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MAY 19Th 2018
5z May 19th We love you, Archivist! MAY 19th 2018 Attention PDF authors and publishers: Da Archive runs on your tolerance. If you want your product removed from this list, just tell us and it will not be included. This is a compilation of pdf share threads since 2015 and the rpg generals threads. Some things are from even earlier, like Lotsastuff’s collection. Thanks Lotsastuff, your pdf was inspirational. And all the Awesome Pioneer Dudes who built the foundations. Many of their names are still in the Big Collections A THOUSAND THANK YOUS to the Anon Brigade, who do all the digging, loading, and posting. Especially those elite commandos, the Nametag Legionaires, who selflessly achieve the improbable. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – The New Big Dog on the Block is Da Curated Archive. It probably has what you are looking for, so you might want to look there first. - - - - - - - – - - - - - - - - – - - - - - - - - - - - - - - – - - - - - – Don't think of this as a library index, think of it as Portobello Road in London, filled with bookstores and little street market booths and you have to talk to each shopkeeper. It has been cleaned up some, labeled poorly, and shuffled about a little to perhaps be more useful. There are links to ~16,000 pdfs. Don't be intimidated, some are duplicates. Go get a coffee and browse. Some links are encoded without a hyperlink to restrict spiderbot activity. You will have to complete the link. Sorry for the inconvenience. Others are encoded but have a working hyperlink underneath. Some are Spoonerisms or even written backwards, Enjoy! ss, @SS or $$ is Send Spaace, m3g@ is Megaa, <d0t> is a period or dot as in dot com, etc. -
GUÍA De Creación De Personaje CTHULHU
Foundation for Archeological Research Guía para nuevos miembros Una guía no-oficial para crear investigadores para el juego de rol “La Llamada de Cthulhu” ” publicado en España por Edge Entertainment bajo licencia de Chaosium. Para ser utilizado principalmente en “Los Misterios de Bloomfield”-“The Bloomfield Mysteries”, una adaptación de “La Sombra de Saros”, campaña escrita por Xabier Ugalde, para su uso en las aulas de Primaria en las áreas de Ciencias Sociales, Lengua Castellana y Lengua Extranjera: Inglés Adaptado para Educación Primaria por: ÓscarRecio Coll [email protected] https://jueducacion.com/ El Copyright de las ilustraciones de La Llamada de Cthulhu y de La Sombra de Saros además de otras presentes en este material así como la propiedad intelectual/comercial/empresarial y derechos de las mismas son exclusiva de sus autores y/o de las compañías y editoriales que sean propietarias o hayan comprado los citados derechos sobre las obras y posean sobre ellas el derecho a que se las elimine de esta publicación de tal manera que sus derechos no queden vulnerados en ninguna forma o modo que pudiera contravenir su autoría para particulares y/o empresas que las hayan utilizado con fines comerciales y/o empresariales. Esta compilación no tiene ningún uso comercial ni ánimo de lucro y está destinada exclusivamente a su utilización dentro del ámbito escolar y su finalidad es completamente didáctica como material de desarrollo y apoyo para la dinamización de contenidos en las diferentes áreas que componen la Educación Primaria. Bienvenidos/as a la F.A.R. (Fundación de Investigaciones Arqueológicas), en este sencillo manual encontrarás las instrucciones para ser parte de nuestra fundación y completar tu registro como miembro. -
Mi-Go 1 Mi-Go
Mi-go 1 Mi-go An interpretation of the Mi-Go by Ruud Dirven Mi-go ("The Abominable Ones") is a Himalayan nickname for a race of extraterrestrials in the Cthulhu Mythos created by H. P. Lovecraft and others. The name was first applied to the creatures in Lovecraft's short story "The Whisperer in Darkness" (1931), elaborating on a reference to 'What fungi sprout in Yuggoth' in his sonnet cycle Fungi from Yuggoth (1929–30) which described the contrasting vegetation on alien dream-worlds. Summary The "Mi-go" are large, pinkish, fungoid, crustacean-like entities the size of a man; where a head would be, they have a "convoluted ellipsoid" composed of pyramided, fleshy rings and covered in antennae. According to two reports in the original short story, their bodies consist of a form of matter that does not occur naturally on Earth; for this reason, they do not register on ordinary photographic film. They are capable of going into suspended animation until softened and reheated by the sun or some other source of heat. They are about five feet (1.5 m) long, and their crustacean-like bodies bear numerous sets of paired appendages. They possess a pair of membranous bat-like wings which are used to fly through the "aether" of outer space (a scientific concept which is now discredited). The wings do not function well on Earth. Several other races in Lovecraft's Mythos also have wings like these. The Mi-go can transport humans from Earth to Pluto (and beyond) and back again by removing the subject's brain and placing it into a "brain cylinder", which can be attached to external devices to allow it to see, hear, and speak. -
Spy Culture and the Making of the Modern Intelligence Agency: from Richard Hannay to James Bond to Drone Warfare By
Spy Culture and the Making of the Modern Intelligence Agency: From Richard Hannay to James Bond to Drone Warfare by Matthew A. Bellamy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2018 Dissertation Committee: Associate Professor Susan Najita, Chair Professor Daniel Hack Professor Mika Lavaque-Manty Associate Professor Andrea Zemgulys Matthew A. Bellamy [email protected] ORCID iD: 0000-0001-6914-8116 © Matthew A. Bellamy 2018 DEDICATION This dissertation is dedicated to all my students, from those in Jacksonville, Florida to those in Port-au-Prince, Haiti and Ann Arbor, Michigan. It is also dedicated to the friends and mentors who have been with me over the seven years of my graduate career. Especially to Charity and Charisse. ii TABLE OF CONTENTS Dedication ii List of Figures v Abstract vi Chapter 1 Introduction: Espionage as the Loss of Agency 1 Methodology; or, Why Study Spy Fiction? 3 A Brief Overview of the Entwined Histories of Espionage as a Practice and Espionage as a Cultural Product 20 Chapter Outline: Chapters 2 and 3 31 Chapter Outline: Chapters 4, 5 and 6 40 Chapter 2 The Spy Agency as a Discursive Formation, Part 1: Conspiracy, Bureaucracy and the Espionage Mindset 52 The SPECTRE of the Many-Headed HYDRA: Conspiracy and the Public’s Experience of Spy Agencies 64 Writing in the Machine: Bureaucracy and Espionage 86 Chapter 3: The Spy Agency as a Discursive Formation, Part 2: Cruelty and Technophilia -
Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2
PHONOGRAPHIC PERFORMANCE COMPANY OF AUSTRALIA LIMITED CONTROL OF MUSIC ON HOLD AND PUBLIC PERFORMANCE RIGHTS SCHEDULE 2 001 (SoundExchange) (SME US Latin) Make Money Records (The 10049735 Canada Inc. (The Orchard) 100% (BMG Rights Management (Australia) Orchard) 10049735 Canada Inc. (The Orchard) (SME US Latin) Music VIP Entertainment Inc. Pty Ltd) 10065544 Canada Inc. (The Orchard) 441 (SoundExchange) 2. (The Orchard) (SME US Latin) NRE Inc. (The Orchard) 100m Records (PPL) 777 (PPL) (SME US Latin) Ozner Entertainment Inc (The 100M Records (PPL) 786 (PPL) Orchard) 100mg Music (PPL) 1991 (Defensive Music Ltd) (SME US Latin) Regio Mex Music LLC (The 101 Production Music (101 Music Pty Ltd) 1991 (Lime Blue Music Limited) Orchard) 101 Records (PPL) !Handzup! Network (The Orchard) (SME US Latin) RVMK Records LLC (The Orchard) 104 Records (PPL) !K7 Records (!K7 Music GmbH) (SME US Latin) Up To Date Entertainment (The 10410Records (PPL) !K7 Records (PPL) Orchard) 106 Records (PPL) "12"" Monkeys" (Rights' Up SPRL) (SME US Latin) Vicktory Music Group (The 107 Records (PPL) $Profit Dolla$ Records,LLC. (PPL) Orchard) (SME US Latin) VP Records - New Masters 107 Records (SoundExchange) $treet Monopoly (SoundExchange) (The Orchard) 108 Pics llc. (SoundExchange) (Angel) 2 Publishing Company LCC (SME US Latin) VP Records Corp. (The 1080 Collective (1080 Collective) (SoundExchange) Orchard) (APC) (Apparel Music Classics) (PPL) (SZR) Music (The Orchard) 10am Records (PPL) (APD) (Apparel Music Digital) (PPL) (SZR) Music (PPL) 10Birds (SoundExchange) (APF) (Apparel Music Flash) (PPL) (The) Vinyl Stone (SoundExchange) 10E Records (PPL) (APL) (Apparel Music Ltd) (PPL) **** artistes (PPL) 10Man Productions (PPL) (ASCI) (SoundExchange) *Cutz (SoundExchange) 10T Records (SoundExchange) (Essential) Blay Vision (The Orchard) .DotBleep (SoundExchange) 10th Legion Records (The Orchard) (EV3) Evolution 3 Ent. -
Billboard, Vol. XVII, No. 10, March 11, 1905
^PRICE, 10 CENTS FORTY PAGES THEATRES^ CIRCUSES FAIRS ~ MUSICIANS TBeertriceJ Weekly Volume XVII. No. 10. CINCINNATI NEW YORK- CIIIC A G O March 11,1905. * COL. FRED. P. CUMMINS Sole Owner and Manager of the Cum- mins' Wild West 4 Ttie Billboard women on the American stage; Mr. Charles J. Wilson, recent basso with Edward Harrlgan; BESSIE VVYNN Miss Dorothy Gray, leading soprano of The Strollers; little Agnes and Reginald Blair, two DRAMATIC MINSTREL! of tlie mo-it versatile and talented of children VAUDEVILLE BURLESQUE artists. Miss Kleanor Blair, Mr. Eugene Keith. Miss Fanny I'routy and Mr. Arthur Lorraine. MUSIC OPERA Tills Is a list of people who have made good in either the legitimate or vaudeville, and com- mand a salary that places them above the Cousin Billy is not the greatest of average artist. The finale of the act Is a big Clyde Fitch's plays tint it serves to draw a radium dance that Is In Itself a big feature very gratifying amount of business to the card. Eight ghosts, with radlunilzed costumes Criterion. The principal Interest 1* In Francis and hollow pumpkins for beads, execute a Itcan- WlU-on's work, his first in straight comedy. tiful dance and chorus. There Is an excellent quartet which is an important feature of the Things Theatrical in the Metropolis, The Duchess of Dantzlc at Daly's act. Dave Nowlln Introduces his celebrated and Bits of General Interest lias more than fulfilled the prophesies founded barnyard Imitations during the course of the Discussed on the Rialto. on Its remarkably successful opening. -
An Examination of Conspiracy and Terror in the Works of Don Delillo
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English Spring 5-7-2011 For the Future: An Examination of Conspiracy and Terror in the Works of Don Delillo Ashleigh Whelan Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Whelan, Ashleigh, "For the Future: An Examination of Conspiracy and Terror in the Works of Don Delillo." Thesis, Georgia State University, 2011. https://scholarworks.gsu.edu/english_theses/104 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. FOR THE FUTURE: AN EXAMINATION OF CONSPIRACY AND TERROR IN THE WORKS OF DON DELILLO by ASHLEIGH WHELAN Under the Direction of Dr. Christopher Kocela ABSTRACT This thesis is divided into two chapters, the first being an examination of conspiracy and paranoia in Libra, while the second focuses on the relationship between art and terror in Mao II, “In the Ruins of the Future,” Falling Man, and Point Omega. The study traces how DeLillo’s works have evolved over the years, focusing on the creation of counternarratives. Readers are given a glimpse of American culture and shown the power of narrative, ultimately shedding light on the future of our collective consciousness. INDEX -
Contents ,,,;;=Y=St=E=M==: =M=S=D=O=S==(=R=Eq=U=I=Re=D=: ~' Ancient Snake Cult)
Vol. X, #5 Not sold in stores ··---··--· - - - l.JLTIMA VII PART 2 e any moons have passed - more features, the latest graphic striving to retain enough of the old to some of them twin moons - innovations and other technological satisfy those people. I am merely M since I last reviewed an nuances. And enough new characters echoing what I've heard from quite a Ull ima. I've played them all to some to hold your attention. But underneath few other Ultima vets who would extent, of course, but have not spent this glittering surface, we still face also love to run Iola through with a so much time in H.ichard Garriott 's much the same in rusty halberd.) fantasy worlds since Ultima I V My terms of game play initial impression, borne out by a and design. On with the shoe week of questing, is that no maner Your goal, for Part of a trilogy that how many technological innovations instance, involves will comprise Ultima are introduced, U1timawill always be restoring the VII through IX, basicaliy the same game -- Ultima. "I3alance" between Serpent's Isle raises This indicates character and integrity, Chaos and Order - the curtain with a yet tread<; dangerously near the both composed of cinematic sequence at pitfall of redundancy and stereotyp Forces such as Lord British's castle. ing. Only madmen and geniuses (and Tolerance, Logic The Guardian, foiled in his effort to the occasional drunk) dare such a and other traits reminiscent of the enter Britannia through the Black ri sk. virtues introduced in Ultima IV. -
Venice Gap Financing-Market
VENICE GAP – FINANCING MARKET BOOK OF PROJECTS FICTION AND DOCUMENTARY FEATURE FILMS VR, INTERACTIVE, WEB AND TV SERIES 01 – 03.09.2017 www.labiennale.org VENICE GAP– FINANCING MARKET BOOK OF PROJECTS FICTION AND DOCUMENTARY FEATURE FILMS VR, INTERACTIVE, WEB AND TV SERIES 74. Mostra Internazionale d’Arte Cinematografica Cinema Department Director Venice Gap-Financing Market La Biennale di Venezia Alberto Barbera VR, Interactive, Web and its collaborators and TV Series for Book of Projects The Venice Production Bridge welcomes the Cinema Department Valentina Bellomo th Managing Director Consultants Erika Giorgianni 47 selected teams and their projects to the 4 Luigi Cuciniello Lucas Rosant Elena Mantoan Eva Morsch Kihn Chiara Marin Venice Production Bridge Sara Mazzucchi edition of the Venice Gap-Financing Market Pascal Diot Collaborators Alessandro Mezzalira Savina Neirotti Violetta Bava Nikolas Montaldi Paolo Bertolin Since last year, the Venice Gap-Financing Market has expanded to host a larger number of projects [email protected] Matthieu Darras across different audiovisual forms. A total of 47 projects have been selected for this years' edition: www.labiennale.org Giacomo Durzi Francesco Giai Via feature fiction and documentary films, TV & web series and VR films. Elena Pollacchi Michel Reilhac Our hope was that this would bring variety, diversity, and the possibility for many decision makers that Liz Rosenthal were usually working only in one field to crossover to another, building bridges – as the new name of Jane Williams the Venice market suggests. We are proud to say that this has happened – and that in addition to the many feature films that in the past 3 years have closed their financing here in Venice and have then gone on to premiere at festivals worldwide, we can also celebrate the completion of documentaries, web series and virtual reality films. -
ARCTUO18 Preview.Pdf
I s s u e 1 8 , D e c e m b e r 2 0 1 0 WR ITERS: Richard Becker, Monte Cook, Adam Gauntlett, Nick Grant, Dan Contents Harms, Pat Harrigan, James Haughton, George Holochwost, Shane Ivey, Matthew Pook, Brian Sammons, C.A. Suleiman and John Scott Tynes. Columns COVER ARTIST: Todd Shearer. The DreaD Page of azaThoTh 2 ILLUSTRATORS: Toren Atkinson and Dennis Detwiller. The eye of LIghT & Darkness 6 PAGE DESIGNER: Jessica Hopkins. Tales of Ter ror ART DIRECTOR: Dennis Detwiller. mr. PoPaTov 4 EDITORS: Adam Crossingham, Dan Harms, Shane Ivey and Greg Stolze, slighT reTurn 32 with copy editing by James Knevitt. Founding editor: John Scott Tynes. Editor-in- chief: Shane Ivey. house of hunger 34 The arT show 74 EDITORIAL BOARD: Brian Appleton, Monte Cook, Adam Crossingham, Dennis Detwiller, Adam Scott Glancy, Dan Harms, Kenneth Hite, Shane Ivey, Greg Stolze, John Scott Tynes and Ray Winninger. Arcane Artifacts PLAYTESTERS: Simon Brake with Matthew Benner, Elliot Biddle and Laura The chInaman’s screen 9 Brake; Steve Dempsey with Beth Lewis, Dave Pickson, Simon Rogers and Graham Walmsley; Krzysztof Fabjan ́ski with Maciej Paluszkiewicz, Magdalena The forgotten 19 Paluszkiewicz and Grzegorz Zawadka; Nathan Palmer; Robert Lint with Ryan Harris, Alex Miner, Shelly Smith and Grace Willard; Harald Schindler with Archie Leach, Markus Pelzl, H. Schindler and Tom Stern; Kenneth Scroggins with Myster ious Brandon Fong, Thomas and Miles; Tony Toon with Kate Boarman, James House, Manuscr ipts Jason Martin and Josh Oliver; and The Veterans of a Thousand Midnights. The branchLy numbers edit 20 COPYRIGHT: All contents are © 2010 by their respective creators. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
Trust No Truth: an Analysis of the Visual Translation Styles in the Conspiracy Film
Trust no truth: an analysis of the visual translation styles in the conspiracy film Carl Stemmet 26423465 A Mini-Dissertation in partial fulfilment of the requirements for the degree MA Drama Performance In the Faculty of Humanities School of Arts Department of Drama University of Pretoria Study Leader: Mr Chris Broodryk June 2011 © University of Pretoria Summary This study investigates the manner in which cinematic visual translation styles can be used to incorporate dominant and subversive historical versions in fictional narratives constructed within the conspiracy film genre. Fictional characters in a conspiracy film are often tasked with a mission to discover the alternative historical accounts, accounts which for all intents and purposes are regularly kept hidden from the public eye. These accounts are presented as a plausible and often unconventional narrative which challenges the dominant version of events. A visual translation style is a term used to describe the various methods in which a film can be shot and edited in order to create a specific aesthetic and communicate a specific idea. These styles can consist of camera movements, shot sizes or editing techniques, all of which aid in communicating a specific idea in a film. This study analyses the conventions of the conspiracy film, with regard to the manner in which the alternative and dominant versions of historical accounts are constructed. Furthermore, the study explores how these alternative and hegemonic historical events are presented and communicated through the use of visual translation styles. Theorists such as Jean Baudrillard and David Bordwell are referenced when discussing the meaning and application of terms such as “truth”, “narrative” and “history” and to problematise these notions in the context of this particular genre.