The Keep Within

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Pennyblade’ doesn’t so much reinvent well-worn fantasy tropes as stab them to death in a dark alley. Kyra Cal’Adra is a lethally alluring protagonist weaving an intricate tale rich in ferocious action and multifaceted intrigue, all topped off by a deliciously vicious twist.”–Anthony Ryan, author of “Blood Song”, “The Wolf’s Call” and more Full of dark intrigues, wonderfully layered characters, and a dazzling plot that twists and turns in satisfying ways, this book is masterfully written and just bloody fantastic to read.”—Sebastien de Castell, award-winning author of The Greatcoats and Spellslinger series Since the 16th century, the English word keep has commonly referred to large towers in castles. [3] The word originates from around 1375 to 1376, coming from the Middle English term kype, meaning basket or cask, and was a term applied to the shell keep at Guînes, said to resemble a barrel. [4] The term came to be used for other shell keeps by the 15th century. [3] By the 17th century, the word keep lost its original reference to baskets or casks and was popularly assumed to have come from the Middle English word keep, meaning to hold or to protect. [3]

Thanks to Netgalley and the publisher for providing a review copy of this book in return for an honest review. Etymology and historiography [ edit ] A 19th-century reconstruction of the keep at Château d'Étampes As a result of this evolution in meaning, the use of the term keep in historical analysis today can be problematic. [6] Contemporary medieval writers used various terms for the buildings we would today call keeps. In Latin, they are variously described as turris, turris castri or magna turris – a tower, a castle tower, or a great tower. [6] The 12th-century French came to term them a donjon, from the Latin dominarium "lordship", linking the keep and feudal authority. [7] Similarly, medieval Spanish writers called the buildings torre del homenaje, or "tower of homage". In England, donjon turned into dungeon, which initially referred to a keep, rather than to a place of imprisonment. [8]

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Pounds, Norman John Greville. (1994) The Medieval Castle in England and Wales: a Social and Political History. Cambridge: Cambridge University Press. ISBN 978-0-521-45828-3. Having remotely sensed Molasar's presence, a mysterious stranger named Glaeken Trismegestus arrives from Axis-occupied Greece, seducing Eva and incurring Cuza's ire. The malign power of Molasar begins to affect the villagers, seemingly driving them mad. A group of soldiers fire on Glaeken and force him into a ravine, but he is shown to still be alive. Kaempffer and Woermann clash over the former's sadistic crimes; Woermann furiously denounces the Nazis, claiming that the monster hunting them is a reflection of their evil. When their conversation is suddenly interrupted by the sound of horrible screams and machine-gun fire coming from the keep's inner courtyard, Woermann is shot and killed by Kaempffer. Afterwards, Kaempffer goes to the now-silent courtyard, only to find that the entire garrison of the citadel has been slaughtered by Molasar, and that all the military vehicles parked inside have been disabled. McNeill, Tom. (2000) Castles in Ireland: Feudal Power in a Gaelic World. London: Routledge. ISBN 978-0-415-22853-4. The film version is harder to define; it’s never explained exactly what he is and he absorbs lifeforce instead of blood, causing his victims to explode into dry husks. He originally appears as a mist with floating eyes before gradually taking shape, and while his design is striking, it looks stiff and rubbery in motion. Still, his look appears to have been an inspiration on The Incredible Hulk’s Abomination and Oscar Isaac’s Apocalypse. urban areas also offer significant opportunities for emissions reductions. These can be achieved through lower energy

Gondoin, Stéphane W. (2005) Châteaux-Forts: Assiéger et Fortifier au Moyen Âge. Paris: Cheminements. ISBN 978-2-84478-395-0. (in French) Châtelain, André. (1983) Châteaux Forts et Féodalité en Ile de France, du XIème au XIIIème siècle. Nonette: Créer. ISBN 978-2-902894-16-1. (in French) Schulz, Juergen. (2004) The New Palaces of Medieval Venice. University Park, US: Pennsylvania State University Press. ISBN 978-0-271-02351-9. The theme and incidental music for The Keep was composed by Tangerine Dream. [27] The band previously worked with Mann on his first theatrical film Thief (1981). [28] The score to The Keep is primarily made up of moody soundscapes, as opposed to straightforward music cues. Most notably, an ambient cover of Howard Blake's " Walking in the Air" was featured during the end sequence of the film. Additionally, Tangerine Dream's arrangement of the song "Gloria" from Mass for Four Voices by Thomas Tallis can also be heard in the film. a b c Alexander, Chris (19 October 2015). "In Defense of Michael Mann's 'The Keep' ". ComingSoon.net. Archived from the original on 8 January 2023.

keep within (something or some place)

Tuulse, Armin. (1958) Castles of the Western World. Newton Abbot, UK: David and Charles. ISBN 978-0-486-42332-6.

Climate change is the result of more than a century of unsustainable energy and land use, lifestyles and patterns of consumption and production,” said Skea. “This report shows how taking action now can move us towards a fairer, more sustainable world.”The only thing that didn’t really gel for me was the tone of the book in some places. It’s a very darkly comic novel, which is fine, but when characters feel genuine emotion, it tends to veer a little too far into melodrama. Harry is the perfect example of this. He spends so much time being the butt of the joke, especially in the beginning, so that when he is genuinely feeling some emotion, it feels a little too comedic. Larksdale works so well in this courtly drama as he is both part of it and not. He runs a theatre and loves the arts. His plays are what keeps him in the king's favour but also the drugs and ruffians he can procure. A deeply flawed character, but one who is more sympathetic than most. He finds himself thrust into a quest that he does not want and had no plans for. This makes his predicament even more exciting. In the 15th century, the protective function of keeps was compromised by improved artillery. For example, in 1464 during the Wars of the Roses, the keep of Bamburgh Castle on the Northumberland coast, previously considered to be impregnable, was defeated with bombards. [2] By the 16th century, keeps were slowly falling out of fashion as fortifications and residences. Many were destroyed in civil wars between the 17th and 18th centuries or incorporated into gardens as an alternative to follies. During the 19th century, keeps became fashionable once again, and in England and France, a number were restored or redesigned by Gothic architects. Despite further damage to many French and Spanish keeps during the wars of the 20th century, keeps now form an important part of the tourist and heritage industry in Europe. Through most of the 12th century, France was divided between the Capetian kings, ruling from the Île-de-France, and kings of England, who controlled Normandy and much of the west of France. Within the Capetian territories, early experimentation in new keep designs began at Houdan in 1120, where a circular keep was built with four round turrets; internally, however, the structure remained conventionally square. [56] A few years later, Château d'Étampes adopted a quatrefoil design. [57] [nb 4] These designs, however, remained isolated experiments.