher is killed, fueling suspicions of a traitor. As they journey through Central America towards the Caribbean, they liberate cities and face perilous landscapes. As they reach Florida and then New York with the help of an underground organization, Gege discovers Ena's identity as a trans woman, who has travel to undergo sex change. In love, Gege supports Ena, but soon learns Ena's family is responsible for her teacher's death. Driven and confused, Gege ventures alone to the enemy's stronghold, enduring torture and uncovering shocking truths about her own identity: her mother, the leader who liberated the Southern Globe came from across the Atlantic and was betrayed by Ena’s mother, the current leader. Gege escapes with unexpected help from Ena and her surviving teacher, unleashing her latent powers to eliminate the enemy. She sets sail across the Atlantic to explore her ancestral roots, entrusting Ena with leading the Southern Globe.