Kapteine McKelly en Mhlanga ontmoet op die misdaadtoneel van ’n mislukte plaasaanval in Muldersdrift. Nog ’n lyk met ’n gapende linkeroogkas word gevind. Dit bring die getal slagoffers wat vanaf Februarie in die Gauteng-area met dieselfde modus operandi vermoor is op ses te staan.

Die wet van Gauteng het ’n eg verweefde Suid-Afrikaanse intrige: politieke faksiegevegte, korrupsie en geldwassery. Hoogs leesbaar, aksiebelaaid en meesleurend.

The questions in this book are grouped according to the various topics covering the different stages of the audit process.

To enhance the value of the book and to make it more useful, it was decided to include answers to all the questions in the text.

Carli Kirstein is 17 en so toegewyd aan wildbewaring dat sy soms van gevaar vergeet. Met twee veeartse as ouers was dit eintlik onvermydelik, maar haar passie maak haar nie juis deel van die gewilde groep nie.

Die drie ouens in haar lewe maak ook dinge moeiliker. Wouter, toekomstige hoofseun en sterkrieketspeler; Stef, die sjarmante ouer buurseun; en Xander, ’n hardwerkende dromer en doring in haar vlees.

Paaie kruis en die gevaar styg wanneer Carli uitvind dat wildstropers die naburige rehabilitasiesentrum vir leeus en ander groot katte teiken. Carli, haar vriende en haar jonger boetie, Julian, besluit om ’n paar aande te help waghou sonder dat hulle ouers weet. Toe dinge skeefloop is almal in gevaar, en dis Carli se skuld. Is daar vir hulle uitkoms?

Gerald Burger is een van die land se bekendste sieners. Gedurende 2019 het hy die hoofkarakter in sy eie reeks, Die Siener, wat op kykNET uitgesaai is, geword.

Die reeks het op die stasie se top 10-programme geboer. Dit is nou nog op Showmax beskikbaar. Die Siener: deur die oe van Gerald Burger bied 'n in-diepte blik op die lewe van 'n heldersiende.

'n Individu wat geseen is met die gawe om met die bonatuurlike te kommunikeer, om onwelkome gaste te help om na die "anderkant" oor te gaan.

Die sewentienjarige Lukas is een van ’n handjievol oorblywende mense ná die aarde deur kuborge, transterrane en robotte oorgeneem is. Hy en sy beste vriend Dimpho en Dimpho se ouers boer op Lukas-hulle se plaas in die Bloemfontein-omgewing.

Wanneer hongersnood die voortbestaan van die superwesens bedreig, stel die wrede heerser Dakian ’n bose plan in werking om Lukas te vang en toegang tot sy oorlewingstrategieë te verkry. Hy lei Lukas suksesvol om die bos en Lukas en ’n paar nuwe vriende vertrek in sy pa se ou Datsun om sy jonger broer, wat voor sy ouers se dood veiligheidshalwe na familie gestuur is, te gaan haal.

Een van hulle reismaats is egter ’n informant...

From the US Capitol to the Lincoln Memorial and the 9/11 Memorial Museum, classical forms and ideas have been central to an American nationalist aesthetic. Beginning with an understanding of this centrality of the classical tradition to the construction of American national identity and the projection of American power, Empire of Ruin describes a mode of black classicism that has been integral to the larger critique of American politics, aesthetics, and historiography that African American cultural production has more generally advanced. While the classical tradition has provided a repository of ideas and images that have allowed white American elites to conceive of the nation as an ideal Republic and the vanguard of the idea of civilization, African American writers, artists, and activists have characterized this dominant mode of classical appropriation as emblematic of a national commitment to an economy of enslavement and a geopolitical project of empire. If the dominant forms of American classicism and monumental culture have asserted the ascendancy of what Thomas Jefferson called an "empire for liberty," for African American writers and artists it has suggested that the nation is nothing exceptional, but rather another iteration of what the radical abolitionist Henry Highland Garnet identified as an "empire of slavery," inexorably devolving into an "empire of ruin."

Horror in which a clinical trial at a remote facility goes terribly wrong. Among those who sign up to test ProSyntrex's latest drug Pro9 are Adam (Aneurin Barnard), Joni (Alex Reid), Carmen (Skye Lourie) and Jed (Oliver Coleman). The trial is highly secret, with no-one, including the staff who administer injections, aware of who is receiving the drug and who is in the placebo group. Shortly after the trial begins it becomes clear that something has gone wrong. There are unexplained disappearances, bizarre silhouettes and screaming from behind locked doors. Locked inside the facility, unaware of the true nature of events, the surviving patients and staff must band together to try and find a way out of the nightmare.

Feature drama starring Minnie Driver as a schoolteacher intent on staging a rock opera version of 'The Tempest'. It is the summer of 1976, and Viv May (Driver) is an enthusiastic young drama teacher at a Swansea secondary school. With her diaphanous dresses and progressive attitudes, former actress Viv has her enemies amongst the school's more conservative staff, and has set her sights on creating a high-octane fusion of Shakespeare and David Bowie for this year's school performance. Between rehearsals her adolescent students pass the hot summer days lounging around the lido, fighting and falling in love, as their future beyond the safe confines of school life looms ahead of them.

Most of our expereince is visual. We obtain most of our information and knowledge through sight, whether from reading books and newspapers, from watching television or from quickly glimpsing road signs. Many of our judgements and decisions, concerning where we live, what we shall drive and sit on and what we wear, are based on what places, cars, furniture and clothes look like. Much of our entertainment and recreation is visual, whether we visit art galleries, cinemas or read comics. This book concerns that visual experience. Why do we have the visual experiences we have? Why do the buildings, cars, products and advertisements we see look the way they do? How are we to explain the existence of different styles of paintings, different types of cars and different genres of film? How are we to explain the existence of different visual cultures? This book begins to answer these questions by explaining visual experience in terms of visual culture. The strengths and weaknesses of traditional means of analysing and explaining visual culture are examined and assessed. Using a wide range of historical and contemporary examples, it is argued that the groups which artists and designers form, the audiences and markets which they sell to, and the different social classes which are produced and reproduced by art and design are all part of the successful explanation and critical evaluation of visual culture.

Jaco Barnard-Naudé se digdebuut betrek ’n wye verskeidenheid temas: queer identiteit, die trauma van kinderjare, en die verhouding tussen ouers en seun. Deurgaans vloei die digterlike geheue soos ’n leitmotiv deur die verse. Die bundel getuig van ’n soepel en gespierde taalaanvoeling, en tree dikwels in gesprek met ander digters, filosowe en musici. ’n Diep-gelade emosionele bewussyn vibreer regdeur die bundel – getuienis van ’n uitsonderlike nuwe digter-denker ter plaatse.

An early learning pop-up book about the Christmas story from the wise men's point of view. The book has six scenes with little pop-ups in them. The small format makes them great for little children to play with on their own, and easy to take with you. Other titles in the series: Noah and Other Stories Lost Sheep and Other Stories The Shepherds' Story