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Comics Original Graphic Novels Collected Editions
Store info: FILL OUT THIS INTERACTIVE CHECKLIST AND RETURN TO YOUR RETAILER TO MAKE SURE YOU DON’T MISS THE LATEST FROM DC! (Tuesday availability at participating stores) TO VIEW CATALOG, VISIT: DCCOMICS.COM/CONNECT COMICS M V M = Main V = Variant M V M = Main V = Variant Check with your retailer for variant cover details. Check with your retailer for variant cover details. Available Tuesday, November 3, 2020 _ _ Detective Comics #1031 _ _ Batman #102 _ _ The Flash #766 _ _ Batman: The Adventures Continue #6 _ John Constantine: Hellblazer #12 _ _ DC Classics: The Batman Adventures #6 _ Justice League Dark #28 _ _ DCeased: Dead Planet #5 _ The Last God #10 MOVIE HOMAGE VARIANT _ _ Legion of Super-Heroes #11 _ _ The Dreaming: Waking Hours #4 _ _ The Other History of the DC Universe #1 _ _ Hellblazer: Rise and Fall #2 _ _ Red Hood #51 _ _ Justice League #56 _ _ Suicide Squad #11 _ _ Strange Adventures Director’s Cut #1 _ _ Wonder Woman #767 _ _ Sweet Tooth: The Return #1 _ _ Tales from the Dark Multiverse: Batman: Hush #1 ORIGINAL GRAPHIC NOVELS _ _ Young Justice #20 Available Tuesday, January 5, 2021 Available Tuesday, November 10, 2020 _ House of El Book One: The Shadow Threat TP _ _ American Vampire 1976 #2 Available Tuesday, January 12, 2021 _ _ The Batman’s Grave #12 _ We Found a Monster TP _ _ Dark Nights: Death Metal Infinite Hour Exxxtreme! #1 _ _ Detective Comics #1030 COLLECTED EDITIONS _ _ The Flash #765 _ _ The Green Lantern Season Two #9 Available Tuesday, December 1, 2020 _ _ Hawkman #29 _ The Green Lantern Season Two Vol. -
DC Comics Jumpchain CYOA
DC Comics Jumpchain CYOA CYOA written by [text removed] [text removed] [text removed] cause I didn’t lol The lists of superpowers and weaknesses are taken from the DC Wiki, and have been reproduced here for ease of access. Some entries have been removed, added, or modified to better fit this format. The DC universe is long and storied one, in more ways than one. It’s a universe filled with adventure around every corner, not least among them on Earth, an unassuming but cosmically significant planet out of the way of most space territories. Heroes and villains, from the bottom of the Dark Multiverse to the top of the Monitor Sphere, endlessly struggle for justice, for power, and for control over the fate of the very multiverse itself. You start with 1000 Cape Points (CP). Discounted options are 50% off. Discounts only apply once per purchase. Free options are not mandatory. Continuity === === === === === Continuity doesn't change during your time here, since each continuity has a past and a future unconnected to the Crises. If you're in Post-Crisis you'll blow right through 2011 instead of seeing Flashpoint. This changes if you take the relevant scenarios. You can choose your starting date. Early Golden Age (eGA) Default Start Date: 1939 The original timeline, the one where it all began. Superman can leap tall buildings in a single bound, while other characters like Batman, Dr. Occult, and Sandman have just debuted in their respective cities. This continuity occurred in the late 1930s, and takes place in a single universe. -
From Diderot to Keats and Shelley
THE POLITICS OF DREAMING – FROM DIDEROT TO KEATS ming AND SHELLEY [ Dreaming, seemingly a private activity, can exhibit political and ideological dimensions. ALAN RICHARDSON ABSTRACT The first part of this article looks at the ideological significance, within late Enlighten- ment and Romantic-era culture, of the very activity of dreaming, with particular reference to Diderot’s Le Rêve de d’Alembert. Nocturnal dreaming and the somnambulistic behaviors closely associated with dreaming can and did challenge orthodox notions of the integral ] subject, of volition, of an immaterial soul, and even of the distinction between humans and animals. The second half of the article looks at two literary dreams, from the poetry of Shelley and Keats, considering how represented dreams can have pronounced ideological and political valences. The article as a whole illustrates the claims and methods of cognitive historicist literary critique. KEYWORDS Poetry, dreams, neurology, John Keats, P. B. Shelley. ‘In Dreams Begin Responsibilities’, Delmore Schwartz’s oblique and compact coming of age narrative, remains one of the most compelling American short stories of the last century. Its coolly seductive hold on the reader begins with its title, which Schwartz borrowed from an epigraph to W. B. Yeats’s poetic volume Responsibilities, ‘in dreams begins responsibility’, attributed by Yeats in turn to an ‘Old Play’ (98). Whatever the title’s ultimate provenance, its juxtaposition of dream and responsibility instantly sets us pondering: how could dreams, invol- untary, cryptic and unpredictable, generate anything like duties and obligations? The juxtaposition of politics and dreaming in this essay’s title seeks to pro- voke a similar unsettling of categories and rethinking of conceptual boundaries. -
Rewriting in Neil Gaiman´S Graphic Novel Sandman
Masaryk University Faculty of Education Department of English Language and Literature Rewriting in Neil Gaiman´s Graphic Novel Sandman Bachelor thesis Šárka Nygrýnová Brno, April 2009 Supervisor: Mgr. Pavla Buchtová Hereby I declare that I have worked on my thesis on my own and that no other sources except for those enumerated in bibliography were used. ................................................... Šárka Nygrýnová 2 I would like to thank Mgr. Pavla Buchtová for her kind guidance and valuable advice she provided to me. 3 Table of contents Introduction ................................................................................................................5 Opening.......................................................................................................................6 1. Postmodernisms......................................................................................................7 1.1 The beginning of postmodernisms............................................................7 1.2 The history of postmodernisms.................................................................8 1.3 Basic distinction between modernism and postmodernisms...................10 1.4 Devices of postmodernisms......................................................................11 1.4.1 Reading and interpretation.............................................11 1.4.2 Distribution....................................................................11 1.5 The death of postmodernisms...................................................................12 -
The Metafiction of Neil Gaiman's the Sandman
UNIVERSITY OF AMSTERDAM FACULTY OF HUMANITIES Master Thesis: The Metafiction of Neil Gaiman’s The Sandman Author: Ivana Babić Submission date: June 30, 2016 Discipline of study: MA English Literature and Culture Supervisor: Dr. Joyce Goggin Statement of Originality This document is written by Ivana Babić who declares to take full responsibility for the contents of this document. ‘I declare that the text and the work presented in this document is original and that no sources, other than those mentioned in the text and its references, have been used in creating it.’ The Faculty of the Humanities is responsible solely for the supervision of completion of the work, not for the contents. 1 Contents Abstract 3 Introduction 4 Chapter One: The Socio-Historical Context 12 Chapter Two: The Myth 18 Chapter Three: The Archetypes 44 Conclusion 54 Bibliography 55 2 Abstract This thesis’ main focus is the fantastic narrative of The Sandman, a comic book series which explores the storytelling as such. As will be shown further on, in the introduction, fantasy is a frequent genre in comics and it is what enables a multiplicity of themes and forms to enter the medium. The conception that stories, which are shaped by the human experience, in turn shape us and tell us something new about ourselves, lies at the heart of The Sandman. Gaiman uses this idea to formulate the principles of the modern world within the comics. Furthermore, this thesis will try and see how the techniques used by Gaiman relate to the comics legacy. Over a course of time comics has developed a self-reflexive approach to storytelling through intertextuality, specifically parody, which has foregrounded the metafictional aspect of their narratives. -
DECOLONISING MĀORI TOURISM Representation and Identity
DECOLONISING M ĀORI TOURISM Representation and Identity Maria Theresa Amoamo A thesis submitted for the degree of PhD At the University of Otago, Dunedin, New Zealand November 2008 This thesis is dedicated to my father, Peter Haimona Amoamo ABSTRACT Since the late nineteenth century the tourism industry has focused primarily on two things in selling holidays to New Zealand: the natural landscape and Māori culture. Māori have been involved in tourism for more than 150 years however their “identity” as tourist attractions rather than tourism managers has to some extent marginalised Māori from the control of their own cultural expression. Prior to the 1990s much of New Zealand’s off- shore tourism marketing represented Māori as the exotic “Other” manifest through what Edward Said (1978) has termed Orientalism - the discursive and textual production of colonial meanings whereby language becomes a medium through which a hierarchical structure of power between coloniser (Pākeh ā) and colonised (Māori) is perpetuated. Such images have constructed a homogenous identity of Māori culture. The impact of such demand driven international tourism marketing is reflected in the call by Māori tourism stakeholders to control the representation and meanings of their image, tribal identities and cultural difference. Amongst the key objectives stated in the New Zealand Tourism Strategy 2010 is to ‘ensure Māori participate and are partners in the tourism sector and that Māori culture and identity is protected’. However, the notion of identity has been subject to a bicultural relationship between Māori and Pākeh ā that is at odds with Māori aspirations to autonomous development. If increased Māori capacity in the tourism sector is to be effectively managed and sustainable there is a need to recognise and promote the diversity of Māori culture. -
The Dreaming Mind and the End of the Ming World
The Dreaming Mind and the End of the Ming World The Dreaming Mind and the End of the Ming World • Lynn A. Struve University of Hawai‘i Press Honolulu © 2019 University of Hawai‘i Press This content is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0), which means that it may be freely downloaded and shared in digital format for non-commercial purposes, provided credit is given to the author. Commercial uses and the publication of any derivative works require permission from the publisher. For details, see https://creativecommons.org/licenses/by-nc-nd/4.0/. The Creative Commons license described above does not apply to any material that is separately copyrighted. The open-access version of this book was made possible in part by an award from the James P. Geiss and Margaret Y. Hsu Foundation. Cover art: Woodblock illustration by Chen Hongshou from the 1639 edition of Story of the Western Wing. Student Zhang lies asleep in an inn, reclining against a bed frame. His anxious dream of Oriole in the wilds, being confronted by a military commander, completely fills the balloon to the right. In memory of Professor Liu Wenying (1939–2005), an open-minded, visionary scholar and open-hearted, generous man Contents Acknowledgments • ix Introduction • 1 Chapter 1 Continuities in the Dream Lives of Ming Intellectuals • 15 Chapter 2 Sources of Special Dream Salience in Late Ming • 81 Chapter 3 Crisis Dreaming • 165 Chapter 4 Dream-Coping in the Aftermath • 199 Epilogue: Beyond the Arc • 243 Works Cited • 259 Glossary-Index • 305 vii Acknowledgments I AM MOST GRATEFUL, as ever, to Diana Wenling Liu, head of the East Asian Col- lection at Indiana University, who, over many years, has never failed to cheerfully, courteously, and diligently respond to my innumerable requests for problematic materials, puzzlements over illegible or unfindable characters, frustrations with dig- ital databases, communications with publishers and repositories in China, etcetera ad infinitum. -
Corinthian Echoes: Gaiman, Kiernan, and the Dreaming As Sadomodernist Gothic Memoir
humanities Article Corinthian Echoes: Gaiman, Kiernan, and The Dreaming as Sadomodernist Gothic Memoir Sean Moreland Department of English, University of Ottawa, Ottawa, ON K1N 6N5, Canada; [email protected] Received: 20 February 2020; Accepted: 31 March 2020; Published: 4 April 2020 Abstract: This article examines Caitlín R. Kiernan’s writing for the DC/Vertigo comic series The Dreaming, a spin-off of Neil Gaiman’s Sandman. It places Kiernan’s writing for the series in the wider context of both her prose fictional writings and representations of LGBTQI+ characters in American comics. It uses Moira Weigel’s concept of “sadomodernism” to characterize Kiernan’s writings, demonstrating how Kiernan’s use of this mode in The Dreaming anticipated signature characteristics of her later fictions. Close reading of selected excerpts from the published comics, as well as Kiernan’s scripts, emails, and editorial remarks alongside the work of queer and trans theorists, including Judith Butler and Jack Halberstam, reveal how groundbreaking Kiernan’s unsettling work with the series was and remains. Keywords: comics; gothic fiction; fictional memoir; queer studies; weird fiction; sadomodernism; Caitlín R. Kiernan; Neil Gaiman 1. Introduction: Sadomodernism, The Drowning Girl, and The Dreaming Caitlín R. Kiernan described her 2012 novel The Drowning Girl as “fictionalized autobiography”, a designation reinforced by its subtitle, “A Memoir” (Kiernan 2012a). Recognizing Kiernan’s provocative interplay between autobiography and fantasy, Brooke Wonders suggested -
Waking Dreams: Modernist Intoxications and the Poetics of Altered States
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Waking Dreams: Modernist Intoxications and the Poetics of Altered States Jason Ciaccio The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1501 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Waking Dreams: Modernist Intoxications and the Poetics of Altered States by Jason Ciaccio A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2016 ©2016 Jason Ciaccio All Rights Reserved ii Waking Dreams: Modernist Intoxications and the Poetics of Altered States by Jason Ciaccio This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature to satisfy the dissertation requirement for the degree of Doctor of Philosophy. Professor John Brenkman Date Chair of Examining Committee Professor Giancarlo Lombardi Date Executive Officer Professor John Brenkman Professor Evelyne Ender Professor Moshe Gold Professor Joshua Wilner Supervisory Committee iii Abstract Waking Dreams: Modernist Intoxications and the Poetics of Altered States by Jason Ciaccio Adviser: John Brenkman Intoxication as a poetic principle is often identified with the romantic imagination. The literature of the intoxicated reverie is commonly thought of as synonymous with works such as Coleridge’s “Kubla Khan,” DeQuincey’s accounts of numerous nightmares and reveries, a number of Keats’ odes, Novalis’ hymns, E.T.A. -
Neil Gaiman's
Enter the world of Neil Gaiman’s New York Times best-selling series The Sandman The Sandman Universe is a series of books based on a brand-new story by Neil Gaiman and written and drawn by new creative teams hand-picked and overseen by the legendary author. Conjuring epic storytelling and immersing readers in the evolving world of the Dreaming, the Sandman Universe begins anew with four ongoing series existing in a shared universe and building upon Gaiman’s New York Times best-selling series that lyrically weaved together stories of dreams and magic. The Sandman Vol. 1: Preludes & Nocturnes Books of Magic Vol. 1: Movable Type 30th Anniversary Edition (The Sandman Universe) Neil Gaiman Kat Howard | Tom Fowler 9781401284770 9781401291341 10/30/2018 $19.99/$25.99 CAN 7/16/2019 | TP | $16.99/$22.99 CAN New York Times best-selling author Timothy Hunter may be destined to Neil Gaiman’s transcendent series The become the most powerful magician Sandman is often hailed as the definitive in the universe, but he’s still a London Vertigo title and one of the finest teenager, and having magical abilities is achievements in graphic storytelling. about to turn his world upside down. The Dreaming Vol. 1: Pathways and Emanations House of Whispers Vol. 1: The Power Divided (The Sandman Universe) (The Sandman Universe) Simon Spurrier | Bilquis Evely Nalo Hopkinson | Dominike “Domo” Stanton 9781401291174 978140129135 6/11/2019 | TP | $16.99/$22.99 CAN 7/24/2019 | TP | $16.99/$22.99 CAN There is a place where gods are born Welcome to the House of Dahomey, the and stories are spun. -
Changing Comics, One Day at a Time
CHANGING COMICS, ONE DAY AT A TIME Batman, Wonder Woman, Green Arrow, Green Lantern TM & ©2003 DC Comics. Deathmask and Freemind TM & ©2003 Future Comics. Stephanie Starr TM & ©2003 Mike Friedrich and Dick Giordano. by Michael Eury The Smooth TM & ©2003 Mary Skrenes and Dick Giordano. 2 Acknowledgments 4 Foreword by Neal Adams 5 Introduction 7 Chapter One: Learning the Rules 25 Chapter Two: Breaking the Rules 105 Chapter Three: Making the Rules 133 Chapter Four: Reinventing the Rules 158 Afterword by Paul Levitz 159 Comic-Book Index: The Published Works of Dick Giordano 167 Online Resources 168 Bonus Giordano Art Gallery 176 About the Author TwoMorrows Publishing Raleigh, North Carolina introduction It was his sideburns. I wish I could say that the first thing I noticed about Dick Giordano was the mastery of his inking line, or his knack for drawing sexy women, or even his editorial run on Aquaman . My appreciation of those and countless other Giordano attributes came later. The first thing I noticed about Dick Giordano was his really groovy sideburns. It would be many years before I’d have the pleasure of Working meeting the legendary Mr. Giordano, but in 1970, at age 12, by his side, I I saw Neal Adams’ penciled portrait of Dick (as well as of learned his himself, Carmine Infantino, and Joe Kubert) in a DC Comics secret: Dick house ad celebrating the Comic Art Convention’s “Alley Giordano is a Award” honors presented that year to those talented gentle - mutant. He was Dig Dick’s mega-muttonchops! men. Dick, who won in the “Best Comic Editor” category born with the ©2003 DC Comics. -
Adobe Photoshop
I owned an Acorn Electron as a kid. It wasn’t the greatest games machine in the playground, but it did have the best game of all-time, Braben and Bell’s Elite , and one of the best adventure games of all time, Trevor Hall’s Twin Kingdom Valley. For a boy with a fertile imagination, and an obsession with the Fighting Fantasy books, Twin Kingdom Valley whisked me through the screen and into a fantasy world of babbling brooks, Forests, Orcs, Trolls, Goblins, Dragons, Kings and treasure! I played as many adventures as I could, but It wasn’t until I owned a ZX Spectrum and Fergus McNeill’s The Big Sleaze that I encountered the same immersion with another game. A friend and I spent many weekends hunched over the keyboard, notepad and pen, determined that Sam Spillade would find the missing Maltese Bullfinch. I’m therefore delighted that both Fergus and Trevor feature in this celebration of classic adventure games, along with many other adventures and authors that transported legions of other kids to far flung corners of their own imagination. Mark James Hardisty, 2018 CONTENTS RAIDERS OF THE LOST PARSER 5 TERRY GREER 8 WHODUNNIT? 14 CHRIS HESTER 23 AURAL ADVENTURES 31 CHARLES CECIL 34 MARK CANTRELL 40 TREVOR LEVER & PETER JONES 48 SHEFFIELD SIGNPOSTS 61 RAIDERS OF THE LOST PARSER Stefan Vogt and Tim Gilberts don their archaeologist fedoras and head for Spain in search of fabled conquistador treasure, the Diseñador de aventuras de Aventuras AD – the lost adventure parser. There’s an argument that the mainstream 8-bit adventure market peaked in 1987, with its decline arrested by the publication of Gilsoft’s Professional Adventure Writing System [PAWS ] and Incentive’s Graphic Adventure Creator [GAC ], enabling continuing releases from die-hard independent developers and the occasional budget title.