Posters & POD Catalog Part 2
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'"There's More Than One of Everything": Navigating Fringe's Cofactual Multiverse'
. Volume 13, Issue 1 May 2016 ‘There’s More Than One of Everything’: Navigating Fringe’s cofactual multiverse Casey J. McCormick, McGill University, Montréal, Canada Abstract: This article analyzes how viewers of Fringe (FOX 2008-2013) make sense of the series’ complex science fictional storyworld. It argues that Fringe presents multiple iterations of worlds and characters in a way that encourages ‘cofactual’ interpretation: rather than figuring parallel universes and alternate timelines as ontologically hierarchical, the narrative accommodates all versions of reality and invites viewers to participate in shaping the multiverse. The article offers a close reading of Fringe’s complex narrative structure alongside an exploration of how audiences responded to and impacted the series through fannish practices such as vidding and narrative mapping. It concludes that cofactual narration opens up an array of participatory practices that blur the text/paratext distinction and facilitate interactive storyworld building. Keywords: Complex TV, Fandom, Narrative, Paratexts, Counterfactual, Cofactual, Possible Worlds Cofactual Interpretation By the time viewers reach the series finale of Fringe (FOX 2008-2013), they have travelled across two spatially-distinct universes, three versions of the future, and at least four different timelines, with each world-iteration populated by different versions of the show’s central characters. Through its reinvigoration of science fiction tropes, such as time travel, alternate realities, and temporal resets, Fringe asks viewers to re-evaluate typical models of narrative world-building. The series constructs a multiverse comprised of what I deem cofactual diegetic worlds. I use the term ‘cofactual’ in contradistinction to the more common narrative term ‘counterfactual’ as a means of emphasizing the plurality and simultaneity of diegetic worlds in Fringe. -
Fringe: Septembers Notebook Free
FREE FRINGE: SEPTEMBERS NOTEBOOK PDF Tara Bennett,Terry Paul,Jeff Pinkner | 192 pages | 15 Mar 2013 | Titan Books Ltd | 9781781166093 | English | London, United Kingdom Fringe: September's Notebook Fringe wrapped its five-year foray into the far-out realms of science and dangerous dimensions of the human heart back in January. But today, exec producer J. Except for those years Fringe: Septembers Notebook he was Hairy Donald. Another time. Or read the book! EW recently spoke with Bennett and Fringe: Septembers Notebook about getting the chance playing in the world of the show, what it was like to be behind the scenes during the last season, and the discoveries that delighted and surprised them the most. Jeff and Joel said yes. We started working on it in earnest by November We basically fell over. Fringe: Septembers Notebook plug that sucker in and it was full of completely mind-blowing material, as far as the quality and the exclusivity of it. But the sheer amount was just staggering! So we had to excavate that drive completely. This is the opportunity to show it off! You want to do what?! For the rest of season 4 into season 5 and all the way up until Novemberwhich is when we Fringe: Septembers Notebook the book, they were still sending me material. When I was in Vancouver they took me to the prop warehouse. I was a kid in a candy store of Fringe stuff. Holding the Martin Luther King money is in my hand, looking at all of the individual images that young Olivia had created when she was doing the Cortexiphan trials with Walter as a kid—. -
Hauser Thesis
UC Riverside UC Riverside Electronic Theses and Dissertations Title No Comma, Period, Rage Permalink https://escholarship.org/uc/item/2tz236m4 Author Hauser, Aaron Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE No Comma, Period, Rage A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Fine Arts in Creative Writing and Writing for the Performing Arts by Aaron Hauser December 2013 Thesis Committee: Professor Mary Otis, Co-Chairperson Professor Andrew Winer, Co-Chairperson Professor Robert Roberge Copyright by Aaron Hauser 2013 The Thesis of Aaron Hauser is approved: ___________________________________________ ___________________________________________ Committee Co-Chairperson ___________________________________________ Committee Co-Chairperson University of California, Riverside This manuscript is dedicated to my mother. Without her love and constant support none of this would have been possible. iv Table of Contents 1978......................................................................................................................... 1 Inflation ................................................................................................................. 24 No Comma, Period, Rage ..................................................................................... 42 The Reasons We Keep Them That Way .............................................................. -
“It's Like Groundhog Day”: Remediation
GRAAT On-Line issue #15 April 2014 “It’s like Groundhog Day”: Remediation, Trauma, and Quantum Physics in Time Loop Narratives on Recent American Television Michael Fuchs Independent scholar In his widely cited article “Narrative Complexity in Contemporary American Television,” Jason Mittell maintains that as a result of numerous contextual factors, including technological progress and the accompanying increased media savvy of recipients, “American television of the past twenty years will be remembered as an era of narrative experimentation and innovation, challenging the norms of what the medium can do.”1 These narrative experiments frequently center on questions of temporality, for numerous contemporary “shows play with time, slowing it down to unfold the narrative at rarely before seen rates […] and disrupting the chronological flow itself.”2 This focus on time may, however, come as a bit of a surprise in our present cultural moment. After all, analyses of (post-)postmodern culture tend to overemphasize the prioritization of spatiality over temporality while disregarding the fact that time and space are not so much conceptual opposites than intertwined categories, as scientists starting with Hermann Minkowski3 and cultural critics such as Mikhail M. Bakhtin (in his concept of the “chronotope”4) and David Harvey (the “time-space compression” characteristic of postmodernity5) have repeatedly underlined. Despite the unquestioned interconnections between time and space, it should be stressed that even though “time is one of the most fundamental parameters through which narrative […] is organized and understood,”6 it is 93 especially central for television storytelling, which is why Mary Anne Doane has even claimed that “[t]he major category of television is time.”7 Whereas Doane’s claim is grounded in her argument that repetition is central to television, no matter whether fictional or factual, Jason Mittell has more recently stressed that contemporary fictional television programs are characterized by seriality—a feature primarily conceived in temporal ways. -
TV Finales and the Meaning of Endings Casey J. Mccormick
TV Finales and the Meaning of Endings Casey J. McCormick Department of English McGill University, Montréal A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Casey J. McCormick Table of Contents Abstract ………………………………………………………………………….…………. iii Résumé …………………………………………………………………..………..………… v Acknowledgements ………………………………………………………….……...…. vii Chapter One: Introducing Finales ………………………………………….……... 1 Chapter Two: Anticipating Closure in the Planned Finale ……….……… 36 Chapter Three: Binge-Viewing and Netflix Poetics …………………….….. 72 Chapter Four: Resisting Finality through Active Fandom ……………... 116 Chapter Five: Many Worlds, Many Endings ……………………….………… 152 Epilogue: The Dying Leader and the Harbinger of Death ……...………. 195 Bibliography ……………………………………………………………………………... 199 Primary Media Sources ………………………………………………………………. 211 iii Abstract What do we want to feel when we reach the end of a television series? Whether we spend years of our lives tuning in every week, or a few days bingeing through a storyworld, TV finales act as sites of negotiation between the forces of media production and consumption. By tracing a history of finales from the first Golden Age of American television to our contemporary era of complex TV, my project provides the first book- length study of TV finales as a distinct category of narrative media. This dissertation uses finales to understand how tensions between the emotional and economic imperatives of participatory culture complicate our experiences of television. The opening chapter contextualizes TV finales in relation to existing ideas about narrative closure, examines historically significant finales, and describes the ways that TV endings create meaning in popular culture. Chapter two looks at how narrative anticipation motivates audiences to engage communally in paratextual spaces and share processes of closure. -
The CHARIOTEER an Annual Review of Modern Greek Culture
The CHARIOTEER An Annual Review of Modern Greek Culture NUMBERS 33/34 1991-1992 SPECIAL DOUBLE ISSUE NIKIFOROS VRETT AKOS , C. Capri-Karka and R. M. Newton Y UNDER THE ACROPOLIS Tral'M:l~tterl by C. Capri-Karka and I. Karka CHORUS Translated by M. Chambers SELECTIONS FROM: COLLECTED POEMS VOL. 1 \ COLLECTED POEMS VOL. 2 PROTEST SUN LAMP GIFT IN ABEYANCE ENCOUNTER WITH THE SEA Tunslated by A. Michopoulos, G. Pilit9is, D. Connolly R. M. Newton, M. Chambers, I. Karka and M. Polis INTERVIEWS WITH NIKIFOROS VRETTAKOS Translated by A. Michopoulos and M. C. Pantelia A SELECTION OF CRITICAL ESSAYS by A. Argyriou, S. Geranis, K. Haralambides T. Patrikios and Vinzenzo Rotolo T<ranslated by M. C. Pantelia, R. M. Newton A. Michopoulos and C. Capri-Karka $15.00 THE CHARIOTEER AN ANNUAL REVIEW OF MODERN GREEK CULTURE Formerly published by P ARNASSOS Greek Cultural Society of New York NUMBERS 33/34 1991-1992 Publisher: LEANDROS PAPATHANASIOU Editor: c. CAPRI-KARKA Managing Editor: SOPHIA A. PAPPAS THE CHARIOTEER is published by PELLA PUBLISHING COMPANY, INC. Editorial and subscription address: Pella Publishing Company, 337 West 36th Street, New York, NY 10018. One year subscription $15; Two-year subscription $28; Three-year subscription $40. Copyright 1992 by Pella Publishing Company, Inc. All rights reserved. Printed in U.S.A. by Athens Printing Co., 337 West 36th Street, New York, NY 10018-6401-The CHARIOTEER solicits essays on and English translations from works of modern Greek writers. Translations should be accompanied by a copy of the original Greek text. Manuscripts will not be returned unless accompanied by a stamped self-addressed envelope. -
Southern Garden History Plant Lists
Southern Plant Lists Southern Garden History Society A Joint Project With The Colonial Williamsburg Foundation September 2000 1 INTRODUCTION Plants are the major component of any garden, and it is paramount to understanding the history of gardens and gardening to know the history of plants. For those interested in the garden history of the American south, the provenance of plants in our gardens is a continuing challenge. A number of years ago the Southern Garden History Society set out to create a ‘southern plant list’ featuring the dates of introduction of plants into horticulture in the South. This proved to be a daunting task, as the date of introduction of a plant into gardens along the eastern seaboard of the Middle Atlantic States was different than the date of introduction along the Gulf Coast, or the Southern Highlands. To complicate maters, a plant native to the Mississippi River valley might be brought in to a New Orleans gardens many years before it found its way into a Virginia garden. A more logical project seemed to be to assemble a broad array plant lists, with lists from each geographic region and across the spectrum of time. The project’s purpose is to bring together in one place a base of information, a data base, if you will, that will allow those interested in old gardens to determine the plants available and popular in the different regions at certain times. This manual is the fruition of a joint undertaking between the Southern Garden History Society and the Colonial Williamsburg Foundation. In choosing lists to be included, I have been rather ruthless in expecting that the lists be specific to a place and a time. -
Colour in My Garden Plate No
»^ LOUISE BEEBE WILDER Class _SjB_15^ Rnnk V^^. .., COFaUGHT DEPOSIE \ THIS EDITION IS LIMITED TO 1500 NUMBERED COPIES OF WHICH THIS IS NO. ^c^ COLOUR IN MY GARDEN PLATE NO. I FRONTISPIECE SEE PLATE NO- I5 opposite end of the rwiHERE is a gate at the J garden and one on each side, but this that we reach hallwaij through the Garden House Nursery and bu pleasant stages through the commonly used. Herb Garden is the one most House porch The fine Rose on the Garden is the Lion Rambler. will A description of th^ large bed opposite 10th). be found in Plate No. 16 {July THE WAY INTO THE GARDEN JULY 2 I ST COLOUR I N MY GARDEN BY LOUISE BEEBE WILDER AUTHOR OF "MY GARDEN" COLOUR IS THE MOST SACRED ELEMENT OF ALL THINGS. — RUSKIN ILLUSTRATED IN COLOUR BY ANNA WINEGAR GARDEN CITY NEW YORK DOUBLEDAY, PAGE & COMPANY 1918 Copyright, igi8, by DOUBLEDAY, PaGE & COMPANY /4ll rights reserved, including that of translation into foreign languages, including the Scandinavian OCT -R 1918 >CiJ.50y641 Horticulture is, next to music, the most sensitive of the fine arts. Properly allied to Architecture, garden-making is as near as a man may get to the Divine functions. —Maurice Hewlett. FOREWORD FOREWORD The quality of charm in colour is like the human attribute known as fascination, "whereof," says old Cotton Mather, "men have more experience than comprehension." —Alice Morse Earl. In his garden every man may be his own artist without apology or explanation. Here is one spot where each may experience the "romance of possibihty," may give free rein to his fancy, and gather his living materials into composi- tions as gay, as splendid, or as wan as his individual enjoy- ment of colour dictates. -
Season 4 Transcript Bundle
301 - PROLOGUE Liberty Island - Brainwash Session DOCTOR ANDERSON: Agent Dunham, I'm trying to help you get your life back so that you can go home, back to your life, your job, your family. OLIVIA: This is not my home. DOCTOR ANDERSON: Because you come from another universe? OLIVIA: Yes. DOCTOR ANDERSON: Olivia... What is happening to you, given the nature of your job, the upsetting events you come in contact with on a regular basis, coupled with the injury to your head... It's not surprising your mind has created this fantasy... a means of processing the trauma. OLIVIA: This is not a fantasy. DOCTOR ANDERSON: You agree you are an agent with Fringe Division. OLIVIA: I work for the FBI in Fringe Division... dealing with weird and mysterious events that threaten the safety of the United States and its residents. DOCTOR ANDERSON: Good. (picks up a photo and shows it to Olivia) Is this your mother? OLIVIA: She looks like her, but it isn't her. DOCTOR ANDERSON: And these? (shows Olivia two more photos) Agent Lincoln Lee, Charlie Francis... are these your partners? OLIVIA: No. DOCTOR ANDERSON: And who is this? (shows another photo) OLIVIA: Another Olivia Dunham. The Olivia Dunham from over here. DOCTOR ANDERSON: And how does that sound to you, Olivia... What you're saying that there's a world beyond this world populated with people who look exactly like the people here? OLIVIA: It sounds preposterous, which is what I thought when I first learned about it, but as insane as it sounds, it's the truth. -
Volume 57 Number 1 Late Win "I!}Eaut'j D'u~M L!}Ult./'
Volume 57 Number 1 Late Win "I!}eaut'j d'u~m l!}uLt./' . SCHEEPERS' ::::::/)uick "~uem()'ne" ::::::/)akfiaJ. Scheepers' Superior Quality Stock Imported from Holland They are ideal as bedding dahlias. Planted in Spring. Flower all season long. As illustrations show they have a row of outer petals and the center of the blooms are filled with tufts of petals that are tube-like, for a lovely effect. Ideal for cutting and table arrangements. For gar den planting space 9 inches apart. Planted one clump to a six inch pot, they make beautiful pot specimens for decorating the patio, around the pool, close to the garden seats, etc. Average height 18-22 inches. Very little care required, just water thoroughly once a week. To assure continuous flowering, old blooms must be removed as they fade. Varieties BRIDESMAID BRIDESMAID. White, tufts lemon. HONEY. Apricot, tufts lemon. GRANATO. Orange-scarlet. GUINEA. All Yellow. Any of above priced at: $7.00 for 3; $20.00 for 10; $40.00 for 25. SPECIAL COLLECTIONS 1 each of the 4 varieties. SPECIAL PRICE $8.00 2 each of the 4 varieties. SPECIAL PRICE $14.00 Place your order now, we will ship at proper time for planting in your climate. Full planting and cultural instructions included with each order. HONEY Our spring catalog " Beauty from Bulbs" listing other superior Dahlias, as well as Gladioli, Lilies, Montbretias, Begonias and other spring planting items, will be sent upon receipt of your order, or by special request: Cata- 10g is color illustrated. NOTE: Residents N.Y. State please include applicable sales tax with remittance. -
The Sultan's Garden Catalogue
the sultan’s garden the sultan’s garden the blossoming of ottoman art Walter B. Denny and Sumru Belger Krody The Textile Museum Washington, D.C. Contents The Sultan’s Garden: The Blossoming of Ottoman Art 6 The Textile Museum By Walter B. Denny and Sumru Belger Krody First published on the occasion of the exhibition ‘The Sultan’s Garden: The Blossoming of Ottoman Art’ at 8 Supporters The Textile Museum, Washington, D.C., September 21, 2012 – March 10, 2013 Copyright © 2012 The Textile Museum 9 Foreword All rights reserved under International and Pan-American Copyright Conventions. Except for legitimate excerpts customary in review or scholarly publications, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including 10 Introduction photocopying, recording, or information storage or retrieval systems, without permission in writing from the publisher. 13 The Authors Collection photographs © 2011 The Textile Museum, Washington D.C. Plates 07, 25, 33, 34, 43 and 45 photographed by Don Tuttle. All other photographs by Renée Comet unless otherwise noted. 14 Map The Textile Museum 2320 S Street, NW 16 The Discovery of the Ottoman Floral Style Washington D.C. 20008-4088 www.textilemuseum.org 21 The Emergence and Development of the Floral Style in Textiles Produced and packaged in the United Kingdom for The Textile Museum by HALI Publications Limited Studio 30, Liddell Road 29 The Difusion of the Floral Style in Anatolia and the Empire London NW6 2EW www.hali.com 35 The Floral Style Beyond the Empire Editor/Project Director: Daniel Shafer Designer: Anikst Design, London Color Production/Print Management: Michael Anikst and Sebastian Ghandchi 38 Conclusion – The Sultan’s Garden Indexer: Christopher Phipps Library of Congress Cataloging-in-Publication Data 39 Assessing the Legacy Denny, Walter B., author. -
City of Thieves a Novel
City of Thieves A Novel David Benioff VIKING VIKING Published by the Penguin Group Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, U.S.A. Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario, Canada M4P 2Y3 (a division of Pearson Penguin Canada Inc.) Penguin Books Ltd, 80 Strand, London WC2R 0RL, England Penguin Ireland, 25 St. Stephen’s Green, Dublin 2, Ireland (a division of Penguin Books Ltd) Penguin Books Australia Ltd, 250 Camberwell Road, Camberwell, Victoria 3124, Australia (a division of Pearson Australia Group Pty Ltd) Penguin Books India Pvt Ltd, 11 Community Centre, Panchsheel Park, New Delhi - 110 017, India Penguin Group (NZ), 67 Apollo Drive, Rosedale, North Shore 0632, New Zealand (a division of Pearson New Zealand Ltd) Penguin Books (South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank, Johannesburg 2196, South Africa Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England First published in 2008 by Viking Penguin, a member of Penguin Group (USA) Inc. Copyright © David Benioff, 2008 All rights reserved Publisher’s Note: This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Benioff, David City of thieves: a novel / David Benioff. p. cm. ISBN : 1-4362-6089-2 1. Grandparent and child— Fiction. 2. Reminiscing in old age— Fiction. 3. Russians— United States— Fiction. 4. Saint Petersburg (Russia)— History— Siege, 1941-1944.