Hachiken's time at Ezo Ag has flown by so much faster than he could have ever imagined. Having grown, matured, and learned so much, he's finally ready to face his road ahead. With the support of friends, and eventually family, Hachiken charges forward! It's the final volume of Silver Spoon!

Thomas De Quincey (1785-1859) is considered one of the most important English prose writers of the early-19th century. This is the final part of a 21-volume set presenting De Quincey's work, also including previously unpublished material.

I’m Keima Masuda, the Dungeon Master, still chasing my dream to live a life without work. Aidy finally returned to the Demon Realm, but sadly, peace only lasted for so long. “Papa! Mama! Hi, I’m your daughter!” Out of nowhere, Rokuko and I had our first child?! Why?! Isn’t Haku going to kill me now?! I narrowly avoided death by being frank as possible, but in return got stuck solving some problems in Daide. That would have been fine, but Leona had traps waiting for us?! This is volume 15 of my own kind of dungeon story, now starting a school life as a parent!

After a series of troubling events, Mochizuki Touya takes some much-needed downtime. The fate of two worlds still hangs in the balance, he needs to secure more allies in the Reverse World, and Yula and the wicked god continue their dark machinations in the background, but that doesn't mean that our hero can't take a little time for romance and relaxation. But unbeknownst to our crew, another god may have set his eyes on the mortal realm... Lovers waltz and blades clash, unveiling a story of swords, sorcery, and fun in the sun!

This set is one of the cornerstones of film scholarship, and one of the most important works on twentieth century British culture. Published between 1948 and 1985, the volumes document all aspects of film making in Britain from its origins in 1896 to 1939. Rachael Low pioneered the interpretation of films in their context, arguing that to understand films it was necessary to establish their context. Her seven volumes are an object lesson in meticulous research, lucid analysis and accessible style, and have become the benchmark in film history.

Building on critical work in biblical studies, which shows how a historically-bounded heretical tradition called Gnosticism was 'invented', this work focuses on the following stage in which it was “essentialised” into a sui generis, universal category of religion. At the same time, it shows how Gnosticism became a religious self-identifier, with a number of sizable contemporary groups identifying as Gnostics today, drawing on the same discourses. This book provides a history of this problematic category, and its relationship with scholarly and popular discourse on religion in the twentieth century. It uses a critical-historical method to show how and why Gnosis, Gnostic and Gnosticism were taken up by specific groups and individuals – practitioners and scholars – at different times. It shows how ideas about Gnosticism developed in late nineteenth- and twentieth-century scholarship, drawing from continental phenomenology, Jungian psychology and post-Holocaust theology, to be constructed as a perennial religious current based on special knowledge of the divine in a corrupt world. David G. Robertson challenges how scholars interact with the category Gnosticism, and contributes to our understanding of the complex relationship between primary sources, academics and practitioners in category formation.