Spy Girl A Natalia Nicolaeva Thriller Book 3

A terrorist bomber is on the loose. Can Natalia Nicolaeva save the day? A quiet evening in London is shattered by a deadly explosion. Domestic extremists are terrorizing the city and nobody is safe. When authorities suspect Natalia Nicolaeva of being involved somehow, they offer her a choice. She can go undercover for British intelligence or face deportation to Russia, where dire consequences await. Natalia agrees to do her part and help infiltrate the terrorist cell, but after she uncovers a plot of diabolical proportions, one big question remains; can she stop these mad bombers before it's too late?

A group of domestic extremists is terrorizing the city of London. Caught up in events through association, Natalia Nicolaeva is offered a choice by the British intelligence services. She can go undercover for MI5 or face deportation to Russia, where dire consequences await. After agreeing to do her part, the question remains: can Natalia stop these mad bombers from carrying out their diabolical plans before it's too late?

A sex trafficking victim wreaks vengeance on the criminal gang who enslaved her. Born into poverty in the heart of Eastern Europe, Natalia Nicolaeva dreams of a better life. When she is offered a job abroad, however, the promise of the outside world is as terrifying as it is thrilling. After gathering the courage to leave her tiny village, it doesn’t take long before Natalia’s worst fears are confirmed. Kidnapped by a vicious gang of criminals, Natalia must fight first for her honor and then for her life. Russia Girl portrays Natalia’s transformation from innocent farm girl to lethal dispenser of vigilante justice. This is one girl they never should have messed with. Be warned, this story is gritty and raw, but guaranteed to keep your pulse pounding. Author Q&A with Kenneth Rosenberg Q: This novel is a bit of a different take on the typical thriller genre. What was the inspiration for this story? A: I saw a documentary about women from Eastern Europe who were lured abroad under false pretenses and sold into prostitution. The film told the stories of five women who had managed to escape captivity and survive to tell about it. My book was inspired by their stories of courage. Q: Does that mean some of your novel is actually true? A: The circumstances in the first half of the novel were based on actual events. I decided to take that story and turn it into a thriller, where the main character becomes a kick-ass vigilante, dispensing her own brand of justice. Q: This book is set in Istanbul and on a farm in the breakaway republic of Transnistria. Do you have any experience in these places? Have you been to them? A: When I was working on the book, I traveled to Istanbul for research. I spent a week walking the streets and exploring the neighborhoods where it is set. Transnistria is more of a challenge, with complicated visa requirements, but I did spend time just across the border in Ukraine, which I felt was similar enough to give me a sense for the region. Q: Who have you been most influenced by as a writer? A: I’ve always loved a good international thriller. I guess this goes back to my childhood, when my friends and I loved all of the James Bond movies and couldn’t wait for the newest one to come out. Later, I came to be a big fan of the Bourne series. My books are probably closest in DNA to the Millennium Series by Stieg Larsson, including The Girl with the Dragon Tattoo. They both involve a strong female character who goes through hell but comes out fighting. Q: Does this mean we can expect more from Natalia Nicolaeva? A: Absolutely! I’ve already finished the next two books. Vendetta Girl is set in St. Petersburg, Russia, and Spy Girl takes place in London. Mystery Girl is set in Budapest and is coming along nicely. I hope that Natalia has a long and illustrious career of fighting injustice all around the world.

Natalia and her friends are off to Budapest for a wild weekend in celebration of her roommate's wedding engagement. Whenever Natalia Nicolaeva is involved, though, you know that trouble is going to find her and things go off the rails very quickly. Does Natalia have it in her this time to somehow set things right?

Natalia Nicolaeva is off to study in St. Petersburg, Russia, but when another student is murdered, her life goes spiraling out of control once more. She could choose to just stay out of it, but then, that's not really Natalia's nature. Instead, she opts for the opposite tactic; doing whatever she can to make the killers pay for their crimes. Vendetta Girl follows Natalia through a labyrinth of Russian computer hackers, corrupt government officials and professional hitmen as she struggles to put together the pieces of a deadly conspiracy. Nobody is quite who they seem in this fast-paced thriller and the only person Natalia can fully trust is herself.

This volume represents the first large-scale effort to address topics of translation in Russian contexts across the disciplinary boundaries of Slavic Studies and Translation Studies, thus opening up new perspectives for both fields. Leading scholars from Eastern and Western Europe offer a comprehensive overview of Russian translation history examining a variety of domains, including literature, philosophy and religion. Divided into three parts, this book highlights Russian contributions to translation theory and demonstrates how theoretical perspectives developed within the field help conceptualize relevant problems in cultural context in pre-Soviet, Soviet, and post-Soviet Russia. This transdisciplinary volume is a valuable addition to an under-researched area of translation studies and will appeal to a broad audience of scholars and students across the fields of Translation Studies, Slavic Studies, and Russian and Soviet history. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com/books/e/9781315305356.

This new textbook offers a succinct yet broad introduction to critical realism, an increasingly popular approach to the philosophy of science that provides a holistic alternative to both positivism and postmodernism. This text sets out the central concepts, arguments and understandings in critical realism and relates them to social scientific practice. In addition to answering the question 'what is critical realism?', the authors consider critical realism in light of two crucial themes in contemporary society – neoliberalism and climate change – which run as common threads throughout the chapters. While some introductions to the topic focus exclusively on the work of Roy Bhaskar – critical realism's best-known proponent – this text covers a much wider range of thinkers and social researchers, and also features Key Concept boxes and CR in Action boxes throughout to aid the reader through this complex yet rewarding subject. This text is the perfect entry point for all those studying critical realism for the first time, or for those seeking to re-familiarise themselves with this approach. Whether you're studying critical realism as part of a broader course on the philosophy of science or seeking to apply critical realist methods to a particular research project, this book is essential reading for the social sciences, humanities and beyond.

The Cold War was as much a battle of ideas as a series of military and diplomatic confrontations, and movies were a prime battleground for this cultural combat. As Tony Shaw and Denise Youngblood show, Hollywood sought to export American ideals in movies like Rambo, and the Soviet film industry fought back by showcasing Communist ideals in a positive light, primarily for their own citizens. The two camps traded cinematic blows for more than four decades. The first book-length comparative survey of cinema's vital role in disseminating Cold War ideologies, Shaw and Youngblood's study focuses on ten films—five American and five Soviet—that in both obvious and subtle ways provided a crucial outlet for the global "debate" between democratic and communist ideologies. For each nation, the authors outline industry leaders, structure, audiences, politics, and international reach and explore the varied relationships linking each film industry to its respective government. They then present five comparative case studies, each pairing an American with a Soviet film: Man on a Tightrope with The Meeting on the Elbe; Roman Holiday with Spring on Zarechnaya Street; Fail-Safe with Nine Days in One Year; Bananas with Officers; Rambo: First Blood Part II with Incident at Map Grid 36-80. Shaw breathes new life into familiar American films by Elia Kazan and Woody Allen, while Youngblood helps readers comprehend Soviet films most have never seen. Collectively, their commentaries track the Cold War in its entirety—from its formative phase through periods of thaw and self-doubt to the resurgence of mutual animosity during the Reagan years-and enable readers to identify competing core propaganda themes such as decadence versus morality, technology versus humanity, and freedom versus authority. As the authors show, such themes blurred notions regarding "propaganda" and "entertainment," terms that were often interchangeable and mutually reinforcing during the Cold War. Featuring engaging commentary and evocative images from the films discussed, Cinematic Cold War offers a shrewd analysis of how the silver screen functioned on both sides of the Iron Curtain. As such it should have great appeal for anyone interested in the Cold War or the cinematic arts.