Helena S Vendetta

Helena’s Vendetta is an epic crime saga and thriller featuring Edward Borg, son of renowned criminal mastermind Leo Borg. Edward is orphaned young when an angry associate murders his father, and his mother dies of heartbreak. As a wealthy but lonely young man, Edward falls in love with the beautiful but sad Helena, the stepdaughter of Malta’s most vicious criminal. Helena tells Edward she is being forced to marry her stepbrother and that her stepfather is then planning to kill her to steal her wealth. She is also certain that her stepfather poisoned her mother. Vowing to save Helena, Edward enlists the help of trusted friends to fake Helena’s death. But events spiral out of control, and Edward is framed for a crime he didn’t commit. Edward realizes that his desire for love was too naïve in a world driven by lies, greed, and revenge. Will he be able to outsmart the top criminal minds in Malta to unite with Helena, or is Edward being used as a pawn?

This collection of new essays focuses on The CW network's hit television series Arrow--based on DC Comic's Green Arrow--and its spin-offs The Flash, DC's Legends of Tomorrow and Supergirl. Comic book adaptations have been big business for film studios since Superman (1978) and in recent years have dominated at the box office--five of the 11 highest grossing films of 2016 were adapted from comics. Superheroes have battled across the small screen for considerably longer, beginning with The Adventures of Superman (1952-1958), though with mixed results. The contributors explore the reasons behind Arrow's success, its representation of bodies, its portrayal of women, its shifting political ideologies, and audience reception and influence on storylines.

This volume examines the key representations of transgression drama produced between 1800 and 1900. Arranged in chronological order, the entries consist of plot summary (often including significant dialogue), performance data (if available), opinions by critics and scholars, and other features.

This volume explores the issues of taking, using and being hostages in the Middle Ages. It brings together recent research in the areas of hostages and hostageships, looking at the act of hostage-taking and the hostages themselves through the lenses of political and social history. Building upon previous work, this volume in particular critically examines not only the situations of hostages and hostageships but also the broader social and political context of each situation, developing a more complete picture of the phenomenon.

Jack Hranicky is a retired U.S. Government contractor, but he has been involved with archaeology as a full-time passion for over 40 years. His main interest is the Paleo-Indian period; however, he has worked in all facets of American archaeology. He has published over 250 papers and over 35 books in archaeology with his most recent being a two-volume, 800-page, 10,000-artifact book on the material culture of Virginia. In Virginia, he is considered an expert on prehistoric stone tools and rockart. The prehistoric Spout Run Observatory site was investigated by him which dated 10,470 YBP. He has served as president of the Archeological Society of Virginia (ASV) and Eastern States Archeological Federation (ESAF), and been past chairman of the Alexandria Archaeology Commission in Virginia. He is a charter member of the Registry of Professional Archaeologists (RPA). And, since he joined the Archeological Society of Virginia (ASV) in 1966, he is its senior member. And finally, his major publication is Bipoints Before Clovis.

Shakespeare's Women and the Fin de Siècle illuminates the most iconoclastic performances of Shakespeare's heroines in late Victorian theatre, through the celebrity, commentary, and wider careers of the actresses who played them. By bringing together fin-de-siècle performances of Shakespeare and contemporary Victorian drama for the first time, this book illuminates the vital ways in which fin-de-siècle Shakespeare and contemporary Victorian theatre culture conditioned each other. Actresses' movements between Shakespeare and fin-de-siècle roles reveal the collisions and unexpected consonances between apparently independent areas of the fin-de-siècle repertory. Performances including Ellen Terry's Lady Macbeth, Madge Kendal's Rosalind, and Lillie Langtry's Cleopatra illuminate fin-de-siècle Shakespeare's lively intersections with cultural phenomena including the 'Jack the Ripper' killings, Aestheticism, the suicide craze, and the rise of metropolitan department stores. If, as previous studies have shown, Shakespeare was everywhere in Victorian culture, Sophie Duncan explores the surprising ways in which late-Victorian culture, from Dracula to pornography, and from Ruskin to the suffragettes, inflected Shakespeare. Via a wealth of unpublished archival material, Duncan reveals women's creative networks at the fin de siècle, and how Shakespearean performance traditions moved between actresses via little-studied performance genealogies. At the same time, controversial new stage business made fin-de-siècle Shakespeare as much a crucible for debates over gender roles and sexuality as plays by Ibsen and Shaw. Increasingly, actresses' creative networks encompassed suffragist activists, who took personal inspiration from star Shakespearean actresses. From a Salome-esque Juliet to a feminist Paulina, fin-de-siècle actresses created cultural legacies which Shakespeare-in-performance still negotiates today.