When Jane Richards woke up bound and blindfolded, she just knew it had to be a mistake. She was a small-town librarian, after all. Who'd want to kidnap her? Little did she know that her striking resemblance to Elena, the queen of Vendari, would result in her being whisked away to parts unknown and coerced into acting as Elena's double. Jane's only ally was the majorly sexy Major Lucius McConneghy. But could she trust him? Lucius had sworn to protect Jane no matter what. But with death threats aimed at the real Elena, keeping Jane out of trouble wouldn't be easy. At first Lucius's promise was professional, but as the mission progressed--and his attraction to the surprisingly brave Jane became impossible to ignore--he couldn't prevent it from becoming personal....

A collection of short stories and poetry published by the Wakefield Press, mainly resulting from the postgraduate Creative Writing Program of the Discipline of English at the University of Adelaide.

Since its publication in 2008, Exhibit Makeovers has been a useful do-it-yourself handbook for museum staff and volunteers. Exhibit Makeovers is a workbook that provides grounding in interpretive principles, how-to-advice, step-by-step guidance, and moral support for in-house exhibit planning and design. The revised and expanded 2nd edition preserves the supportive tone and easy-to-follow steps that make the original Exhibit Makeovers so user-friendly. Significant revisions—especially in the technology arena—and additions make this new edition a must-have addition to any museum’s toolkit: • New emphasis on visitor input, with step-by-step guidelines for evaluation studies during planning and design. • New text and worksheets to guide development of interactives, and ensure varied levels of visitor participation. • Focus on affordable software to help with exhibit planning and design, as well as low- cost technologies that can vary and deepen the visitor experience. • Brand-new chapters on exhibit design, production, and installation, written by the experienced team responsible for in-house exhibits at a thriving, mid-size museum. Following the same pattern as the 2008 original, the revised Exhibit Makeovers guides users through step-by-step processes of a single-case makeover, development of a new exhibit, and renovation/renewal of an entire gallery or museum.

In 2004, roughly 25 makeover-themed reality shows aired on U.S. television. By 2009, there were more than 250, from What Not to Wear and The Biggest Loser to Dog Whisperer and Pimp My Ride. In Makeover TV, Brenda R. Weber argues that whether depicting transformations of bodies, trucks, finances, relationships, kids, or homes, makeover shows posit a self achievable only in the transition from the “Before-body”—the overweight figure, the decrepit jalopy, the cluttered home—to the “After-body,” one filled with confidence, coded with celebrity, and imbued with a renewed faith in the powers of meritocracy. The rationales and tactics invoked to achieve the After-body vary widely, from the patriotic to the market-based, and from talk therapy to feminist empowerment. The genre is unified by its contradictions: to uncover your “true self,” you must be reinvented; to be empowered, you must surrender to experts; to be special, you must look and act like everyone else. Based on her analysis of more than 2,500 hours of makeover TV, Weber argues that the much-desired After-body speaks to and makes legible broader cultural narratives about selfhood, citizenship, celebrity, and Americanness. Although makeovers are directed at both male and female viewers, their gendered logic requires that feminized subjects submit to the controlling expertise wielded by authorities. The genre does not tolerate ambiguity. Conventional (middle-class, white, ethnically anonymous, heterosexual) femininity is the goal of makeovers for women. When subjects are male, makeovers often compensate for perceived challenges to masculine independence by offering men narrative options for resistance or control. Foregoing a binary model of power and subjugation, Weber provides an account of makeover television that is as appreciative as it is critical. She reveals the makeover show as a rich and complicated text that expresses cultural desires and fears through narratives of selfhood.

Photojournalist Adam Morgan had travelled to the world's most dangerous hot spots. After being in the wrong place at the wrong time, he'd come to Devil's Cove to heal his battered body and mind. There he found solace along the waters of Lake Michigan – in the arms of red–haired angel Sidney Brennan. The beautiful artist gave Adam a reason to smile, to laugh, to love. But he couldn't allow their rising passion to distract him from the dangers lurking in the shadows. When that danger arrived in Devil's Cove, could Adam protect the woman who'd captured his heart?

What do the Fab Five from Queer Eye for the Straight Guy, the Supernanny and celebrity chef Jamie Oliver all have in common? Lifestyle gurus are increasingly intruding on everyday life, directing ordinary people to see themselves as «projects» that can be «made over» through embracing an ethos of relentless self-improvement. Smart Living argues that they represent a new form of popular expertise sweeping the world. Written in a lively and accessible manner, the book examines this cult of expertise across a range of media and cultural sites and offers the reader a range of critical tools for understanding the recent emergence of this popular international phenomenon. Smart Living is a must-read for anyone interested in the relationship between popular media culture and contemporary social life.

The plots of many films pivot on the moment when a dowdy girl with bad hair, ill-fitting outdated clothing, and thick glasses is changed into an almost unrecognizable glamour girl. Makeover scenes such as these are examined beginning with 1942's Now, Voyager. The study examines whether the film makeover is voluntary or involuntary, whether it is always successful, how much screen time it takes up, where in the narrative structure it falls, and how the scene is actually filmed. Films with a Pygmalion theme, such as My Fair Lady, Vertigo, and Shampoo, are examined in terms of gender relations: whether the man is content with his creation and what sort of woman is the ideal. Some films' publicity capitalizes on a glamorous star's choice to play an unattractive character, as discussed in a chapter examining stars like Bette Davis, Meryl Streep, and Cameron Diaz. Topics also include folk literature's Cinderella tale, men as the inspiration for makeovers in teen flicks films like Clueless, She's All That, and Me, Natalie, and class repositioning in such movies as Working Girl, Pretty Woman, and Grease. Photographs are presented in a before/after format, showing the change in the madeover character.

'Funny, arty and just a little bit naughty, the Art Avenger is amazing!' Matt Lucas 'Very funny . . . I learned tons about art and laughed A LOT.' Joe Lycett A laugh-out-loud illustrated adventure featuring Trixie Pickle, the Banksy of her school. Trixie loves art and hates bullies - and so decides to become an Art Avenger, righting wrongs at her school through art. She uses Picasso, Pollock and Ofili to teach bullies a lesson, get out of lessons and help those in need, like an arty Robin Hood. Highly illustrated throughout by Olaf and with fact files of hilarious and irreverent details about real artists, Trixie Pickle is perfect for fans of Konnie Huq, Sam Copeland and Liz Pichon.

Sarah doesn’t talk to strangers. Aiden won’t shut up. When they find themselves next to each other on a plane, unexpected sparks begin to fly ... - - - Sarah doesn’t talk to strangers. It’s awkward, stressful, and there’s the uncontrollable blushing to worry about. When she boards a plane to fly home after an overseas holiday, she plans to stick her nose in a book and ignore everyone around her. Aiden’s terrified of flying, and it’s his first time on a plane. If he can distract himself by talking non-stop for the entire flight, he will. Too bad for Sarah he’s sitting right next to her.Against all Sarah’s expectations, she ends up enjoying Aiden’s company. They laugh, argue, concoct stories about other passengers, and accidentally hold hands during the turbulence. When the time comes to say goodbye, Sarah can’t help the crazy thought that she shouldn’t let Aiden go. Then he kisses her. And then he’s gone. With her world turning upside down in more ways than one, Sarah has to make a decision: stick with the safe, predictable life that’s been mapped out for her, or find the courage to go after what she truly wants. - - - Nominated as an InD'tale RONE Award Finalist in 2015, The Trouble with Flying is a sweet, clean contemporary romance that can be read as a standalone novel.

Who has never watched a reality TV show (even for just 5 minutes) and liked it (even just a little)?! Come on, be honest, people! 35-year-old Yasmina is addicted to reality TV. Hailing from a family of academics, she decides to prove to them that these programs are a worthy subject of research, and she joins the team of a hit show to analyze this captivating and universal phenomenon from the inside! Moved by a shared passion for the social sciences, Tilila Relmani, a psychologist by training, and Stella Lory, a comics artist, shrewdly question the psychosocial mechanisms at play in the addictive desire to watch strangers’ private lives unfold on television.