Crimson Dragon Publishing carries books that encourage readers of all ages by sparking the imagination. While we focus on the fantasy and science fiction genres, we also carry illustrated books for young readers that focus on social-emotional skills development and fictionalized non-fiction.
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Editorial Drakul is an independent, privately owned company, founded in June 2006 and dedicated mainly to the publication of novels and comics, but also children's literature.
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Popular television drama: critical perspectives' is a collection of essays examining landmark programmes of the last forty years, from 'Doctor Who' to 'The Office', and from 'The Demon Headmaster' to 'Queer As Folk'. Contributions from prominent academics focus on the full range of popular genres, from sitcoms to science fiction, gothic horror and children's drama, and challenge received wisdom by reconsidering how British television drama can be analysed. Each section is preceded by an introduction in which the editors discuss how the essays address existing problems in the field and also suggest new directions for study. The book is split into three sections, addressing the enduring appeal of popular genres, the notion of 'quality' in television drama, and analysing a range of programmes past and present. Popular television drama: critical perspectives will be of interest to students and researchers in many academic disciplines that study television drama. Its breadth and focus on popular programmes will also appeal to those interested in the shows themselves.
This study focuses on the 1670-71 season in the Restoration playhouses, an exciting and formative moment in theatrical and political history. The year proved to be difficult and damaging to King Charles II, as political, religious, and personal matters provoked controversy and disquiet, and the country teetered on the brink of major constitutional problems. My research sets drama against this backdrop. Theatrical records for this period are patchy and, for the most part, frustratingly incomplete: this book does not attempt to reconstruct the day-to-day operations of the playhouses, but rather it uses the available evidence of the extant new and revived plays we know (or believe) to have been performed in the 1670-71 theatrical season, and argues that this was the period in which serious and far-reaching political and dramatic questions began to be seriously asked and (tentatively) answered.
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This volume explores the disruptive effects of militarism, war and social unrest in early modern drama. Engaging with Simon Barker's seminal work on dramatic representations of war and militarism, contributors highlight what often lies hidden beneath the surface of martial narratives, treating them as formative interventions in contemporary discourses, whether in justifying war, excluding dissident voices or shaping cultural identities. Discussions include new examinations of militarism, the figure of the soldier and early modern theories of war in Shakespearean tragedy, history and comedy, alongside antimasque and dramatic satire by lesser-known playwrights. The essays investigate how ideas of war underpin emerging concepts of gender, leadership, marriage and the family, as well as the continuing mobilisation of Shakespearean drama in the context of modern armed conflict. Together, they offer rich new contributions to the current lively critical debates on this topic.
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'Popular television drama: critical perspectives' is a collection of essays examining landmark programmes of the last forty years, from 'Doctor Who' to 'The Office', and from 'The Demon Headmaster' to 'Queer As Folk'. Contributions from prominent academics focus on the full range of popular genres, from sitcoms to science fiction, gothic horror and children's drama, and challenge received wisdom by reconsidering how British television drama can be analysed. Each section is preceded by an introduction in which the editors discuss how the essays address existing problems in the field and also suggest new directions for study. The book is split into three sections, addressing the enduring appeal of popular genres, the notion of 'quality' in television drama, and analysing a range of programmes past and present. Popular television drama: critical perspectives will be of interest to students and researchers in many academic disciplines that study television drama. Its breadth and focus on popular programmes will also appeal to those interested in the shows themselves. ;
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Begleite Familie Knister auf ein aufregendes neues Abenteuer in „Kleine Feuerwehr. Drunter und drüber“, dem zweiten Band der beliebten Kinderbuchreihe, inspiriert von der erfolgreichen Kinder-App von Fox & Sheep. Dieses Mal erwartet die Familie Knister hochspannende Gäste aus China: eine Feuerwehrmannschaft! Doch die Überraschung ist groß, als die Besucher aus Fernost ganz anders aussehen, als man es erwartet hätte. Sind das wirklich Feuerwehrleute? Ohne gemeinsame Sprache entsteht ein buntes Durcheinander, das Familie Knister und ihre Gäste von einem verrückten Abenteuer ins nächste führt. Witzige Missverständnisse und spannende Herausforderungen warten auf die ungewöhnliche Truppe, die trotz aller Unterschiede zeigt, wie Freundschaft und Zusammenarbeit Barrieren überwinden können. Thematisiert die Begegnung zwischen unterschiedlichen Kulturen auf humorvolle Weise und hebt die Bedeutung von Offenheit und Verständnis hervor. Abenteuerliche Reise voller unerwarteter Wendungen, die Jung und Alt gleichermaßen begeistert. Integrierte Bastelbögen laden zum kreativen Spielen ein. Kinder können ihr eigenes Feuerwehrauto bauen und eine Feuerwache gestalten, um die Geschichte lebendig werden zu lassen. So lassen sich Sprachbarrieren überwinden: Charaktere finden trotz fehlender gemeinsamer Sprache Wege, miteinander zu kommunizieren und zu kooperieren. Reich illustrierte Seiten und ausklappbare Elemente fördern die Vorstellungskraft und Kreativität junger Leser. Eine Geschichte, die zeigt, wie wichtig es ist, einander zu helfen, zusammenzustehen und gemeinsam Lösungen zu finden.
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In 1660 Charles II was restored to the thrones of England, Scotland and Ireland, but his hold on power was precarious. In particular, Ireland was fundamentally unstable - Catholics formed the majority of the population in a country where Protestantism was the established religion, a state of affairs unique in Europe. It was through the law that the restored Stuart monarchy governed its subjects and its colonial dependencies, and this book examines how Catholics engaged with and experienced English common law primarily through the eyes of Catholic clerics and Gaelic poets. It also examines how Catholics engaged with the Courts and the particular challenges they faced as lawyers. The book draws on an extensive body of primary source materials, including Irish-language poetry and little-used archival material relating to elite Catholic families.
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This collection brings together scholars from disciplines including Children's Literature, Classics, and History to develop fresh approaches to children's culture and the uses of the past. It charts the significance of historical episodes and characters during the long nineteenth-century (1750-1914), a critical period in children's culture. Boys and girls across social classes often experienced different pasts simultaneously, for purposes of amusement and instruction. The book highlights an active and shifting market in history for children, and reveals how children were actively involved in consuming and repackaging the past: from playing with historically themed toys and games to performing in plays and pageants. Each chapter reconstructs encounters across different media, uncovering the cultural work done by particular pasts and exposing the key role of playfulness in the British historical imagination.
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David and Bathsheba presents a modernised edition of George Peele's explosive biblical drama about the tangled lives, deadly liaisons, and twisted histories of Ancient Israel's royal family. Martin's critical edition is the first modern single-volume edition of the play since 1912 and opens up this unduly neglected gem of English Renaissance drama to student and scholar alike. The introduction examines such topics as the play's treatment of its biblical and poetic sources, its engagement with Elizabethan politics, and its forceful representations of religious fanaticism, genocide, and sexual violence. Its commentary notes clarify the text's meaning and staging, guide the reader through the play's dramatisation of the turbulent Davidic period of Ancient Israel's history, and place the play in its broader cultural and artistic milieu. Martin's edition aims to encourage new contemporary critical study of Peele's powerful and disturbing drama.
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David and Bathsheba presents a modernised edition of George Peele's explosive biblical drama about the tangled lives, deadly liaisons, and twisted histories of Ancient Israel's royal family. Martin's critical edition is the first modern single-volume edition of the play since 1912 and opens up this unduly neglected gem of English Renaissance drama to student and scholar alike. The introduction examines such topics as the play's treatment of its biblical and poetic sources, its engagement with Elizabethan politics, and its forceful representations of religious fanaticism, genocide, and sexual violence. Its commentary notes clarify the text's meaning and staging, guide the reader through the play's dramatisation of the turbulent Davidic period of Ancient Israel's history, and place the play in its broader cultural and artistic milieu. Martin's edition aims to encourage new contemporary critical study of Peele's powerful and disturbing drama.
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Hyde Park (1632) is one of the best-loved comedies of James Shirley, considered to be one of the most important Caroline dramatists. The play showcases strong female characters who excel at rebuking the outlandish courtship of various suitors. Shirley's comic setting, London's Hyde Park, offers ample opportunity for witty dialogue. This is the first critical edition of the play, including a wide-ranging introduction and extensive commentary and textual notes. Paying special attention to the culture of Caroline London and its stage, the volume unpicks Shirley's politics of courtship and consent while also underlining the play's dynamics of class and power. A detailed performance history traces productions from 1632, across the Restoration to the present day, including that of the Royal Shakespeare Company in 1987. A textual history of the play's first quarto determines how it was printed and what relationship Hyde Park has to other texts by Shirley.
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Hyde Park (1632) is one of the best-loved comedies of James Shirley, considered to be one of the most important Caroline dramatists. The play showcases strong female characters who excel at rebuking the outlandish courtship of various suitors. Shirley's comic setting, London's Hyde Park, offers ample opportunity for witty dialogue and sport - including foot and horse races - across three love plots. This is the first critical edition of the play, including a wide-ranging introduction and extensive commentary and textual notes. Paying special attention to the culture of Caroline London and its stage, the Revels Plays edition unpicks Shirley's politics of courtship and consent while also underlining the play's dynamics of class and power. A detailed performance history traces productions from 1632, across the Restoration to the present day, including that of the Royal Shakespeare Company in 1987. A textual history of the play's first quarto determines how it was printed and what relationship Hyde Park has to other texts by Shirley from the same publishers.
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This is a ground-breaking edition of three seventeenth-century plays that all engage in diverse and exciting ways with questions of gender and performance. The collection, edited by three pioneering scholars of elite female culture and early modern drama, makes the texts of three much-discussed plays - John Fletcher's The Wild-Goose Chase, James Shirley's The Bird in a Cage and Margaret Cavendish's The Convent of Pleasure - available together in a full scholarly edition for the first time. The Wild Goose Chase (1621) and The Bird in a Cage (1633) were both performed in the commercial London theatres in the Jacobean and Caroline periods respectively. The Convent of Pleasure (1668) is a so-called 'closet' drama, designed primarily for reading but drawing on a tradition of aristocratic theatricals. In a wide-ranging co-authored introduction to the volume, the editors explore the concerns of these playtexts in relation to contemporary debates surrounding popular festivity and anti-theatricalism, as well as the agency of elite female culture in the Stuart period and the emergence of the professional female actor in the Restoration. The volume will be an invaluable teaching and research tool for students and scholars of early modern drama, women's writing and performance studies more generally, as well as providing a rich sourcebook for the reader interested in seventeenth-century theatrical culture. ;
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Looking at contemporary film and television, this book explores how popular genres frame our understanding of on-screen performance. Previous studies of screen performance have tended to fix upon star actors, directors, or programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides a truly interdisciplinary account of performance in film and television and examines a much neglected area in our understanding of how popular genres and performance intersect on screen. Each chapter concentrates upon a particular genre or draws upon generic case studies in examining the significance of screen performance. Individual chapters examine contemporary film noir, horror, the biopic, drama-documentary, the western, science fiction, comedy performance in 'spoof news' programmes and the television 'sit com' and popular Bollywood films.
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Energetically places modern British drama and contemporary critical and cultural theory in dialogue, demonstrating how theory allows fresh insights into familiar plays. Each chapter pairs a well-known play from the post-war period with a classic theory text, the theoretical text is not simply applied to the dramatic one: instead, the play and the theoretical text reflect on each other in a mutual illumination. Examples include: So Look Back in Anger is read by and reads Lacan's Signification of the Phallus Pinter's The Homecoming is made uncanny with Freud Stoppard's Rosencrantz and Guildenstern are Dead finds affinities with Lyotard's The Postmodern Condition Timberlake Wertenbaker's Our Country's Good agrees and disagrees with Edward Said Sarah Kane's Blasted thinks through trauma with Shoshana Felman. In each case, the theoretical position is explained lucidly and economically. The result is a series of new interpretations not only of the plays, but of the theoretical texts, which take on new relevance when linked with modern British drama. The first textbook of its kind, linking contemporary drama with critical and cultural theory. ;
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After the Restoration, parliamentarians continued to identify with the decisions to oppose and resist crown and established church. This was despite the fact that expressing such views between 1660 and 1688 was to open oneself to charges of sedition or treason. This book uses approaches from the field of memory studies to examine 'seditious memories' in seventeenth-century Britain, asking why people were prepared to take the risk of voicing them in public. It argues that such activities were more than a manifestation of discontent or radicalism - they also provided a way of countering experiences of defeat. Besides speech and writing, parliamentarian and republican views are shown to have manifested as misbehaviour during official commemorations of the civil wars and republic. The book also considers how such views were passed on from the generation of men and women who experienced civil war and revolution to their children and grandchildren.
