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.

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! 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.