Acts of the Redeemer

The Ravanmark Saga

Book 4
Onda Mountain Books
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With the death of the evil Lord Malrec, Alannys and her friends have turned the tide of civil war in Ravanmark in their favor. And yet, there is no time to relax. The rest of the Dark Alliance continues to fight. Cadenda comes calling, bringing the promise of war to enforce King Dorramon's engagement. And from the shadows, an even larger threat emerges. Strange, inflammatory rhetoric sweeps the nation, and even the stalwart Royal Guard can no longer be trusted.

But how can Alannys defend herself against a menace she can’t even see?

As the movement to ‘take the power of the few to the many’ continues to grow, and opposition to her swells stronger than ever, Alannys turns to the one thing that can prove her beyond a doubt—or destroy her beyond any recovery—the Acts of the Redeemer.

Join Alannys and her friends again as they embark on an epic journey to save Ravanmark--and themselves.

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About the author

Sign up to receive notifications of new releases at I'm an author. I've been reading since I memorized the Foot Book when I was three, and writing nearly as long. I write fantasy, romantic suspense, and whatever else looks interesting. I'm also a violinist. I've been playing and teaching music for thirty years. That's enough chatter about me! You can email me at Looking for me on the web? Check -- my main website -- the official site for the Alexis Brooks Series -- the official site for the Ravanmark Saga -- my Facebook page
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Additional Information

Onda Mountain Books
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Published on
Oct 10, 2015
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Fiction / Fairy Tales, Folk Tales, Legends & Mythology
Fiction / Fantasy / General
Fiction / Romance / Fantasy
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Essay from the year 2006 in the subject Asian studies, grade: High Distinction, James Cook University (James Cook University), course: Feudal Japan from 1600 to 1868, language: English, abstract: Unprecedented concentration and tremendous social influence were the two intrinsically linked phenomena that characterized the Edo period (1603-1868). Firstly came the rise of urban centres, in particular Edo, Kyoto and Osaka and secondly, a new social strata that developed within these cities. The two events of an urban concentration and a prosperous bourgeoisie – the chōnin, a combination of artisans and nouveau-riche merchants – were elemental for the expansion of segregated and licensed pleasure quarters offering every form of amusement, but which were then subjected to close governmental supervision. There were two reasons for control: Firstly, to fight subversion; and secondly, to keep public morals in check. The latter became necessary when, as the standard of living had gradually improved for the general urban population, the demand for leisure activities and entertainment opportunities had increased accordingly. Shōgun (the hereditary military governor military leader equivalent to the rank of general), daimyō (hereditary feudal lords) and samurai or bushi (military nobility) had always spent their money in the city, especially in Kyoto, but now entertainment possibilities extended to the prospering middle-class, who strove to establish a mode of life that would reflect their newly established economic importance; they wanted to enjoy life according to their wealth. Chōnin found opportunity for self-assurance by conspicuous consumption of ephemeral pleasures within the ‘floating world’ – a euphemism for the licensed pleasure quarters – where money reigned supreme and everybody was able to take on a role in accordance to his means.
Seminar paper from the year 2003 in the subject Communications - Movies and Television, grade: High Distinction, James Cook University (James Cook University), course: Communication, Information & Society, language: English, abstract: Alfred Hitchcock used non-verbal communication extensively in his filmmaking to convey meaning and to create suspension for the audience. His critical and disparaging opinion of dialogue in film shows clearly that he did not consider language to be a privileged cinematic medium for communication - quite the opposite and he remarks that language “should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms” (Hitchcock in Truffaut 272). The possibilities of the camera for conveying meaning was paramount to Hitchcock’s storytelling. As a film-maker, he is widely acknowledged for his use of point-of-view shots, tracking shots, and other techniques that reinforce the power of looking or the role of the gaze in cinema. A well-known example of his use of camera movement is Rear Window (1954), a film that evokes a viewing experience for the spectator in the form of “a mental process, done by the use of the visual” (Spoto 224). As director, Hitchcock makes intensive use of his prerogative to manipulate points of view thereby controlling the viewer’s gaze with narrative frames. The directing of the gaze is both an exercise of power and an imposition on those whom it captures. Theatrical and cinematic effects dominate in his work with the use of proxemics, stance and gestures of actors. Other visual clues are clothes and accessories worn by actresses. In Rear Window, most of the female’s protagonist’s dresses are mirrored in the dresses worn by other women. By coding dresses in such a way and juxtaposing them in different frames, they signify different states of mind and intentions; they act as emotional referents that connect the women through their visual appearance.
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