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This collection brings you two more episodes from the Teen Choice
Award-Winning TV series Miraculous: Tales of Ladybug & Cat
Noir: “Style Queen” and “Queen Wasp”. In “Style Queen”,
Chloé's mother Audrey is humiliated at a fashion show after being
snubbed by Adrien Agreste. She's akumatized into Style Queen and
turns people to gold with her magic scepter, including Adrien! Will
Ladybug be able to save the day without Cat Noir?! In "Queen Wasp",
Queen Bee makes her first appearance! Unfortunately, she struggles
to be a true "hero" and gets akumatized into Queen Wasp. Will
Ladybug and Cat Noir be able to stop this overpowered fallen hero?
SPOTS ON, CLAWS OUT!
WINNER OF A 2018 TEEN CHOICE AWARD FOR BEST ANIMATED SERIES! The
second season of Miraculous: Tales of Ladybug & Cat Noir
continues! After Chloe gets everyone in trouble, she tries to be a
bit nicer to everyone. But things don't turn out quite how she
planned and someone ends up getting akumatized into Despair Bear!
Then, a new fencer arrives at the school to challenge Adrien to be
part of their elite team. However, when she loses, Hawk Moth takes
advantage of the situation and turns her into Riposte, a powerful
sword fighter who's ready to slash through Ladybug and Cat Noir.
SPOTS ON, CLAWS OUT!
WINNER OF A 2018 TEEN CHOICE AWARD FOR BEST ANIMATED SERIES!
Ladybug and Cat Noir take on more of Hawk Moth's akumatized
villains. Marinette's great-uncle Wang Cheng, a famous chef,
becomes Kung Food. Taste his soup and you're under his control. Her
classmate Max gets turned into Gamer after losing a video game
tournament. He creates a giant robot that threatens to destroy all
of Paris. Her other quiet classmate, Juleka, transforms into
Reflekta. She is able to turn people into a reflection of herself.
Will Paris's greatest superheroes be able to take down Kung Food,
Gamer and Refleka in this action-packed volume? SPOTS ON, CLAWS
OUT! Collects MIRACULOUS #19-21.
The second season of MIRACULOUS: TALES OF LADYBUG & CAT NOIR is
collected here! This TPB features the episodes “Anansi” and
“Sandboy.” In “Anansi,” Alya’s overprotective sister is
akumatized into a villain with spider-like powers. With Cat Noir
trapped in her web, Ladybug needs back-up. Enter a new miraculous
hero: Carapace! In “Sandboy,” a child having a nightmare is
turned into a nightmare-fueled villain by Hawk Moth. Now he’s
making everyone’s terrifying dreams come true. However, Marinette
and Adrien can’t transform because their kwamis are off on their
own special mission! Will they be able to transform in time to save
Paris from permanent nightmares?! SPOTS ON, CLAWS OUT!
WINNER OF A 2018 TEEN CHOICE AWARD FOR BEST ANIMATED SERIES! Three
more of Hawk Moth's akumatized victims unleash mayhem in Paris -
and only Ladybug and Cat Noir can stop them! A humiliated hypnotist
becomes Simon Says and can make anyone do anything he wants,
including Ladybug and Cat Noir. After getting rejected by his idol
Jagged Stone, Pixelator plans on stealing his image forever. Then
Jagged Stone himself becomes the rock-and-roll Guitar Villain, who
plans on taking down his biggest musical rival. Will Ladybug and
Cat Noir stop these villains from getting their vengeance or will
their powers finally fall into the hands of the villainous Hawk
Moth? SPOTS ON, CLAWS OUT! Collects MIRACULOUS #16-18.
Enjoy two more miraculous adventures with the super powered heroes
of Paris, Ladybug and Cat Noir! In "Frightningale", Adrien and
Marinette are picked to play Ladybug and Cat Noir in a music video.
But the singer gets akumatized and uses her magic mike to turn
Paris into a giant musical! Now, Ladybug and Cat Noir need to keep
rhyming to win against her. Then, in "Troublemaker", Jagged Stone's
assistant is always solving problems, until she becomes akumatized
and starts causing them! It's up to Ladybug and Cat Noir to try and
stop her... but how can they when she can literally make herself
untouchable?! It's time for our heroes to suit up and save the day!
SPOTS ON, CLAWS OUT!
The Decades of Modern American Playwriting series provides a
comprehensive survey and study of the theatre produced in each
decade from the 1930s to 2009 in eight volumes. Each volume equips
readers with a detailed understanding of the context from which
work emerged: an introduction considers life in the decade with a
focus on domestic life and conditions, social changes, culture,
media, technology, industry and political events; while a chapter
on the theatre of the decade offers a wide-ranging and thorough
survey of theatres, companies, dramatists, new movements and
developments in response to the economic and political conditions
of the day. The work of the four most prominent playwrights from
the decade receives in-depth analysis and re-evaluation by a team
of experts, together with commentary on their subsequent work and
legacy. A final section brings together original documents such as
interviews with the playwrights and with directors, drafts of play
scenes, and other previously unpublished material. The major
playwrights and their plays to receive in-depth coverage in this
volume include: * Tony Kushner: Angels in America: A Gay Fantasia
on National Themes, Part One and Part Two (1991), Slavs! Thinking
About the Longstanding Problems of Virtue and Happiness (1995) and
A Dybbuk, or Between Two Worlds (1997); * Paula Vogel: Baltimore
Waltz (1992), The Mineola Twins (1996) and How I Learned to Drive
(1997); * Suzan-Lori Parks: The Death of the Last Black Man in the
Whole Entire World (1990), The America Play (1994) and Venus
(1996); * Terrence McNally: Lips Together, Teeth Apart (1991),
Love! Valour! Compassion! (1997) and Corpus Christi (1998).
Black examines the roles a remarkable group of women played in one
of the most influential theatre groups in America, demonstrating
their influence on 20th-century dramaturgy and culture. Perhaps
most notable for its discovery of two significant American
playwrights--Eugene O'Neill and Susan Glaspell--and for its role in
developing an American tradition of non-commercial theatre, the
Provincetown Players collective has long been appreciated for its
meaningful contributions to American drama. An outgrowth of the
Greenwich Village community of politically minded artists and
intellectuals, the group became convinced that theatre was
essential to America's spiritual and social regeneration. The
company ultimately produced nearly 100 plays by more than 50
American writers. In this thoroughly engaging work, Cheryl Black
argues that Provincetown has another, largely unacknowledged claim
to fame: it was one of the first theatre companies in America in
which women achieved prominence in every area of operation. At a
time when women playwrights were rare, women directors rarer, and
women scenic designers unheard of, Provincetown's female members
excelled in all these functions, making significant contributions
to the development of modern American drama and theatre. In
addition to playwright Glaspell, the company's female membership
included the likes of poets Edna St. Vincent Millay, Mina Loy, and
Djuna Barnes; journalists Louise Bryant and Mary Heaton Vorce;
novelists Neith Boyce and Evelyn Scott; and painter Marguerite
Zorach. A solidly researched and engagingly written piece of social
history, this book offers new insight into the relationship between
gender and theatre and will attract a broad readership, including
students and scholars of theatre, women's studies, feminism, and
American Studies, and members of the general public interested in
any of these issues.
The reader of Quiegolani Zapotec Syntax will find a careful
syntactic analysis of this language, presented descriptively and
with a theoretical analysis. In the three sections of the book,
Cheryl Black provides a coherent, explanatory analysis for many
facets of the syntax of this VSO language. Part I describes the
morphology and syntax, as well as anaphoric relations. Parts II and
III provide a theoretical analysis of the various syntactic
constructions, utilizing a Principles and Parameters approach. Part
II examines clause structure, including focus and topic
constructions, interrogatives, negative constructions, and their
interactions. Part III extends the analysis to phrase structures
such as verbal and nominal phrases. The final chapter demonstrates
that the special quantifier constructions that mark number in the
language exhibit the same basic principles and structures as the
rest of the grammar, showing that a small number of principles or
constraints can determine the full grammar of a language.
Quiegolani Zapotec is an Otomanguean language spoken in the state
of Oaxaca, Mexico. This language family has received relatively
little attention by syntacticians, making Dr. Black's work
especially valuable. Theoretical linguists, as well as those mainly
interested in description and typology, will find it of interest.
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