Sequel to the 2007 film based on the 1950s/60s comedies set in a girls' boarding school. This time around, the mischief-making girls of St Trinian's are on the hunt for buried treasure after discovering that their headmistress Miss Fritton (Rupert Everett) is the descendant of a famous pirate. The film co-stars Gemma Arterton, Colin Firth, Jodie Whittaker, David Tennant, Tamsin Egerton and Russell Brand, among others.

Sunday Times Bestseller 'I can't rewrite history; all I can do is be honest and wear my heart on my sleeve. It's really the only way I know. I want to show people the real me. Or perhaps remind them. Because, somewhere - amongst the nightclubs, the frocks and hairdos, the big chart hits, and the glamour of being a popstar - the other Sarah Harding got utterly lost. She's the one who's been forgotten. And all I want is for you to hear her out.' Sarah Harding is best known as the wild member of Girls Aloud, whose reputation for partying, drinking and dating made her a tabloid favourite. But where does the celebrity Sarah Harding end and the real Sarah begin? Faced with a devastating cancer diagnosis that turned her life upside down, Sarah has decided that now is the time to write her story. Her truth. This is Sarah Harding in her own words.

Providing a rare glimpse of feminine Buddhist history, "Niguma, Lady of Illusion" brings to the forefront the life and teachings of a mysterious eleventh-century Kashmiri woman who became the source of a major Tibetan Buddhist practice lineage. The circumstances of her life and extraordinary qualities ascribed to her are analyzed in the greater context of spiritual biography and Buddhist doctrine. More than a historical presentation, Niguma's story raises the question of women as real spiritual leaders versus male images of feminine principle and other related contemporary issues. This volume includes the thirteen works that have been attributed to Niguma in the Tibetan Buddhist canon. These collected works form the basis of an ancient lineage Shangpa, which continues to be actively studied and practiced today. These works include the source verses for such esoteric practices as the Six Yogas, the Great Seal, and the Chakrasamvara and Hevajra tantric practices that are widespread in Tibetan traditions. Also included is the only extant biography, which is enhanced by the few other sources of information on her life and work.

These fascinating discussions between 11th century court ladies and the great master Padmasambhava, available for the first time in English, weave intriguing issues of gender into Buddhist teachings. The women's doubts and hesitations are masterfully resolved in these impassioned exchanges. The wonderful material in this book is part of a terma (treasure) revealed by Pema Lingpa (1450-1521), the greatest terton (treasure-revealer) of the Himalayan kingdom of Bhutan. The pithy collection is rounded out by Pema Lingpa's astonishing life story..

In this study, Sarah Harding examines Paul's anthropology from the perspective of eschatology, concluding that the apostle's view of humans is a function of his belief that the cosmos evolves through distinct aeons in progress toward its telos. Although scholars have frequently assumed that Paul's anthropological utterances are arbitrary, inconsistent, or dependent upon parallel views extant in the first-century world, Harding shows that these assumptions only arise when Paul's anthropology is considered apart from its eschatological context. That context includes the temporal distinction of the old aeon, the new aeon, and the significant overlap of aeons in which those "in Christ" dwell, as well as a spatial dimension that comprises the cosmos and the powers that dominate it (especially sin and the Holy Spirit). These eschatological dimensions determine the value Paul attaches to any particular anthropological "aspect." Harding examines the cosmological power dominant in each aeon and the structures through which, in Paul's view, these influence human beings, examining texts in which Paul discusses nous, kardia, and s?ma in each aeon.