Julia Diggers' greatest rival, the dwarven Weapon-master G'nolga, has been captured by the Orkrist leader who destroyed G'nolga's home decades ago. G'nolga's sister Merigold has barely escaped intact to seek help, but before Julia can act, her students Gar and Luan head out on their own to tackle a foe they can't beat—and whom they mustn't harm even if they could!

In the aftermath of Peebri using Gina's singularity-powered server for online RPG hax, a clever little intruder has found her way into the lab -- from another time! Under Brianna, Charlotte and Pini's interrogation, she claims to be Brianna and Zan's daughter from the future, but with all the other wild stories she's telling, can they believe her?

It's almost time for Genn and Seance to get married, and Brianna, Pini and Charlotte (mainly Brianna) have plans for a super-sized, super-beefy bachelorette party for Genn! Meanwhile, Peebri's more interested in finding cheat codes to restore her online multiplayer battle game status...and with Pini in charge of Gina's lab for now, the time to raid is ripe!

Samuel Thomas Gill, or STG as he was universally known, was Australia’s most significant and popular artist of the mid-nineteenth century. For his contemporaries he epitomised ‘Marvellous Melbourne’ basking in the glow of the gold rushes. He worked in South Australia, Victoria and New South Wales and left some of the most memorable images of urban and rural life in colonial Australia. A passionate defender of Indigenous Australians and of the environment, Gill in his art celebrated the emerging quintessential Australian character. This is the first major comprehensive book to be devoted to Gill and presents a radical reassessment of one of the most important figures in Australian colonial art and reproduces, in some instances for the first time, some of the most startling images from nineteenth-century Australian art. There will be an exhibition of S.T. Gill’s work at the State Library of Victoria in July 2015 and at the National Library of Australia in June 2016, plus smaller shows in regional Victorian galleries. In association with the State Library of Victoria.

"From stars like Britney Spears and Mariah Carey to classic icons like Yoko Ono, female musicians have long been the target of toxic labels in the media and popular culture: liar, crazy, snake, diva, and so on. This book takes a candid look at the full range of sexist labeling and inspires us to think about these remarkable women on their own terms"--

The Year's Work in Showgirls Studies is a fan culture volume that deconstructs how and why Showgirls, a 1995 drama with a female lead bent on becoming a famous performer in Las Vegas, became a much-contested cult film despite being a critical failure when it released. The collection orchestrates a conversation between scholarly essay work and archival documentation offering a magnificent representation of the array of responses generated by the film, its makers, its promoters, and its audience. A multifaceted approach to the film, its popularity, and its social relevance results in a new text for understanding normative social hierarchies of sexuality, race, and gender. The Year's Work in Showgirls Studies engages with the figurative and actual place of sex work and feminized affective labor in our society.

This book is a glossary of what we now call the Early Modern English language, and what the author refers to as Stuart and Tudor words. It uses books, plays, essays, and other written publications released to the public between the 15th and 17th centuries as its main source of references, such as Paradise Lost, The Canterbury Tales, and Britannia's Pastorals.