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JACK KIRBY COLLECTOR THIRTY-NINE $9 95 IN THE US . c n I , s r e t c a r a h C l e v r a M 3 0 0 2 © & M T t l o B k c a l B FAN FAVORITES! THE NEW COPYRIGHTS: Angry Charlie, Batman, Ben Boxer, Big Barda, Darkseid, Dr. Fate, Green Lantern, RETROSPECTIVE . .68 Guardian, Joker, Justice League of America, Kalibak, Kamandi, Lightray, Losers, Manhunter, (the real Silver Surfer—Jack’s, that is) New Gods, Newsboy Legion, OMAC, Orion, Super Powers, Superman, True Divorce, Wonder Woman COLLECTOR COMMENTS . .78 TM & ©2003 DC Comics • 2001 characters, (some very artful letters on #37-38) Ardina, Blastaar, Bucky, Captain America, Dr. Doom, Fantastic Four (Mr. Fantastic, Human #39, FALL 2003 Collector PARTING SHOT . .80 Torch, Thing, Invisible Girl), Frightful Four (Medusa, Wizard, Sandman, Trapster), Galactus, (we’ve got a Thing for you) Gargoyle, hercules, Hulk, Ikaris, Inhumans (Black OPENING SHOT . .2 KIRBY OBSCURA . .21 Bolt, Crystal, Lockjaw, Gorgon, Medusa, Karnak, C Front cover inks: MIKE ALLRED (where the editor lists his favorite things) (Barry Forshaw has more rare Kirby stuff) Triton, Maximus), Iron Man, Leader, Loki, Machine Front cover colors: LAURA ALLRED Man, Nick Fury, Rawhide Kid, Rick Jones, o Sentinels, Sgt. Fury, Shalla Bal, Silver Surfer, Sub- UNDER THE COVERS . .3 GALLERY (GUEST EDITED!) . .22 Back cover inks: P. CRAIG RUSSELL Mariner, Thor, Two-Gun Kid, Tyrannus, Watcher, (Jerry Boyd asks nearly everyone what (congrats Chris Beneke!) Back cover colors: TOM ZIUKO Wyatt Wingfoot, X-Men (Angel, Cyclops, Beast, n their fave Kirby cover is) Iceman, Marvel Girl) TM & ©2003 Marvel Photocopies of Jack’s uninked pencils from Characters, Inc. -
DCDC Strategic Trends Programme: Future Operating
Strategic Trends Programme Future Operating Environment 2035 © Crown Copyright 08/15 Published by the Ministry of Defence UK The material in this publication is certified as an FSC mixed resourced product, fully recyclable and biodegradable. First Edition 9027 MOD FOE Cover B5 v4_0.indd 1-3 07/08/2015 09:17 Strategic Trends Programme Future Operating Environment 2035 First Edition 20150731-FOE_35_Final_v29-VH.indd 1 10/08/2015 13:28:02 ii Future Operating Environment 2035 20150731-FOE_35_Final_v29-VH.indd 2 10/08/2015 13:28:03 Conditions of release The Future Operating Environment 2035 comprises one element of the Strategic Trends Programme, and is positioned alongside Global Strategic Trends – Out to 2045 (Fifth Edition), to provide a comprehensive picture of the future. This has been derived through evidence-based research and analysis headed by the Development, Concepts and Doctrine Centre, a department within the UK’s Ministry of Defence (MOD). This publication is the first edition of Future Operating Environment 2035 and is benchmarked at 30 November 2014. Any developments taking place after this date have not been considered. The findings and deductions contained in this publication do not represent the official policy of Her Majesty’s Government or that of UK MOD. It does, however, represent the view of the Development, Concepts and Doctrine Centre. This information is Crown copyright. The intellectual property rights for this publication belong exclusively to the MOD. Unless you get the sponsor’s authorisation, you should not reproduce, store in a retrieval system or transmit its information in any form outside the MOD. -
~'7/P64~J Adviser Department of S Vie Languages and Literatures @ Copyright By
FREEDOM AND THE DON JUAN TRADITION IN SELECTED NARRATIVE POETIC WORKS AND THE STONE GUEST OF ALEXANDER PUSHKIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By James Goodman Connell, Jr., B.S., M.A., M.A. The Ohio State University 1973 Approved by ,r-~ ~'7/P64~j Adviser Department of S vie Languages and Literatures @ Copyright by James Goodman Connell, Jr. 1973 To my wife~ Julia Twomey Connell, in loving appreciation ii VITA September 21, 1939 Born - Adel, Georgia 1961 .•..••. B.S., United States Naval Academy, Annapolis, Maryland 1961-1965 Commissioned service, U.S. Navy 1965-1967 NDEA Title IV Fellow in Comparative Literature, The University of Georgia, Athens, Georgia 1967 ••••.•. M.A. (Comparative Literature), The University of Georgia, Athens, Georgia 1967-1970 NDFL Title VI Fellow in Russian, The Ohio State University, Columbus, Ohio 1969 •.•••.• M.A. (Slavic Languages and Literatures), The Ohio State University, Columbus, Ohio 1970 .•...•. Assistant Tour Leader, The Ohio State University Russian Language Study Tour to the Soviet Union 1970-1971 Teaching Associate, The Ohio State University, Columbus, Ohio 1971-1973 Assistant Professor of Modern Foreign Languages, Valdosta State College, Valdosta, Georgia FIELDS OF STUDY Major field: Russian Literature Studies in Old Russian Literature. Professor Mateja Matejic Studies in Eighteenth Century Russian Literature. Professor Frank R. Silbajoris Studies in Nineteenth Century Russian Literature. Professors Frank R. Silbajoris and Jerzy R. Krzyzanowski Studies in Twentieth Century Russian Literature and Soviet Literature. Professor Hongor Oulanoff Minor field: Polish Literature Studies in Polish Language and Literature. -
Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV
Vanderbilt Journal of Entertainment & Technology Law Volume 16 Issue 4 Issue 4 - Summer 2014 Article 5 2014 Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV Jacob Marshall Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Communications Law Commons, and the Internet Law Commons Recommended Citation Jacob Marshall, Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV, 16 Vanderbilt Journal of Entertainment and Technology Law 909 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol16/iss4/5 This Note is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Trading Rabbit Ears for Wi-Fi: Aereo, the Public Performance Right, and How Broadcasters Want to Control the Business of Internet TV ABSTRACT Aereo, a start-up company that allows consumers to stream free, over-the-air broadcasts to their phones and computers, seems rather innocuous. Yet the major broadcasting networks have attempted to shut Aereo down since its inception, claiming that Aereo infringes on their copyright. Aereo claims that its unique technology-where each user is assigned their own, individual antenna-ensures that Aereo does not infringe on the broadcasters'publicperformance rights. The United States Supreme Court has granted certiorarion the matter. -
Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created. -
142 APPENDIX 1: American and Australian Comics (Historical And
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au APPENDIX 1: American and Australian Comics (historical and process examples). All images and characters © Their respective copyright holders, and included as examples of concepts and ideas discussed within the body of thesis. For educational purposes only. Figure 1.01: The original comic page depiction of The Batman (circa 1940) by Bill Finger and Bob Kane. 142 Figure 1.02: One of the earliest pages from Superman (circa 1938) by Jerry Siegel and Joe Shuster. 143 Figure 1.03: Simon & Kirby’s Captain America (#3, May 1941). Note the dynamic figures that “explode” out of the panels. 144 1.04 Figure 1.04 & 1.05: Steve Ditko and Stan Lee’s The Amazing Spider-man (circa 1.05 1962-63). The 1960s Marvel Comics era ushered in a new take on the superhero: “Heroes with feet of clay”. 145 1.06 1.07 1.08 1.09146 1.11 1.10 1.12 1.13 147 1.14 1.15 Figures 1.06 – 1.16: Examples of Australian Action /Superhero comics over the years, including (but not limited to): 1.06: Captain Atom (circa 1948) 1.07: Phantom Commando (circa 1959) 1.08: Cyclone! Comics (Superhero anthology book circa 1985) 1.09: The Southern Squadron (circa 1987) 1.10: Captain Atom and Ghost Rider (circa 1947) 1.11: The Panther (circa 1958) 1.12: The Crimson Comet (circa 1953) 1.13: Captain Justice (circa 1955) 1.14: Silver Starr (circa 1949) 1.15: The Lone Avenger (circa 1949) 1.16: Phantom Commando (circa 1960) 1.16 148 Figure 1.17: Iron Outlaw – a parody Australian Superhero newspaper strip by Graeme Rutherford and Gregor MacAlpine (1971). -
The JACK KIRBY COLLECTOR #69
1 82658 00098 1 The JACK KIRBY COLLECTOR FALL 2016 FALL $10.95 #69 All characters TM & © Simon & Kirby Estates. THE Contents PARTNERS! OPENING SHOT . .2 (watch the company you keep) FOUNDATIONS . .3 (Mr. Scarlet, frankly) ISSUE #69, FALL 2016 C o l l e c t o r START-UPS . .10 (who was Jack’s first partner?) 2016 EISNER AWARDS NOMINEE: BEST COMICS-RELATED PERIODICAL PROSPEAK . .12 (Steve Sherman, Mike Royer, Joe Sinnott, & Lisa Kirby discuss Jack) KIRBY KINETICS . .18 (Kirby + Wood = Evolution) FANSPEAK . .22 (a select group of Kirby fans parse the Marvel settlement) JACK KIRBY MUSEUM PAGE . .29 (visit & join www.kirbymuseum.org) KIRBY OBSCURA . .30 (Kirby sees all!) CLASSICS . .32 (a Timely pair of editors are interviewed) RE-PAIRINGS . .36 (Marvel-ous cover recreations) GALLERY . .39 (some Kirby odd couplings) INPRINT . .49 (packaging Jack) INNERVIEW . .52 (Jack & Roz—partners for life) INCIDENTAL ICONOGRAPHY . .60 (Sandman & Sandy revamped) OPTIKS . .62 (Jack in 3-D Land) SCULPTED . .72 (the Glenn Kolleda incident) JACK F.A.Q.s . .74 (Mark Evanier moderates the 2016 Comic-Con Tribute Panel, with Kevin Eastman, Ray Wyman Jr., Scott Dunbier, and Paul Levine) COLLECTOR COMMENTS . .92 (as a former jazz bass player, the editor of this mag was blown away by the Sonny Rollins letter...) PARTING SHOT . .94 (never trust a dwarf with a cannon) Cover inks: JOE SINNOTT from Kirby Unleashed Cover color: TOM ZIUKO If you’re viewing a Digital Edition of this publication, PLEASE READ THIS: This is copyrighted material, NOT intended Direct from Roz Kirby’s sketchbook, here’s a team of partners that holds a for downloading anywhere except our website or Apps. -
Leibniz on Contingency and Freedom: a Molinism Friendly Account
Leibniz on Contingency and Freedom: A Molinism Friendly Account Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Juan Garcia, MA Graduate Program in Philosophy The Ohio State University 2018 Dissertation Committee: Tamar Rudavsky, Advisor Julia Jorati, Advisor Lisa Downing William Taschek © 2018 by Juan Garcia All rights reserved. Abstract: Some philosophical ideas, like metals, reveal their most interesting qualities when stretched. As I see it, the intelligibility and plausibility of the concept of contingency, as a condition for freedom, is stretched significantly by three of Leibniz’s major philosophical commitments: i) a robust version of the principle of sufficient reason; ii) strong theological commitments like divine foreknowledge and robust providence; and iii) Leibniz’s distinctive thesis of complete individual concepts – the doctrine that every substance has an individual concept which includes predicates denoting everything that will ever happen to it. Many interpreters think that these Leibnizian commitments stretch contingency to the breaking point: Leibniz cannot retain a genuine type of contingency. In this dissertation, I argue that these interpreters are mistaken and that Leibniz can accommodate a plausible type of contingency. Two important steps in reaching this conclusion are the following. First, I identify a kind of explanation of rational action according to which the explanans does not necessitate the explanandum. Second, I develop an account that makes sense of individual concepts including contingent truths as contingent. This account both sheds new light on some of Leibniz’s central views on contingency and freedom, and expands our substantive understanding of contingency as a condition for freedom. -
The Spectator and Dialogues of Power in Early Soviet Theater By
Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater By Howard Douglas Allen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Victoria E. Bonnell, Chair Professor Ann Swidler Professor Yuri Slezkine Fall 2013 Abstract Directed Culture: The Spectator and Dialogues of Power in Early Soviet Theater by Howard Douglas Allen Doctor of Philosophy in Sociology University of California, Berkeley Professor Victoria E. Bonnell, Chair The theater played an essential role in the making of the Soviet system. Its sociological interest not only lies in how it reflected contemporary society and politics: the theater was an integral part of society and politics. As a preeminent institution in the social and cultural life of Moscow, the theater was central to transforming public consciousness from the time of 1905 Revolution. The analysis of a selected set of theatrical premieres from the Bolshevik Revolution in 1917 to the end of Cultural Revolution in 1932 examines the values, beliefs, and attitudes that defined Soviet culture and the revolutionary ethos. The stage contributed to creating, reproducing, and transforming the institutions of Soviet power by bearing on contemporary experience. The power of the dramatic theater issued from artistic conventions, the emotional impact of theatrical productions, and the extensive intertextuality between theatrical performances, the press, propaganda, politics, and social life. Reception studies of the theatrical premieres address the complex issue of the spectator’s experience of meaning—and his role in the construction of meaning. -
Stuntman the Black Hole Lord of Light the Prisoner Animation Unfilmed Ideas New Gods Vs. Star Wars Unpublished
Fully Authorized $4.95 By The In The US Kirby Estate CELEBRATING THE LIFE & CAREER OF THE KING! Issue #11, July 1996 44-page ISSUE Spotlighting Kirby In Hollywood! Simon & Kirby’s Hollywood Hero Stuntman How Deep Is it? The Black Hole WHy the Lord Of Light Never Saw The Light Of Day unlocking Jack’s Adaptation of The Prisoner From Thundarr to Scooby-Doo: Jack’s career in Animation Unfilmed Ideas Will Jack’s Movie Ideas ever get made? May the So urce Be With You: New Gods vs. Star Wars Unpublished Art including Jack’s Pencils Before They Were Inked, And Much More!! 1996 Eisner Awards Nominee For Best Comics-Related Publication Stuntman © Joe Simon and Jack Kirby Lights! Camera! Punch ’em! The Silver Screen Saga of Stuntman, by R.J. Vitone tuntman , “The New Champ of Split-Second Action,” occupies a S&K took the movie motif to heart. The plot is classic “who - unique but very obscure corner in the Kirby closet. Hitting the dunit,” with plenty of humor, romance, and menace thrown in. Jack SSstands during a post-WW II comics glut, the title scarcely had used the circus as a visually colorful background for the events of the time to find an audience before it was cancelled. And since its publisher story, and the manic motion fills in the rest. only sporadically re-entered the super-hero market, the strip last saw Kirby’s art for the series is inspired. This was one of his “transi - print in mainstream comics in 1955, long before most collectors tional” periods, and his figure work reached new heights of stretched would have noticed it. -
Friend Or Foe?
Who Goes There: Friend or Foe? June 1993 OTA-ISC-537 NTIS order #PB93-218915 GPO stock #052-003-01328-2 -— Recommended Citation: U.S. Congress, Office of lkchnology Assessment, Who Goes There: Friend or Foe?, OTA-ISC-537 (Washington, DC: U.S. Government Printing Office, June 1993). Foreword he recent Persian Gulf War focused attention on the problem of fratricide, or “friendly fire” casualties among combat units. Twenty-four percent of U.S. combat fatalities in that conflict were due to friendly fire. The House Armed T Services Committee requested that OTA assess the technology and techniques available to reduce this tragic loss of life. Although friendly fire has often been dismissed in the military literature as an insignificant contributor to overall combat losses, in those few historical cases for which good data are available, estimated friendly fire losses have accounted for at least 10 percent of total losses. Friendly fire has been an important-and under-appreciated-source of combat deaths. Combat is confusing, complex, and deadly. Friendly fire casualties can probably never be eliminated, but several measures can reduce them. Application of new and existing technology can make identification of friendly forces on the battlefield more reliable; improved communication can reduce confusion on the battlefield; and better training can help military personnel make crucial, rapid decisions under the extreme stress of combat. Congress faces several decisions related to reducing friendly fire. These include: the choice of best technical approaches to pursue; the allocation of resources between systems that are devoted exclusively to reducing friendly fire and other systems—for example, better navigation and communication devices--that may reduce friendly fire in indirect and less visible ways; the best mix of near-term deployments and longer term research and development; and the need for cooperation and coordination among the military Services and with allies. -
Authorized Abbreviations, Brevity Codes, and Acronyms
Army Regulation 310–50 Military Publications Authorized Abbreviations, Brevity Codes, and Acronyms Headquarters Department of the Army Washington, DC 15 November 1985 Unclassified USAPA EPS - * FORMAL * TF 2.45 05-21-98 07:23:12 PN 1 FILE: r130.fil SUMMARY of CHANGE AR 310–50 Authorized Abbreviations, Brevity Codes, and Acronyms This revision-- o Contains new and revised abbreviations, brevity codes , and acronyms. o Incorporates chapter 4, sections I and II of the previous regulation into chapters 2 and 3. o Redesignates chapter 5 of the previous regulation as chapter 4. USAPA EPS - * FORMAL * TF 2.45 05-21-98 07:23:13 PN 2 FILE: r130.fil Headquarters Army Regulation 310–50 Department of the Army Washington, DC 15 November 1985 Effective 15 November 1985 Military Publications Authorized Abbreviations, Brevity Codes, and Acronyms has been made to highlight changes from the a p p r o v a l f r o m H Q D A ( D A A G – A M S – P ) , earlier regulation dated 15February 1984. ALEX, VA 22331–0301. Summary. This regulation governs Depart- m e n t o f t h e A r m y a b b r e v i a t i o n s , b r e v i t y Interim changes. Interim changes to this codes, and acronyms. regulation are not official unless they are au- thenticated by The Adjutant General. Users Applicability. This regulation applies to el- will destroy interim changes on their expira- ements of the Active Army, Army National Guard, and U.S.