In the third part of Seven Citadels', Prince Kerish, his half-brother Forollkin, his cousin Gwerath and the enigmatic Gidjabolgo, have escaped from the nomads and reached the corrupt Queendom of Seld. After battling the terrible creatures which guard the fourth citadel, worse dangers await Kerish in the ghostly kingdom of the tormented fifth sorcerer. In the brothers' homeland, Galkis, traitors are plotting to seize the throne and the barbarians have invaded. The quest for the legendary Savior seems more urgent than ever, but the eccentric sixth sorcerer makes the companions rethink their destinies. Seven Citadels' This acclaimed quartet, set in the exotic world of Zindar, tells the story of Kerish and Forollkin, two very different brothers sent on an epic journey to save their country. Forollkin is a formidable warrior but ultimately the success of their quest will depend on Kerish's powers of insight and persuasion. As they encounter strange new cultures and confront seven immortal sorcerers, the brothers learn to question everything they thought they knew. Danger, death and love will reshape the future they are fighting for. The unique Speaking Volumes edition is the first to print the author's preferred text. It is also the first English language edition to include the vital epilogue to The Seventh Gate', which continues the story of Kerish and Forollkin.

Drawing on hands-on experience from workshops and interviews, "Performance Practice and Process" explores the work of eight gender aware theater and performance artists and companies; Bobby Baker, Curious, SuAndi, Sarah Daniels, Split Britches, Rebecca Prichard, Vayu Naidu, and Jenny Eclair. Aston and Harris offer rare insights into the processes, as well as the practice, of these internationally renowned artists and employ an inside, practical approach to understanding their ground-breaking and politically radical theater and performance work.

Beyond representation poses the question as to whether over the last thirty years there have been signs of 'progress' or 'progressiveness' in the representation of 'marginalised' or subaltern identity categories within television drama in Britain and the US. In doing so it interrogates some of the key assumptions concerning the relationship between aesthetics and the politics of identity that have influenced and informed television drama criticism during this period. This book can function as a textbook because it provides students with a clear and coherent pathway through complex, wide-reaching and highly influential interdisciplinary terrain. Yet its rigorous and incisive re-evaluation of some of the key concepts that dominated academic thought in the twentieth century also make it of interest to scholars and specialists. Chapters examine ideas around politics and aesthetics emerging from Marxist-socialism and postmodernism, feminism and postmodern feminism, anti-racism and postcolonialism, queer theory and theories of globalisation, so as to evaluates their impact on television criticism and on television as an institution. These discussions are consolidated through case studies that offer analyses of a range of television drama texts including Big Women, Ally McBeal, Supply and Demand, The Bill, Second Generation, Star Trek (Enterprise), Queer as Folk, Metrosexuality and The Murder of Stephen Lawrence. This book is aimed at students and scholars of Television Drama, Media and Communication, Cultural Studies, Women's Studies and those concerned with questions of politics and aesthetics in other disciplines.

In the concluding part of Seven Citadels', Prince Kerish and his companions have been captured by the barbarians. A ruthless escape plan ends in tragedy. In war-torn Galkis, Kerish and his brother, Forollkin, are forced to part so that each can fight for the future in his own way. Disguised as musicians, Kerish and Gidjabolgo travel among the ordinary people of Galkis. Desperate to help them, Kerish continues his quest to save an Empire he no longer believes in. When Kerish and Gidjabolgo find the seventh sorcerer in the Forbidden Jungle of Jenze, startling truths are revealed. Kerish must face the last ordeal alone and discover whether he is prepared to pay the price for the return of the Savior. Seven Citadels' This acclaimed quartet, set in the exotic world of Zindar, tells the story of Kerish and Forollkin, two very different brothers sent on an epic journey to save their country. Forollkin is a formidable warrior but ultimately the success of their quest will depend on Kerish's powers of insight and persuasion. As they encounter strange new cultures and confront seven immortal sorcerers, the brothers learn to question everything they thought they knew. Danger, death and love will reshape the future they are fighting for. The unique Speaking Volumes edition is the first to print the author's preferred text. It is also the first English language edition to include the vital epilogue to The Seventh Gate', which continues the story of Kerish and Forollkin.

In the second part of 'Seven Citadels', Prince Kerish and his soldier half-brother, Forollkin, continue their search for the keys to the Savior's prison. The ugly and irritating Gidjabolgo has his own reasons for joining the voyage through perilous swamps to the mountains where an immortal sorceress holds the third key. Beyond the mountains, the companions are captured by the nomadic Erandachi-the tribe of Kerish's long dead mother. Kerish and Forollkin are welcomed into the tribe but forbidden ever to leave. The prince falls for his cousin Gwerath but she is only interested in Forollkin. As the relationship between the brothers reaches breaking-point, Kerish vows to prove himself as a warrior.

In the first part of 'Seven Citadels', Prince Kerish, pampered favorite son of the Emperor of Galkis, and his half-brother Forollkin, are sent to find seven sorcerers who each hold the key to a gate. Legend says that that the seven gates imprison a Savior, who alone can save the embattled Galkian Empire and its Godborn rulers. In the dangerous world beyond Galkis, Kerish is forced to depend on his soldier brother. The prince soon discovers something that will make their quest much more difficult-if a sorcerer surrenders his key, he also gives up immortality. When the first sorcerer turns out to be a benevolent philosopher king, the brothers begin to question whether the cost of saving Galkis is too high.