This work employs an eclectic mix of structuralist and post-structuralist theories in a doomed attempt to discover the symbolic logic at work in Zechariah 1-8's surreal narrative world. Lengthy analyses of Zechariah's intra- and intertextual logic, or lack thereof, are presented. It is finally concluded that Zechariah lacks a concrete symbolic logic, defies grammatical conventions and is 'unreadable' as it stands-and always was this way. One suggestion is that it was the intent of the author, conceived of in a postmodern way, to produce such a work. It is finally concluded that the 'post-prophetic' age of Hebrew literature has much in common with the postmodern.

Following the success of Sleeping Beauty, Park Theatre's annual Christmas show returns with their second instalment of The Chronicles of Waa. With original music, magic and plenty of laughter for the whole family, Jack and the Beanstalk is a tale of friendship, love and Tupperware: lots of Tupperware! In Gazoob, the land of the Giants, evil inventor Ms Grimm wants world domination and it seems there is nothing her lovely daughter Grenthel and Geoff, the smallest giant in the world, can do to stop her. Meanwhile in Nowen, a peaceful but poor Kingdom, Jack and his mum Tina struggle to pay the rent. To make matters worse, they have to get rid of their trusted cow, Daisy. When Grimm's evil plan lands at their feet, all seems doomed. But what will save the day and unite these two kingdoms? Jack's heroic deeds at the Nowenthian Sports festival? Tina's extensive knowledge of antique Tupperware? Or will the musical, Mariachi oracles known as 'The Shepherds Gonzales' have the answer? The future of the Land of Waa is at stake!

There will come a point in every witch's life where the scales are tipped so far to one side that the world, nature, humanity - whatever you want to call it - finally fights back. The demons are expelled and we return to the natural state. Sleeping Beauty is the fairytale of the beautiful princess Arabella who pricks her finger on a spindle and sleeps for a hundred years. Here adapted for the stage, you can join a host of characters for a night of magic, romance and laughter. In this quirky and flamboyant new stage version of the traditional story by Jez Bond and Mark Cameron, the battle of good versus evil is given a facelift, bringing this fairytale vividly to life through comedy, drama and original songs. The songs are included at the back of the edition (melody with chord symbols).

"In sum, Edberg's is a valuable contribution to an emerging, promising, and rich interdisciplinary field." -- Journal of Latin American Anthropology "This is a brilliant study on a subject that since the 1970s has riveted national and international attention: the exploits of those men and women who traffic in drugs.... The work is very original and offers new theoretical paradigms for both understanding the corrido as an artistic cultural form and understanding a people through this expressive artistic form." -- Maria Herrera-Sobek, Acting Associate Vice Chancellor for Academic Policy, University of California, Santa Barbara

Since the late 1970s, a new folk hero has risen to prominence in the U.S.-Mexico border region and beyond-- the narcotrafficker. Celebrated in the narcocorrido, a current form of the traditional border song known as the corrido, narcotraffickers are often portrayed as larger-than-life "social bandits" who rise from poor or marginalized backgrounds to positions of power and wealth by operating outside the law and by living a life of excess, challenging authority (whether U.S. or Mexican), and flouting all risks, including death. This image, rooted in Mexican history, has been transformed and commodified by the music industry and by the drug trafficking industry itself into a potent and highly marketable product that has a broad appeal, particularly among those experiencing poverty and power disparities. At the same time, the transformation from folk hero to marketable product raises serious questions about characterizations of narcocorridos as "narratives of resistance."

This multilayered ethnography takes a wide-ranging look at the persona of thenarcotrafficker and how it has been shaped by Mexican border culture, socioeconomic and power disparities, and the transnational music industry. Mark Edberg begins by analyzing how the narcocorrido emerged from and relates to the traditional corrido and its folk hero. Then, drawing upon interviews and participant-observation with corrido listening audiences in the border zone, as well as musicians and industry producers of narcocorridos, he elucidates how the persona of the narcotrafficker has been created, commodified, and enacted, and why this character resonates so strongly with people who are excluded from traditional power structures. Finally, he takes a look at the concept of the cultural persona itself and its role as both cultural representation and model for practice.