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In Amelia's seventh adventure, she and Emerson take passage on a boat travelling up the Nile, enjoying a second honeymoon while they search for Nefertiti's tomb. On the other hand, they might be heading towards murder. An exotic slave woman, a Siamese cat and a den of conspirators unite to snatch away Amelia's happiness unless she reveals a certain secret...and at the remote dig in Amarna what she uncovers is a shocking present-day peril: the loss of treasures far more precious than any antiquity - her husband's love or both their lives!
A brand-new Elizabeth Peters novel is one of the uncompromising pleasures in life. As Peter Theroux in the New York Times Book Review points out, "Her wonderfully witty voice and her penchant for history lessons of the Nile both ancient and modern keep (her) high adventure moving for even the highest brows". In her previous outing, The Last Camel Died at Noon, Amelia Peabody and her dashing husband, Emerson, discovered a fabulous lost oasis in the Nubian desert. Now, in the seventh mystery in the series, the Emerson-Peabodys are traveling up the Nile once again to encounter their most deadly adversary, the Master Criminal, who is back at his sinister best. Amelia Peabody was unabashedly proud of her newest translation, a fragment of the ancient fairytale "The Doomed Prince". Later, she would wonder why no sense of foreboding struck her as she retold the story of the king's favorite son who had been warned that he would die from the snake, the crocodile, or the dog. Little did she realize, as she and her beloved husband sailed blissfully toward the pyramids of ancient Egypt, that those very beasts (and a cat as well) would be part of a deadly plot. The expedition began so happily....Leaving their delightful, but catastrophically precocious, son, Ramses, back in England, Amelia hoped this romantic trip might rejuvenate her thirteen-year-old marriage and bring back the thrills that she feared were fading. She and her dear Emerson were returning to the remote desert site where they had first fallen in love, Amarna, the holy city of Akhenaton and his beautiful queen, Nefertiti. But their return would threaten not only their marriage, but their very lives with perils as chilling as a mummy'scurse. An old enemy was determined to learn Amelia and Emerson's most closely guarded secret: the location of a legendary long-lost oasis and a race of people bedecked in gold. So cunning was his scheme that Amelia might ove
Without overlooking the role of coercive force in the maintenance (or overthrow) of social structures, Lincoln argues his thesis with rich illustrations drawn from such diverse areas as Platonic philosophy, the Upanishads of India, ancient Celtic banquets, professional wrestling, and the Spanish Civil War. This wide-ranging interdisciplinary study--which draws on works in history, semiotics, anthropology, sociology, classics, and indology--offers challenging new insights into the complex dynamics of social cohesion and change. The second edition includes three new chapters, new images, and an updated bibliography.
Filmmakers have long been drawn to the Gothic with its eerie settings and promise of horror lurking beneath the surface. Moreover, the Gothic allows filmmakers to hold a mirror up to their own age and reveal society's deepest fears. Franco Zeffirelli's Jane Eyre, Francis Ford Coppola's Bram Stoker's Dracula, and Kenneth Branagh's Hamlet are just a few examples of film adaptations of literary Gothic texts. In this ground-breaking study, Lisa Hopkins explores how the Gothic has been deployed in these and other contemporary films and comes to some surprising conclusions. For instance, in a brilliant chapter on films geared to children, Hopkins finds that horror resides not in the trolls, wizards, and goblins that abound in Harry Potter, but in the heart of the family. Screening the Gothic offers a radical new way of understanding the relationship between film and the Gothic as it surveys a wide range of films, many of which have received scant critical attention. Its central claim is that, paradoxically, those texts whose affiliations with the Gothic were the clearest became the least Gothic when filmed. Thus, Hopkins surprises readers by revealing Gothic elements in films such as Sense and Sensibility and Mansfield Park, as well as exploring more obviously Gothic films like The Mummy and The Fellowship of the Ring. Written in an accessible and engaging manner, Screening the Gothic will be of interest to film lovers as well as students and scholars.
Lacey Baldwin Smith takes us on a riveting journey through history as he examines one of the most baffling characteristics of the human experience: the willingness to die to sanctify a deity, defend a cause, or simply to prove a point. By delving into the psyches, politics, and personalities of martyrs like Thomas Becket, John Brown, and Gandhi, he illuminates the complex and elusive subject of martyrdom as it has evolved over 2,500 years.
Treasury of Egyptian folklore encompasses 36 beguiling stories. First part contains tales originally written in hieratic characters; second part documents Christian influence; third part recounts stories of Muslims who succeeded Copts.
Sir E. A. Wallis Budge (1857-1934) was Keeper of the British Museum’s department of oriental antiquities from 1894 until his retirement in 1924. Carrying out many missions to Egypt in search of ancient objects, Budge was hugely successful in collecting papyri, statues and other artefacts for the trustees of the British Museum: numbering into the thousands and of great cultural and historical significance. Budge published well over 100 monographs, which shaped the development of future scholarship and are still of great academic value today, dealing with subjects such as Egyptian religion, history and literature. First published in 1931, Egyptian Tales and Romances examines the historical and religious romances of the Egyptians from the early dynastic period to the twentieth century. Budge demonstrates Egypt’s transition from Paganism to Christianity, and finally to Islam, through tales and stories carefully transcribed and translated. Part I contains historical romances written on papyrus and stone, whilst parts II and III are derived largely from Coptic and Muslim manuscript sources. Including detailed illustrations and photographs, this fascinating classic work will be of interest to academics and students of Egyptian folklore, archaeology and history, as well as the general inquisitive reader.

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