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Margot is on the quest to uncover and reassemble an ancient—and
cursed—vase, with the help of a boy who went missing in 1932, because
it's the only way to put back together her broken heart in this
standa-lone adventure rom-com, perfect for fans of What the River Knows
and The Lost City.
The mythical Vase of Venus Aurelia hasn’t been seen since 1932, but
Margot Rhodes is determined to change that.
Drawn by the vase’s supposed magical properties, Margot embarks on her
school’s archaeological trip to Pompeii. Sure, it’s her first time
holding a shovel, but she’s got something no one else does: lost
teenage explorer Van Keane’s journal.
Poring over the poetic entries that serve as a map to the vase’s
missing shards, Margot finds herself falling in love with the boy who
wrote it a century ago. She’s shocked when her search leads her to a
statue that looks exactly like Van, and then the statue comes to life.
Catapulted into the present, Van is nothing like the wordsmith Margot
imagined. He’s all sharp edges, intent on retrieving the relic for all
the wrong reasons. But it takes two to survive Venus’s death-defying
challenges, and, together, Margot and Van must excavate the
treasure—and their buried pasts—before their story ends in ruins.
With a blend of humor, magic, and love, Rachel Moore crafts another
stand-alone adventure rom-com full of double- and triple-crosses,
hilarious shenanigans, and frustration-fueled banter, where the best
treasure is true love.
Funny, moving, and heart-achingly real, this romantic romp and
paranormal romcom debutâthrough a haunted library with trapdoors,
ghosts, and memoriesâis full of great love that triumphs over
even death, perfect for fans of Ninth House and Cemetery Boys.
Radcliffe Prep. The third most haunted school in the country, where
a student disappearance isnât uncommon and no one dares stay in
the library after dark. And Este Logano enrolls with the hopes of
finding her dead father. Not literally, of course. She doesnât
believe in ghosts. Going to her dadâs school just seems like her
best hope at figuring out who he was. But then Este meets Mateo,
who is maybeâprobablyâdefinitelyâa real ghost. And an
annoying one at that. When Mateo frames Este for the theft of a
rare book from the libraryâs secret spire and then vanishes, Este
will have to track him down or risk being expelled and leaving
Radcliffe early just like her father did. Except following her
fatherâs footsteps might be more dangerous than Este ever
anticipated. As she investigates the library with its secret
passageways, hidden tunnels, and haunted halls, she learns that the
student disappearances arenât just myth. And if she isnât
careful, sheâll be next.
In the First World War, civilian life played a fundamental part in
the war effort; and music was no exception. Performing Propaganda
looks at musical life in Paris during the First World War. This
conflict was one in which civilian life played a fundamental part
in the war effort; and music was no exception. The book examines
how Western art music became a central part of the home-front war
effort, employed by both musicians and government as a powerful
tool of propaganda. It situates French art music of the First World
War within its social, cultural and political context, and within
the wider temporal framework of the Franco-Prussian and Second
World Wars. Drawing on a diverse range of archival material,
including concert and operatic programmes, the musical and daily
press, documents detailing government involvement in musical
activity, and police records, it explores how various facets of
French musical life served, in very different ways, as propaganda.
In short, it explores why music mattered during a period of
prolonged conflict, whether as emotional catalyst, weapon, or tool.
This book will be of interest to musicologists, to cultural
historians working on early twentieth-century France, and to
scholars of the First World War,as well as to a more general
readership with an interest in music during times of adversity.
RACHEL MOORE is a Leverhulme Early Career Fellow in Music,
University of Oxford.
Brings new insights to the music of well-known European composers
by telling a fascinating, little-known story about French music
publishing, specifically through the lens of Jacques Durand's
Ădition Classique. French composers, performers and musicologists
acted as editors of eighteenth- and nineteenth-century European
'classics', primarily for piano. Among these editors were FaurĂŠ,
Saint-SaĂŤns, Debussy, Ravel and Dukas; the objects of their
enquiries included core works by Rameau, Bach, Mozart, Beethoven,
Mendelssohn, Schumann and Chopin. Presenting six composer-editor
case studies, the volume shows that the French 'accent', both
musical and cultural, upon this predominantly Austro-German music
was highly varied. Editorial responses range from scholarly
approaches to those directed by performance or compositional
agendas, and from pan-European to strongly patriotic stances.
Intriguing intersections are revealed between old and new, and
between French and cross-European canons. Beyond editing, the book
explores the Ădition's role in pedagogy and performance, including
by pianists Robert Casadesus and Yvonne Loriod, and in the
reassertion of contemporary French composition, especially
regarding innovation around neoclassicism. It will interest a wide
readership, including musicologists, performers and concert-goers,
cultural historians and other humanities scholars.
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Knowing (Paperback)
Rachel Moore
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R315
R261
Discovery Miles 2 610
Save R54 (17%)
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Ships in 9 - 15 working days
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