Its 1994 and eight years have passed since the horrific events at the Silver Birch Housing Project, recorded in Scarborough: Confidential. At the urging of his girlfriend Brenda, vodka soaked social worker Tony Price has decided to take a vacation in Sioux Lookout, Ontario. Far from home, Tony stays with local hunter and social worker, Colin Kowlchuk. All he wants to do is drink, smoke, fish and forget everything else. No such luck. Something evil has appeared in the boreal forest north of town. Something that will leave a bloody trail of death until stopped. Aided by Colin, an aboriginal Shaman, and a comely cryptozoologist from Leipzig, Tony sets out to destroy the monster. Once again, horror, hilarity, serious drinking and social work converge in the second volume of the Tony Price: Confidential trilogy
From one of the most innovative indie writers publishing today comes Tony Price: Confidential Scarborough: Confidential Its November 1986 in Scarborough, Ontario, at the Silver Birch Housing Project. Someone - or something - is eating social worker, Tony Prices clients. Burnt out and vodka soaked, Tony has to acknowledge his innate ability to fight evil. When sexy colleague Brenda Martin is kidnapped, Tony is forced to act. Sioux Lookout: Confidential Brenda suggests Tony take a vacation in Sioux Lookout in September, 1994 - just as an ancient evil arises in the boreal forest north of town. Tony takes on the monster with help from a local hunter, a Shaman, and a comely cryptozoologist from Leipzig. Check in on Tony Price for more horror, hilarity and serious drinking. Kingston: Confidential When Tonys career ends abruptly at the hands of an armed dope fiend Brenda suggests they move to historic Kingston where their twins attend Queens University. During the sweltering summer of 2016 Tony is at loose ends, but a killer appears in town; a sociopathic enigma who effortlessly evades capture. Tony will have to take this on but this time hes not alone - his daughter Ashley has inherited his ability to fight evil. But is she ready?
In order to better understand processes of European integration, this book offers a new perspective that compares past experiences of change to current transitional moments at the European level. It addresses key questions about European society, EU integration and social change to reveal the social construction of emergent polities and societies. Arnd Bauerkämper, Free University of Berlin, Germany Donatella della Porta, Italian Institute of Human Sciences, Italy and European University Institute, Italy Sabine Frerichs, University of Helsinki, Finland Teemu Juutilainen, University of Helsinki, Finland Gary Marks, University of North Carolina, Chapel Hill, USA Kathleen R. McNamara, Georgetown University, USA Louisa Parks, University of Lincoln, UK Rainer Schützeichel, University of Bielefeld, Germany Nikola Tietze, Hamburg Institute for Social Research, Germany Hans-Jörg Trenz, University of Copenhagen, Denmark Georg Vobruba, University of Leipzig, Germany Bénédicte Zimmermann, École des Hautes Études en Sciences Sociales, France
Seminar paper from the year 2013 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,0, University of Leipzig (Institut für Anglistik), language: English, abstract: In the late Middle Ages, so called mystery plays enjoyed great popularity in English towns and especially in those of the north. Many of these plays were grouped in greater cycles among which the cycle of York, commonly known as the York Mystery Plays, is the best preserved, and presumably one of the oldest, largest and most elaborate ones as well. Its forty-seven constituent plays are concerned with Christian belief and sacred history, a circumstance reflected in the collections authentic title - the Corpus Christi play. It is interesting that the term mystery plays, an invention of the 18th century, does not only point to the content of the cycle, as the alternative expression miracle plays does. The term simultaneously addresses those associations of people that were responsible for the cycles staging: the trade and craft guilds of a town. Based on the archaic meaning of the word, denoting a handicraft or trade, it was occasionally referred to these guilds as mysteries as well. In the case of the dramatic cycle of York, each individual play was assigned to one (or in some cases two) of these mysteries or guilds. This paper aims at investigating the role these guilds played in the organisation, the funding and the staging of the cycle. It can be argued that aside from their more obvious economic and social functions, the medieval trade and craft guilds also had a cultural function in the narrow meaning of the term. Further can be argued that the Corpus Christi cycle was not only a cultural and a ritual event, but that it had an important social (and perhaps even an economic) function for the city of York and the communal life of its inhabitants. In fact, it may be this interplay of various domains of life and thought that can explain how the cycle could survive in the form of an annual performance for a period as long as two hundred years, and why it came into being as well as disappeared not randomly but at certain moments in history. Looking upon the play as a civic rather than an ecclesiastical affair, this work thus investigates the cycles link with the economic history of York and the organisational development of the trade and craft guilds. It will be shown in particular that as a sort of producers the guilds had a range of clearly defined responsibilities and that among these the aspect of funding was the most central.