Download Fallen Into the Pit (Felse, Book 1) by Ellis Peters PDF

By Ellis Peters

Unique ebook: 1951

When an obnoxious Nazi landworker is murdered within the small village of Comerford, Sergeant George Felse faces one of many hardest investigations of his career

it truly is 1952, and the shadow of worldwide battle II nonetheless lies over the fairway fields of the small village of Comerford at the Welsh borders. while ex-prisoner of warfare Helmut Schauffler is murdered, neighborhood policeman Sergeant George Felse has his paintings reduce out: Schauffler used to be Nazi to the center and nearly all of the villagers had reliable cause to despise him.

Sergeant Felse’s fourteen-year-old son, Dominic—who stumbled on Schauffler’s physique in a shallow brook—is excited about the case. a lot to his father’s disapproval, he resolves to discover the murderer—a selection that areas his personal existence in nice danger. . . .
 
Fallen Into the Pit is the first e-book within the Felse Investigations, yet you could take pleasure in interpreting the sequence in any order.

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Additional resources for Fallen Into the Pit (Felse, Book 1)

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The male body has traditionally been seen as one of action in opposition to that of passive femininity; masculinity in motion, therefore, has a different meaning from masculinity shown at rest or in a state of passivity. However, the male body, whether in motion or at rest, is problematic because of the contradiction between the vulnerable passivity implied by being in a position to be looked at as the site of spectacle on the screen and the dominance that the male is expected to exhibit. Feminist critics and critics of masculinity in the early 1980s argued that the male body deflects the gaze while the female body is presented for the male gaze.

The tradition of toughness is exhibited through the body, but more importantly it is seen as possible to acquire toughness—an internal quality—through the remodeling of the body—an external one. According to Wilkinson, this attempt to acquire toughness was evident in the exercise and dieting boom of recent decades, but in the 1940s and 1950s toughness was more pronounced and demonstrated through styles of walking (such as strutting) and through acts like cigar-chomping, jaw-working, and squinting while smoking (11).

As Studlar argues in relation to the popularity of Tom Cruise, we might assume that mainstream cinema must “delimit or disavow the dangerous multiplicity of desire (across genders and sexualities) set into circulation by an attention to masculinity as an erotically marked object of attention” and, yet, we cannot ignore the commercial need for mainstream cinema to exploit the star’s appeal to the broadest audience base possible, which includes an appeal to both genders (“Cruise-ing” 173). The exposure of the bodies of action stars like Schwarzenegger, Stallone, Gibson, and Willis offers a multiplicity of pleasures to different members of the audience—an appeal that can be an erotic one to desire or an ideal to imitate.

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