Killing For Womenkind

An Assassin. A Local Gangster. A Dying Neighbourhood. Bullies must die. Assassin Lily Hamilton arrives in a dying neighbourhood. She sees fear rip through the community. Lily needs the local gangster to die. The fate of a neighbourhood rests on Lily. If you enjoy enthralling, fast paced crime stories. You'll love this one! BUY NOW!

"Marisa Wegrzyn's clever new play, KILLING WOMEN, gives a sly feminist twist, a la 9 to 5, to the hit-man comedy genre: she peppers the script with one-liners and provides a touch of pathos. ...Wegrzyn displays more confidence and smarts than many older playwrights. At its best, the play is an extreme take on the battle between those who extol the virtues of stay-at-home motherhood and those who charge that women who fail to take up a career are letting down the team... It's the mommy wars with a body count-a brilliant conceit. And there's no question Wegrzyn is an extremely funny writer. ...an engaging, funny work from a writer we're likely to hear from again." Kerry Reid, Reader (Chicago)"

The book will be of especial interest to those interested in the emancipation of women in nineteenth-century Edinburgh. A domestic servant who is wrongly accused of murdering her lover's husband resists the patriarchal legal system and male oppression. Her employer who is also her lover tries to regain her reputation through philanthropic endeavor in the poverty-stricken old town.

The first detailed, student-focused introduction to modernist avant-garde performanceThis textbook introduces the reader to modernist avant-garde theatre. It clearly explains the key terms as well as the major movements, including Expressionism, Dadaism, Futurism, Workers theatres, Constructivism and the Living Newspaper, and Mass Performance, using a case study approach. It introduces the important innovations of the modernist avant-garde, reassesses theatrical techniques, and provides examples of plays and performances from across Europe and America. There are also chapters on The Modernist Body and on Interdisciplinary Performance. The book approaches the modernist avant-garde both as an area of academic study and as potential raw material for contemporary performance. Key Features:nbsp;The first introductory guide to the modernist theatrical avant-garde nbsp;Includes case studies, practical exercises at the end of each chapter, an annotated bibliography and a glossary of performance termsnbsp;Includes links to performance-based explorations of theatrical techniquesnbsp;Provides a springboard for further independent study, both theoretical and practicalClaire Warden is Senior Lecturer in Drama at the University of Lincoln. Her research focuses primarily on constructing new, fluid narratives for modernist performance. She is the author of British Avant-Garde Theatre (Palgrave MacMillan 2012), and multiple journal articles and book chapters on modernism, interdisciplinarity, theatre, art and cultural studies.

When Jack Morgan opens a branch of Private in Mumbai, a mysterious killer threatens to destroy the agency-and the city-from the inside out. When Jack Morgan opens the Mumbai branch of Private, the world's most elite detective agency, he hands the reins to top agent Santosh Wagh. Now, in this teeming metropolis of over thirteen million people where the guilty have everywhere to hide, Santosh goes on the hunt for one elusive killer: a killer who is targeting seemingly unconnected women and placing strange objects at their death scenes in a series of chilling rituals. As the Private team races to find a link that will lead them to the next victim, an unseen menace threatens to destroy the agency from within-and plunge the city into chaos. With countless lives hanging in the balance, Santosh must confront the demons of his past . . . before Private India meets an explosive end.

Extreme Killing offers you a comprehensive overview of multiple homicide, including both serial and mass murder. Filled with classic and contemporary case studies, this fully updated Fourth Edition reflects a growing concern for specific types of multiple homicides—indiscriminate public massacres, terrorist attacks, hate crimes, and school shootings—as well as largely debated issues such as gun control and mental illness. Renowned experts and authors in the field, James Alan Fox, Jack Levin, and Emma Fridel bring their years of research and experience to create distinctions between serial and mass murders, address characteristics of both killers and their victims, and recognize the special concerns around multiple murder victims and their survivors. You will examine the latest theories of criminal behavior and apply them to mass and serial murderers from around the world, such as the mass shooting at a country music festival in Las Vegas, the Grim Sleeper in Los Angeles, the Pulse nightclub massacre in Orlando, the shooting of nine African Americans by a white supremacist in a Charleston church, and more.

Victimisation of women in times of war, genocide or mass slaughter has been the primary focus of the majority of explorations concerning gender and conflict. Traditionally, women are espoused as victims, at the mercy of male killers, and therefore subordinate. The notoriety of brutal, horrific, and incomprehensible sexual crimes against women in times of genocide has ensured that reluctance in addressing female accountability has plagued this debate. While examinations of these atrocities are imperative and indispensable in facilitating reconciliation, both psychological and social, this one-sided representation has led to a misunderstanding of the dynamic roles which women play during genocide. Whether supportive, active or auxiliary roles, women have been a vital component in endorsing, and sanctioning genocidal violence in history. In Rwanda, some women not only provided assistance and encouragement to Hutu men but, also perpetrated the attacks, and incited rape. The suffering of female victims cannot be fully understood without a consideration of the extensive nature of the perpetrators, both male and female. Moreover, quite the opposite of diminishing the value and significance of the victimisation of women, any examination which focuses on female agency re-balances the scales of gender inequality, and consequently serves to empower women. Women should not be portrayed solely as victims. Women in the Rwandan genocide were victims and perpetrators, agents and symbols. Gender expectations which propagate the superiority of men, both during and after conflict are detrimental to the reconstruction of post-genocide gender identities.