Preacher (Comics) from Wikipedia, the Free Encyclopedia
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
NOT ASHAMED a Pastor, a Boy Scout, and a Scientist Were the Only
NOT ASHAMED A pastor, a boy scout, and a scientist were the only passengers on a small plane. The pilot came back to the cabin and explained that the plane was going down but there were only three parachutes and four people. The pilot then added, "I should have one of the parachutes because I have a wife and three small children." So he took one and jumped. The scientist jumped up almost immediately and said, "I should have one of the parachutes because I am the smartest man in the world and everyone needs me." So he took one and jumped. The pastor turned to the Boy Scout and with a sad smile said, as I am sure that all of you would, "You are young and I have lived a rich life, so you take the remaining parachute, and I’ll go down with the plane." Then the Boy Scout said, "Relax, pastor, the world’s smartest man just jumped out of the plane with my backpack!" One man’s boast can be another man’s salvation. Paul had many reasons to boast but he chose to boast in the Gospel. Rom 1:16 I am not ashamed of the gospel, because it is the power of God for the salvation of everyone who believes: first for the Jew, then for the Gentile. 17 For in the gospel a righteousness from God is revealed, a righteousness that is by faith from first to last, just as it is written: "The righteous will live by faith." Today we are starting a new series called Romans -Unashamed, Undeserved, Unstoppable. -
A Publication of the Salvation Army
A Publication of The Salvation Army Word & Deed Mission Statement: The purpose of the journal is to encourage and disseminate the thinking of Salvationists and other Christian colleagues on matters broadly related to the theology and ministry of The Salvation Army The journal provides a means to understand topics central to the mission of The Salvation Army inte grating the Army's theology and ministry in response to Christ's command to love God and our neighbor. Salvation Army Mission Statement: The Salvation Army, an international movement, is an evangelical part of the universal Christian Church. Its message is based on the Bible. Its ministry is motivated by the love of God. Its mission is to preach the gospel of Jesus Christ and to meet human needs in His name without discrimination. Editorial Address: Manuscripts, requests for style sheets, and other correspondence should be addressed to Major Ed Forster at The Salvation Army, National Headquarters, 615 Slaters Lane, Alexandria, VA 22314. Phone: (703) 684-5500. Fax: (703) 302-8623. Email: [email protected]. Editorial Policy: Contributions related to the mission of the journal will be encouraged, and at times there will be a general call for papers related to specific subjects. The Salvation Army is not responsible for every view which may be expressed in this journal. Manuscripts should be approximately 12-15 pages, including endnotes. Please submit the following: 1) three hard copies of the manuscript with the author's name (with rank and appointment if an officer) on the cover page only. This ensures objec tivity during the evaluation process. -
John Constantine Hellblazer: Last Man Standing Volume 11 Ebook
JOHN CONSTANTINE HELLBLAZER: LAST MAN STANDING VOLUME 11 PDF, EPUB, EBOOK Sean Phillips,Paul Jenkins | 336 pages | 25 Aug 2015 | DC Comics | 9781401255299 | English | United States John Constantine Hellblazer: Last Man Standing Volume 11 PDF Book Learn how to enable JavaScript on your browser. The final, longer issue has John break the fourth wall. The penultimate major run of Delano's tenure was " The Family Man ", [17] which differed from the main body of the series thus far in that Constantine's nemesis is not supernatural beyond an opening metafictional encounter with a fictional fence , but a former policeman turned serial killer. Anyway have a few panels of John getting kissed by King Arthur because It also had a strong religious theme, with John's dealings with the First of the Fallen , and some storylines, such as the relationship between an angel, Tali, and a succubus demon, Ellie, would go on to be used again as a major plot device in Preacher , one of his most popular works. Paperback —. Archived from the original on January 3, Here at Walmart. In Dougall, Alastair ed. Hanuted cemetary next to houses and pissed off ghosts affect people; most of it doesn't really matter. Merlin is looking for the Grail, and thinks John is the man to find it for him. Not sure about the less magicky focus but hey, at least it is entertaining. Sean Phillips Illustrations ,. John Constantine Hellblazer Volume Regeneration []. Hellblazer issue Son of Man. In fact, the entire thing feels as if it is all for a lame joke. -
Small-Screen Courtrooms a Hit with Lawyers - Buffalo - Buffalo Business First
9/18/2018 Small-screen courtrooms a hit with lawyers - Buffalo - Buffalo Business First MENU Account FOR THE EXCLUSIVE USE OF [email protected] From the Buffalo Business First: https://www.bizjournals.com/buffalo/news/2018/09/17/small-screen-courtrooms-a-hit-with-lawyers.html Small-screen courtrooms a hit with lawyers Sep 17, 2018, 6:00am EDT For many, TV shows are an escape from reality. For attorneys, that’s no different – even when they’re watching lawyers on TV. “Better Call Saul” is the latest in a long line of TV shows about the legal profession. A prequel to AMC’s “Breaking Bad,” the show stars Bob Odenkirk as a crooked-at-times attorney named Jimmy McGill. “He’s a likable guy and you like his character,” said Patrick Fitzsimmons, senior associate at Hodgson Russ LLP in Buffalo. “It’s a great show. I think it’s the one BEN LEUNER/AMC show compared to the others where it’s not about a big firm.” “Better Call Saul” puts a new spin on legal drama as the slippery Jimmy McGill (played by Bob Odenkirk) Also a fan is Michael Benz, an associate at HoganWillig who recently returned to builds his practice. his native Buffalo after working in the Philadelphia public defender’s office and in his own practice as a criminal defense attorney. “(Odenkirk’s character is) the classic defense attorney who will do anything to make a buck or help his client,” Benz said, adding that he often binge-watches shows with his wife, Carla, an attorney in the federal public defender’s office in Buffalo. -
Super Satan: Milton’S Devil in Contemporary Comics
Super Satan: Milton’s Devil in Contemporary Comics By Shereen Siwpersad A Thesis Submitted to Leiden University, Leiden, the Netherlands in Partial Fulfillment of the Requirements for the Degree of MA English Literary Studies July, 2014, Leiden, the Netherlands First Reader: Dr. J.F.D. van Dijkhuizen Second Reader: Dr. E.J. van Leeuwen Date: 1 July 2014 Table of Contents Introduction …………………………………………………………………………... 1 - 5 1. Milton’s Satan as the modern superhero in comics ……………………………….. 6 1.1 The conventions of mission, powers and identity ………………………... 6 1.2 The history of the modern superhero ……………………………………... 7 1.3 Religion and the Miltonic Satan in comics ……………………………….. 8 1.4 Mission, powers and identity in Steve Orlando’s Paradise Lost …………. 8 - 12 1.5 Authority, defiance and the Miltonic Satan in comics …………………… 12 - 15 1.6 The human Satan in comics ……………………………………………… 15 - 17 2. Ambiguous representations of Milton’s Satan in Steve Orlando’s Paradise Lost ... 18 2.1 Visual representations of the heroic Satan ……………………………….. 18 - 20 2.2 Symbolic colors and black gutters ……………………………………….. 20 - 23 2.3 Orlando’s representation of the meteor simile …………………………… 23 2.4 Ambiguous linguistic representations of Satan …………………………... 24 - 25 2.5 Ambiguity and discrepancy between linguistic and visual codes ………... 25 - 26 3. Lucifer Morningstar: Obedience, authority and nihilism …………………………. 27 3.1 Lucifer’s rejection of authority ………………………..…………………. 27 - 32 3.2 The absence of a theodicy ………………………………………………... 32 - 35 3.3 Carey’s flawed and amoral God ………………………………………….. 35 - 36 3.4 The implications of existential and metaphysical nihilism ……………….. 36 - 41 Conclusion ……………………………………………………………………………. 42 - 46 Appendix ……………………………………………………………………………… 47 Figure 1.1 ……………………………………………………………………… 47 Figure 1.2 ……………………………………………………………………… 48 Figure 1.3 ……………………………………………………………………… 48 Figure 1.4 ………………………………………………………………………. -
Growing up with Vertigo: British Writers, Dc, and the Maturation of American Comic Books
CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks @ UVM GROWING UP WITH VERTIGO: BRITISH WRITERS, DC, AND THE MATURATION OF AMERICAN COMIC BOOKS A Thesis Presented by Derek A. Salisbury to The Faculty of the Graduate College of The University of Vermont In Partial Fulfillment of the Requirements For the Degree of Master of Arts Specializing in History May, 2013 Accepted by the Faculty of the Graduate College, The University of Vermont, in partial fulfillment of the requirements for the degree of Master of Arts, specializing in History. Thesis Examination Committee: ______________________________________ Advisor Abigail McGowan, Ph.D ______________________________________ Melanie Gustafson, Ph.D ______________________________________ Chairperson Elizabeth Fenton, Ph.D ______________________________________ Dean, Graduate College Domenico Grasso, Ph.D March 22, 2013 Abstract At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. -
BREAKING BAD by Vince Gilligan
BREAKING BAD by Vince Gilligan 5/27/05 AMC Sony Pictures Television TEASER EXT. COW PASTURE - DAY Deep blue sky overhead. Fat, scuddy clouds. Below them, black and white cows graze the rolling hills. This could be one of those California "It's The Cheese" commercials. Except those commercials don't normally focus on cow shit. We do. TILT DOWN to a fat, round PATTY drying olive drab in the sun. Flies buzz. Peaceful and quiet. until ••• ZOOOM! WHEELS plow right through the shit with a SPLAT. NEW ANGLE - AN RV Is speeding smack-dab through the pasture, no road in sight. A bit out of place, to say the least. It's an old 70's era Winnebago with chalky white paint and Bondo spots. A bumper sticker for the Good Sam Club is stuck to the back. The Winnebago galumphs across the landscape, scattering cows. It catches a wheel and sprays a rooster tail of red dirt. INT. WINNEBAGO - DAY Inside, the DRIVER's knuckles cling white to the wheel. He's got the pedal flat. Scared, breathing fast. His eyes bug wide behind the faceplate of his gas mask. Oh, by the way, he's wearing a GAS MASK. That, and white jockey UNDERPANTS. Nothing else. Buckled in the seat beside him lolls a clothed PASSENGER, also wearing a gas mask. Blood streaks down from his ear, blotting his T-shirt. He's passed out cold. Behind them, the interior is a wreck. Beakers and buckets and flasks -- some kind of ad-hoc CHEMICAL LAB -- spill their noxious contents with every bump we hit. -
Skeptical Prologue Some Works of Art Leave a Lasting Impression Precisely Because They Don't Seem to Be in Control of Their
Skeptical Prologue Some works of art leave a lasting impression precisely because they don't seem to be in control of their own themes. Questions are raised, ideas are alluded to, that the artist may not know how to develop or bring into focus. But that's OK, because maybe we don't know what to do with them either. Some ideas are just too hard to integrate into the dominant projects of our lives. Some ideas, by their very nature, will always take us by surprise. Such a work of art—full of surprising, imperfectly integrated allusions—is Source Code , a mainstream Hollywood studio production released in 2011. Most critics passed it by with tepid approval, taking it for little more than a well-made thriller with a science fiction premise and a romantic subplot, notable mainly for the fact that its director, Duncan Jones, is the son of David Bowie. A few reviewers, however, caught a deeper resonance in the film—the tell-tale signs of an artist at work—even if they didn't quite know what to make of it. 1 One of the film's champions, Andrew O'Hehir of Salon , tried to put his finger on this special quality in his initial review. He was struck by a repeated scene in the film, a wide shot of geese taking off from a waterway. It's an anomalous image in a film that takes place mainly within constrained interior spaces: a commuter train, a suite of government offices, and a rugged one-man capsule like something left over from the Mercury Program. -
A Pilot Qualitative Case Study of Agricultural and Natural Resources Scientists' Twitter Usage for Engaging Public Audiences
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers in Natural Resources Natural Resources, School of 2019 A Pilot Qualitative Case Study of Agricultural and Natural Resources Scientists’ Twitter Usage for Engaging Public Audiences Jaime Loizzo Catherine Jones Abby Steffen Follow this and additional works at: https://digitalcommons.unl.edu/natrespapers Part of the Natural Resources and Conservation Commons, Natural Resources Management and Policy Commons, and the Other Environmental Sciences Commons This Article is brought to you for free and open access by the Natural Resources, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers in Natural Resources by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Journal of Applied Communications Volume 103 Issue 4 Article 6 11-2019 A Pilot Qualitative Case Study of Agricultural and Natural Resources Scientists’ Twitter Usage for Engaging Public Audiences Jamie Loizzo University of Florida Catherine Jones University of Nebraska-Lincoln Abby Steffen University of Nebraska-Lincoln Follow this and additional works at: https://newprairiepress.org/jac Part of the Communication Technology and New Media Commons, Mass Communication Commons, Other Communication Commons, Science and Technology Studies Commons, Social Influence and Political Communication Commons, and the Social Media Commons Recommended Citation Loizzo, Jamie; Jones, Catherine; and Steffen, Abby () "A Pilot Qualitative Case Study of Agricultural and Natural Resources Scientists’ Twitter Usage for Engaging Public Audiences," Journal of Applied Communications: Vol. 103: Iss. 4. https://doi.org/10.4148/1051-0834.2276 This Research is brought to you for free and open access by New Prairie Press. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
Iraq Between Maliki and the Islamic State July 9, 2014
Iraq Between Maliki and the Islamic State July 9, 2014 POMEPS Briefings 24 Contents Seeking to explain the rise of sectarianism in the Middle East . 4 By Toby Dodge The Middle East quasi-state system . 10 By Ariel I. Ahram How can the U .S . help Maliki when Maliki’s the problem? . 12 By Marc Lynch Why the Iraqi army collapsed (and what can be done about it) . 13 By Keren Fraiman, Austin Long, Columbia University, and Caitlin Talmadge Getting rid of Maliki won’t solve Iraq’s crisis . 15 By Fanar Haddad How Arab backers of the Syrian rebels see Iraq . 17 By Marc Lynch Want to defeat ISIS in Iraq? More electricity would help . 19 By Andrew Shaver and Gabriel Tenorio Will ISIS Cohere or Collapse? . 22 By Paul Staniland Maliki has only himself to blame for Iraq’s crisis . 23 By Zaid Al-Ali Was Obama wrong to withdraw troops from Iraq? . 26 By Jason Brownlee Can ISIS overcome the insurgency resource curse? . 29 By Ariel I. Ahram The Calculated Caliphate . 31 By Thomas Hegghammer The logic of violence in the Islamic State’s war . 34 By Stathis N. Kalyva The Project on Middle East Political Science The Project on Middle East Political Science (POMEPS) is a collaborative network that aims to increase the impact of political scientists specializing in the study of the Middle East in the public sphere and in the academic community . POMEPS, directed by Marc Lynch, is based at the Institute for Middle East Studies at the George Washington University and is supported by the Carnegie Corporation and the Henry Luce Foundation . -
Vigilantes, Incorporated: an Ideological Economy of the Superhero Blockbuster
VIGILANTES, INCORPORATED: AN IDEOLOGICAL ECONOMY OF THE SUPERHERO BLOCKBUSTER BY EZRA CLAVERIE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor José B. Capino, Chair Associate Professor Jim Hansen Associate Professor Lilya Kaganovsky Associate Professor Robert A. Rushing Professor Frank Grady,Department of English, University of Missouri, Saint Louis ii ABSTRACT Since 2000, the comic-book superhero blockbuster has become Hollywood’s most salient genre. “Heroes, Incorporated: A Political Economy of the Superhero Blockbuster” examines these seemingly reactionary fantasies of American power, analyzing their role in transmedia storytelling for a conglomerated and world-spanning entertainment industry. This dissertation argues that for all their apparent investment in the status quo and the hegemony of white men, superhero blockbusters actually reveal the disruptive and inhuman logic of capital, which drives both technological and cultural change. Although focused on the superhero film from 2000 to 2015, this project also considers the print and electronic media across which conglomerates extend their franchises. It thereby contributes to the materialist study of popular culture and transmedia adaptation, showing how 21st century Hollywood adapts old media for new platforms, technologies, and audiences. The first chapter traces the ideology of these films to their commercial roots, arguing that screen superheroes function as allegories of intellectual property. The hero’s “brand” identity signifies stability, even as the character’s corporate owners continually revise him (rarely her).