6 months after the events of ‘Project Stardust’, Agent Scarlett Carver and the Covert Investigation Group hunt for clues that will lead them to LADON (a computer program designed to access, override, and plant a digital mole into an enemy’s system), stolen by agents of defence contractor ARMAWOOD; allied with global banking giant: KLASSBANK. Little does Scarlett and her team know, the real mastermind behind the events of Project Stardust, CEO Simon Klass, has been using the LADON program to influence governments, serve organized crime, and learn the inner workings of Chase Couture’s business empire, before he executes his final gameplan.

If looks could kill¡­ And in the case of Scarlett Couture, they really can! Walking a razor¡¯s edge between glamorous supermodel and lethal CIA operative, Scarlett is the ultimate femme fatale ¨C as beautiful as she is dangerous, as smart as she is tough! And she¡¯ll need all her skills and talents for her newest, most-explosive case! Kidnapped supermodels, shark-infested wrecks, blistering gun battles, and little black dresses ¨C Operation Stardust has it all! Collects Scarlett Couture #1-4

6 moths from the events of ‘Project Stardust’, Agent Scarlett Carver and Covert Investigation Group hunt for clues that will lead them to LADON (a computer program designed to access, override, and plant a digital mole into an enemy’s system) stolen by agents of defence contractor Armawood; allied with global banking giant – Klassbank. Little does Scarlett and her team know, the real mastermind behind the events of Project Stardust, CEO Simon Klass, has been using the LADON program to influence governments, serve organized crime, and learn the inner workings of Chase Couture’s business empire, before he executes his final gameplan.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

The Red Cloud sets her sights on someone close to Superman, but how can the Man of Steel stop a villain he canÕt touch? As the invisible mafia controlling MetropolisÕ underworld steps more into the light, its leader finally stands revealed with a secret that will have massive implications for Superman and Clark Kent!

Textual Dynamics of the Professions is a collection of fifteen essays examining the real effects of text on professional practices--in academic, scientific, and business settings. Charles Bazerman and James Paradis describe textual dynamics as an interaction in which professional texts and discourses are constructed by, and in turn construct, social practices. In the burgeoning field of discourse theory, this anthology stands apart in its treatment of a wide range of professional texts, including case studies, student papers, medieval letters, and product instructions, and in the inclusion of authors from a variety of disciplines. Invaluable to the new pedagogical field of "writing across the curriculum," Textual Dynamics of the Professions is also a significant intervention into the studies of rhetoric, writing theory, and the sociology of knowledge.