Join Monkey D. Luffy and his swashbuckling crew in their search for the ultimate treasure, the One Piece! As a child, Monkey D. Luffy dreamed of becoming King of the Pirates. But his life changed when he accidentally ate the Gum-Gum Fruit, an enchanted Devil Fruit that gave him the ability to stretch like rubber. Its only drawback? He’ll never be able to swim gain—a serious handicap for an aspiring sea dog! Years later, Luffy sets off on his quest to find the “One Piece,” said to be the greatest treasure in the world… Luffy and his crew befriend some of the exotic mer-people on Fish-Man Island, a beautiful and dangerous underwater civilization. They learn that while some on the island are working toward a better relationship with humans, the Fish-Man Pirates are attempting to grasp ultimate power. Luffy and the Straw Hat Crew step into battle once again!
As a child, Monkey D. Luffy dreamed of becoming King of the Pirates. But his life changed when he accidentally ate the Gum-Gum Fruit, an enchanted Devil Fruit that gave him the ability to stretch like rubber. Its only drawback? He'll never be able to swim again--a serious handicap for an aspiring sea dog! Years later, Luffy sets off on his quest to find the "One Piece," said to be the greatest treasure in the world... Luffy’s epic clash with Baroque Works pirate captain Crocodile continues, while deposed princess Vivi and the rest of the Straw Hat crew race against time to save the ancient kingdom of Alabasta. Just when it seems smooth sailing is ahead, Luffy and crew discover an interloper among their ranks! Who is this former Baroque Works member, and what does she want from the Straw Hats? Reads R to L (Japanese Style) for teen audiences.
The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque. The present book provides a snapshot of Charpentier scholarship in the early years of the new century. Its 13 chapters illustrate not only the sheer variety of strands currently pursued, but also the way in which these strands frequently intertwine and generate the potential for future research. Between them, they examine facets of the composer's compositional language and process, aspects of his performance practice and notation, the contexts within which he worked, and the nature of his legacy. The appendix contains a transcription of the inventory of Charpentier's manuscripts prepared when their sale to the Royal Library was negotiated in 1726 - an invaluable research tool, as numerous chapters in the book demonstrate. The wide variety of topics covered here will appeal both to readers interested in Charpentier's music and to those with a broader interest in the music and culture of the French Baroque, including aspects of patronage, church and theatre. Far from treating his output in isolation, this book places it in the wider context alongside such composers as Lully, Lalande, Marais, Frans Couperin and Rameau; it also views the composer in relation to his Italian training. In the process, the under-examined question of influence - who influenced Charpentier? whom did he influence? - repeatedly comes to the fore. The book's Foreword was written by H. Wiley Hitchcock shortly before he died. Hitchcock's own part in raising the profile of Charpentier and his music to the level of recognition which it now enjoys cannot be emphasized enough. Appropriately the volume is dedicated to his memory.