Announcing the PIX 2017 Special Guests
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Writers Chimamanda Ngozi Adichie Monica Ali Isabel Allende Martin Amis Kurt Andersen K
Writers Chimamanda Ngozi Adichie Monica Ali Isabel Allende Martin Amis Kurt Andersen K. A. Applegate Jeffrey Archer Diana Athill Paul Auster Wasi Ahmed Victoria Aveyard Kevin Baker Mark Allen Baker Nicholson Baker Iain Banks Russell Banks Julian Barnes Andrea Barrett Max Barry Sebastian Barry Louis Bayard Peter Behrens Elizabeth Berg Wendell Berry Maeve Binchy Dustin Lance Black Holly Black Amy Bloom Chris Bohjalian Roberto Bolano S. J. Bolton William Boyd T. C. Boyle John Boyne Paula Brackston Adam Braver Libba Bray Alan Brennert Andre Brink Max Brooks Dan Brown Don Brown www.downloadexcelfiles.com Christopher Buckley John Burdett James Lee Burke Augusten Burroughs A. S. Byatt Bhalchandra Nemade Peter Cameron W. Bruce Cameron Jacqueline Carey Peter Carey Ron Carlson Stephen L. Carter Eleanor Catton Michael Chabon Diane Chamberlain Jung Chang Kate Christensen Dan Chaon Kelly Cherry Tracy Chevalier Noam Chomsky Tom Clancy Cassandra Clare Susanna Clarke Chris Cleave Ernest Cline Harlan Coben Paulo Coelho J. M. Coetzee Eoin Colfer Suzanne Collins Michael Connelly Pat Conroy Claire Cook Bernard Cornwell Douglas Coupland Michael Cox Jim Crace Michael Crichton Justin Cronin John Crowley Clive Cussler Fred D'Aguiar www.downloadexcelfiles.com Sandra Dallas Edwidge Danticat Kathryn Davis Richard Dawkins Jonathan Dee Frank Delaney Charles de Lint Tatiana de Rosnay Kiran Desai Pete Dexter Anita Diamant Junot Diaz Chitra Banerjee Divakaruni E. L. Doctorow Ivan Doig Stephen R. Donaldson Sara Donati Jennifer Donnelly Emma Donoghue Keith Donohue Roddy Doyle Margaret Drabble Dinesh D'Souza John Dufresne Sarah Dunant Helen Dunmore Mark Dunn James Dashner Elisabetta Dami Jennifer Egan Dave Eggers Tan Twan Eng Louise Erdrich Eugene Dubois Diana Evans Percival Everett J. -
Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium
Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium Dissertation Presented in partial fulfillment of the requirement for the Degree Doctor of Philosophy in the Graduate School of Ohio State University Alexandra Mary Jenkins, M.A. Graduate Program in English The Ohio State University 2014 Dissertation Committee: Jared Gardner, Advisor Sean O’Sullivan Robyn Warhol Copyright by Alexandra Mary Jenkins 2014 Abstract Feminist activism in the United States and Europe during the 1960s and 1970s harnessed radical social thought and used innovative expressive forms in order to disrupt the “grand perspective” espoused by men in every field (Adorno 206). Feminist student activists often put their own female bodies on display to disrupt the disembodied “objective” thinking that still seemed to dominate the academy. The philosopher Theodor Adorno responded to one such action, the “bared breasts incident,” carried out by his radical students in Germany in 1969, in an essay, “Marginalia to Theory and Praxis.” In that essay, he defends himself against the students’ claim that he proved his lack of relevance to contemporary students when he failed to respond to the spectacle of their liberated bodies. He acknowledged that the protest movements seemed to offer thoughtful people a way “out of their self-isolation,” but ultimately, to replace philosophy with bodily spectacle would mean to miss the “infinitely progressive aspect of the separation of theory and praxis” (259, 266). Lisa Yun Lee argues that this separation continues to animate contemporary feminist debates, and that it is worth returning to Adorno’s reasoning, if we wish to understand women’s particular modes of theoretical ii insight in conversation with “grand perspectives” on cultural theory in the twenty-first century. -
The Work of Comics Collaborations: Considerations of Multimodal Composition for Writing Scholarship and Pedagogy
Nova Southeastern University NSUWorks CAHSS Faculty Articles Faculty Scholarship Spring 1-2015 The Work of Comics Collaborations: Considerations of Multimodal Composition for Writing Scholarship and Pedagogy Molly J. Scanlon Nova Southeastern University, [email protected] Follow this and additional works at: https://nsuworks.nova.edu/shss_facarticles Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons NSUWorks Citation Scanlon, M. J. (2015). The Work of Comics Collaborations: Considerations of Multimodal Composition for Writing Scholarship and Pedagogy. Composition Studies, 43 (1), 105-130. Retrieved from https://nsuworks.nova.edu/shss_facarticles/517 This Article is brought to you for free and open access by the Faculty Scholarship at NSUWorks. It has been accepted for inclusion in CAHSS Faculty Articles by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Volume 43, Number 1 Volume Spring 2015 composition STUDIES composition studies volume 43 number 1 Composition Studies C/O Parlor Press 3015 Brackenberry Drive Anderson, SC 29621 Rhetoric & Composition PhD Program PROGRAM Pioneering program honoring the rhetorical tradition through scholarly innovation, excellent job placement record, well-endowed library, state-of-the-art New Media Writing Studio, and graduate certificates in new media and women’s studies. TEACHING 1-1 teaching loads, small classes, extensive pedagogy and technology training, and administrative fellowships in writing program administration and new media. FACULTY Nationally recognized teacher-scholars in history of rhetoric, modern rhetoric, women’s rhetoric, digital rhetoric, composition studies, and writing program administration. FUNDING Generous four-year graduate instructorships, competitive stipends, travel support, and several prestigious fellowship opportunities. -
Considering Ethical Questions in (Non)Fiction: Reading and Writing About Graphic Novels
e Interdisciplinary Journal of Popular Culture and Pedagogy Considering Ethical Questions in (Non)Fiction: Reading and Writing about Graphic Novels Gene McQuillan Kingsborough Community College /The City University of New York Brooklyn, NY, USA [email protected] ABSTRACT Teachers often feature graphic novels in college courses, and recent research notes how these texts can help make the process of reading more engaging as well as more complex. Graphic novels help enhance a variety of “literacies”; they offer bold representations of people dealing with trauma or marginalization; they explore how “texts” can be re-invented; they exemplify how verbal and visual texts are often adapted; they are ideal primers for introducing basic concepts of “post-modernism.” However, two recurring textual complications in graphic novels can pose difficulties for students who are writing about ethical questions. First, graphic novels often present crucial scenes by relying heavily on the use of verbal silence (or near silence) while emphasizing visual images; second, the deeper ethical dimensions of such scenes are suggested rather than discussed through narration or dialogue. This article will explain some of the challenges and options for writing about graphic novels and ethics. Keywords: Graphic novels; ethics; literacies; Art Spiegelman; Maus; Alison Bechdel; Fun Home 38 Volume 5, Issue 1 Considering Ethical Questions in (Non)Fiction I am committed to using graphic novels in my English courses. This commitment can be a heavy one- -in my case, it sometimes weighs about 40 pounds. If one stopped by my Introduction to Literature course at Kingsborough Community College (the City University of New York), one could see exactly what I mean. -
Igncc18 Programme
www.internationalgraphicnovelandcomicsconference.com [email protected] #IGNCC18 @TheIGNCC RETRO! TIME, MEMORY, NOSTALGIA THE NINTH INTERNATIONAL GRAPHIC NOVEL AND COMICS CONFERENCE WEDNESDAY 27TH – FRIDAY 29TH JUNE 2018 BOURNEMOUTH UNIVERSITY, UK Retro – a looking to the past – is everywhere in contemporary culture. Cultural critics like Jameson argue that retro and nostalgia are symptoms of postmodernism – that we can pick and choose various items and cultural phenomena from different eras and place them together in a pastiche that means little and decontextualizes their historicity. However, as Bergson argues in Memory and Matter, the senses evoke memories, and popular culture artefacts like comics can bring the past to life in many ways. The smell and feel of old paper can trigger memories just as easily as revisiting an old haunt or hearing a piece of music from one’s youth. As fans and academics we often look to the past to tell us about the present. We may argue about the supposed ‘golden age’ of comics. Our collecting habits may even define our lifestyles and who we are. But nostalgia has its dark side and some regard this continuous looking to the past as a negative emotion in which we aim to restore a lost adolescence. In Mediated Nostalgia, Ryan Lizardi argues that the contemporary media fosters narcissistic nostalgia ‘to develop individualized pasts that are defined by idealized versions of beloved lost media texts’ (2). This argument suggests that fans are media dupes lost in a reverie of nostalgic melancholia; but is belied by the diverse responses of fandom to media texts. Moreover, ‘retro’ can be taken to imply an ironic appropriation. -
Nieuwigheden Anderstalige Strips 2014
NIEUWIGHEDEN ANDERSTALIGE STRIPS 2014 WEEK 2 Engels All New X-Men 1: Yesterday’s X-Men (€ 19,99) (Stuart Immonen & Brian Mickael Bendis / Marvel) All New X-Men / Superior Spider-Men / Indestructible Hulk: The Arms of The Octopus (€ 14,99) (Kris Anka & Mike Costa / Marvel) Avengers A.I.: Human After All (€ 16, 99) (André Araujo & Sam Humphries / Marvel) Batman: Arkham Unhinged (€ 14,99) (David Lopez & Derek Fridols / DC Comics) Batman Detective Comics 2: Scare Tactics (€ 16,99) (Tony S. Daniel / DC Comics) Batman: The Dark Knight 2: Cycle of Violence (€ 14,99) (David Finch & Gregg Hurwitz / DC Comics) Batman: The TV Stories (€ 14,99) (Diverse auteurs / DC Comics) Fantastic Four / Inhumans: Atlantis Rising (€ 39,99) (Diverse auteurs / Marvel) Simpsons Comics: Shake-Up (€ 15,99) (Studio Matt Groening / Bongo Comics) Star Wars Omnibus: Adventures (€ 24,99) (Diverse auteurs / Dark Horse) Star Wars Omnibus: Dark Times (€ 24,99) (Diverse auteurs / Dark Horse) Superior Spider-Men Team-Up: Friendly Fire (€ 17,99) (Diverse auteurs / Marvel) Swamp Thing 1 (€ 19,99) (Roger Peterson & Brian K. Vaughan / Vertigo) The Best of Wonder Wart-Hog (€ 29,95) (Gilbert Shelton / Knockabout) West Coast Avengers: Sins of the Past (€ 29,99) (Al Milgrom & Steve Englehart / Marvel) Manga – Engelstalig: Naruto 64 (€ 9,99) (Masashi Kishimoto / Viz) Naruto: Three-in-One 7 (€ 14,99) (Masashi Kishimoto / Viz) Marvel Omnibussen in aanbieding !!! Avengers: West Coast Avengers vol. 1 $ 99,99 NU: 49,99 Euro !!! Marvel Now ! $ 99,99 NU: 49,99 Euro !!! Punisher by Rick Remender $ 99,99 NU: 49,99 Euro !!! The Avengers vol. 1 $ 99,99 NU: 49,99 Euro !!! Ultimate Spider-Man: Death of Spider-Man $ 75 NU: 39,99 Euro !!! Untold Tales of Spider-Man $ 99,99 NU: 49,99 Euro !!! X-Force vol. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
Spring Quarter 2014 VLPA Courses Class Times, Locations, Fees, And
Spring Quarter 2014 VLPA courses Class times, locations, fees, and course descriptions may change. Please check the time schedule for updates before enrolling in any course. For more VLPA courses, see the Time Schedule search page at: http://www.washington.edu/students/timeschd/genedinq.html. African-American Studies http://www.washington.edu/students/timeschd/SPR2014/afamst.html AFRAM 337 - Music and Social Change in the Sixties Era (5 credits) MW 1:30-3:20 Instructor: Sonnet Retman Introduction of popular music and social change in 1950s and 1960s. How this interaction effects significant change. Considers political activism for civil rights and against the Vietnam War as they intersect with the development of rock and roll, R&B, acoustic and political folk music, and post-bebop jazz. For this quarter's offering, the course title is "Hip Hop and Indie Rock." Are you a fan of hip hop, punk, son jarocho, and/or indie rock? Do you make music? Are you interested in how music scenes get documented? Do you wonder why women are left out of music stories? Would you like explore archives and local music communities? Would you like to connect with the EMP Pop Music and Women Who Rock conferences? If "yes" is your answer to any of these questions, sign up for this introduction to pop music studies. The course examines how archives, oral histories, and new media transform music stories. It traces the influence of genres such as blues, gospel, estilo bravío, punk, son jarocho, and disco on hip hop and indie rock in order to contextualize their relation to race/ethnicity, gender, class, locality, and nation. -
Download the Beats: a Graphic History Free Ebook
THE BEATS: A GRAPHIC HISTORY DOWNLOAD FREE BOOK Harvey Pekar, Director of the Oral History of the American Left at Taminent Library Paul Buhle, Ed Piskor | 199 pages | 13 Apr 2010 | Hill & Wang | 9780809016495 | English | United States Beats a Graphic History I simply have decided, after years of study, that with the exception of Allen Ginsberg and Gary Snyder, the Beats were a vile lot of slumming degenerates. Really, they were a bunch of loathsome characters--scumbags--misogynist jerks. More than other writers, it's difficult to separate their own lives from their writing. The Beats also provides portraits of lesser-famed artists and writers of the movement. For myself Ginsburg has increased in esteem. Mary Fleener Illustrator. Tuli Kupferberg. Then it swithces gears and gets into the lesser The Beats: A Graphic History beats, the SF scene and the City Lights Bookstore. The last of these pieces, "Tuli Kupferberg" is reader-unfriendly by the busyness of its text and images. The beats' treatment of women was sociopathic: Burroughs played with his wife's life and she lost ; Kerouac denied his daughter despite a DNA match. One-second wisdom of statuses and tweets, scraping for the minuscule of drama, one and then to the next. Original Title. Your request to send The Beats: A Graphic History item has been completed. Please enter recipient e-mail address es. From the Benzedrine-fueled antics of Kerouac, Ginsberg, and Burroughs to the painting sessions of Jay DeFeo's dishevelled studio, from The Beats: A Graphic History jazz hipsters to beatnik chicks, from Chicago's beatnik bistro to San Francisco's famed City Lights bookstore, this book presents the storied era in its various incarnations. -
Graphic History
Graphic History Graphic History: Essays on Graphic Novels And/As History Edited by Richard Iadonisi Graphic History: Essays on Graphic Novels And/As History, Edited by Richard Iadonisi This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Richard Iadonisi and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4075-0, ISBN (13): 978-1-4438-4075-0 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Introduction ................................................................................................. 1 Chapter One................................................................................................. 6 Of Mice and Men: Collaboration, Post-Memory, and Working through in Art Spiegelman’s Maus: A Survivor’s Tale Janice Morris, Simon Fraser University Chapter Two.............................................................................................. 37 Twin Turns: Art Spiegelman’s In the Shadow of No Towers and History Laura Beadling, University of Wisconsin, Platteville Chapter Three........................................................................................... -
V Isu Al Narrative
MFA Visual Narrative who know how to navigate today’s competitive creative markets. Part of the extraordinary appeal of the program Where is that it is low-residency. Three intensive eight- week summer semesters at SVA in New York City give you the chance to connect with your peers and professors, to create in-studio and to absorb Artist the Visual Narrative process. Additionally, you are able to access the myriad of creative oppor- tunities in the city and to build a community of colleagues and mentors that supports and Meets inspires. Four semesters of online coursework, critiques, discussions and interactive projects give you the freedom to pursue your passion and live your life—without uprooting it. Author In today’s workplace, culture and creative When words and images come together, they landscape , fresh content, fearless voices and can create powerful visual narratives—stories great stories are needed more than ever. At that can touch hearts, ignite imaginations, MFA Visual Narrative, you’ll develop a fluency change minds and even change the way we in “Visual Writing.” We think of it as a whole see our world—Story First. new language and approach to visual storytelling The Visual Narrative MFA at SVA responds to that can take your narrative voice to the next the needs of today’s evolving creative markets by level, giving you the competitive edge in today’s merging the artist and author. It’s an evolutionary creative economy. If you’re ready to dig deep, process that puts story first and gives you the uncover universal truths and live and breathe tools you need to craft your own stories and to story, come join us. -
Midamerica XXXIV 2007
MidAmerica XXXIV The Yearbook of the Society for the Study of Midwestern Literature DAVID D. ANDERSON, FOUNDING EDITOR MARCIA NOE, EDITOR The Midwestern Press The Center for the Study of Midwestern Literature and Culture Michigan State University East Lansing, Michigan 48824-1033 2007 j In Honor of David Diamond Copyright 2007 by the Society for the Study of Midwestern Literature All rights reserved Printed in the United States of America No part of this work may be reproduced without pennission of the publisher MidAmerica (ISSN: 0190-2911) is a peer-reviewed journal of the Society for the Study of Midwestern Literature. This journal is a member of the Council of Editors of Learned Journals CONTENTS Preface PREFACE Tree of Heaven The Gwendolyn Brooks Prize Poem Todd Davis 7 On May 10, 2007, members of the Society for the Study of At the Foot of Mt. Etna The Paul Somers Prize Story Maria Frances Bruno 9 Midwestern Literature gathered in East Lansing for the thirty-sev enth annual meeting of the Society, Highlights included several spe Murder in Rustbelt City: A Return to Lorain, Ohio cial panels on creative nonfiction, the third annual SSML Festival of The David Diamond Student Writing Prize Nick Kowalczyk 18 Films, and an open mike session where participants shared their cre Native on Native: Place in the Letters of Leslie ative writing. Marmon Silko & James Wright At the awards banquet on Friday night, James Seaton received the The Jill Barnum Midwest Heritage Prize Essay Christian P. Knoeller 34 Jill Barnum Midwestern Heritage Prize