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Liminality in Neil Gaiman's and J. K. Rowling's Fiction. Orphan Heroes and Their Rites of Passage
Jihočeská univerzita v Českých Budějovicích Pedagogická fakulta Katedra anglistiky Diplomová práce Liminality in Neil Gaiman's and J. K. Rowling's Fiction. Orphan Heroes and Their Rites of Passage Liminalita v díle Neila Gaimana a J. K. Rowlingové. Osiřelí hrdinové a jejich přechodové rituály Vypracovala: Lucie Masláková Vedoucí práce: PhDr. Alice Sukdolová, Ph.D. České Budějovice 2020 Prohlaš uji, ž e svoji diplomovou práci jsem vypracovala samostatně pouze s použ itím pramenů a literatury uvedených v seznamu citované literatury. Prohlaš uji, ž e v souladu s § 47b zákona č . 111/1998 Sb. v platném zně ni ́ souhlasím se zveř ejně ním své diplomové, a to v nezkrácené podobě - v úpravě vzniklé vypuš tě ním vyznač ených č ásti ́ archivovaných pedagogickou fakultou elektronickou cestou ve veř ejně př istupń é č ásti databáze STAG provozované Jihoč eskou univerzitou v Č eských Budě jovicich́ na jejich́ internetových stránkách, a to se zachováním mého autorského práva k odevzdanému textu této kvalifikač ni ́ práce. Souhlasiḿ dále s tim,́ aby toutéž elektronickou cestou byly v souladu s uvedeným ustanovením zákona č . 111/1998 Sb. zveř ejně ny posudky š kolitele a oponentů práce i záznam o prů bě hu a výsledku obhajoby kvalifikač ni ́ práce. Rovně ž souhlasím sporovnániḿ textu mé kvalifikač ni ́ práce s databázi ́ kvalifikač nich́ praci ́ Theses.cz provozovanou Národniḿ registrem vysokoš kolských kvalifikač nich́ praci ́ a systémem na odhalováni ́ plagiátů . V Č eských Budě jovicich́ dne Podpis: .................................................. Acknowledgement I would like to thank PhDr. Alice Sukdolová, Ph.D. for her valuable advice, comments and support. -
Waking up the Gods Sandman Series (And Legions of Other Similar Publications) Neil Gaiman Has Also Written Numerous Short Stories and Essays
BOOKWORLD INCWADI YELIZWE tion of the minds of these two authors here truly produces a hugely entertaining read. Besides his acclaim as the author of The Waking up the gods Sandman series (and legions of other similar publications) Neil Gaiman has also written numerous short stories and essays. An excel- The unusual world of Neil Gaiman lent selection of these may be found in the 1999 publication Smoke and mirrors: short fiction and illusions. As its title suggests, the ALEXANDER VAN DER POLL #19 became the first (and only) comic pieces collected within it are all about illusion. Correspondent (graphic novel) to be awarded a literary Often Gaiman uses traditional imagery and prize (The World Fantasy Award) in 1991, ideas, or even fables and then adds his unique ‘Saying Neil Gaiman is a writer, is like the ‘underground’ author took his first otherworldly touch to them. The text itself is saying Da Vinci dabbled in the arts.’ steps toward world acclaim. very varied, ranging from a mere paragraph to (Minneapolis Star Tribune) Today he is hailed by many as an excit- a dozen or more pages. Yet, whether long or ing new voice in English fiction, and even short, the stories, poems and essays included doll with hollowed out eyes is best-selling author Stephen King, has high are always stimulating and tend to linger in the pinned to the wall. An ‘expression’ praise for his work. The dictionary of liter- mind. A of horror fills its lifeless face. A tie ary biography lists Gaiman as one of the And not only in the mind of the reader! is wrapped around its neck. -
The Sandman: Endless Nights
THE SANDMAN: ENDLESS NIGHTS Presentation by Jason Moore Heather Morgan Orion Petitclerc http://files.g4tv.com/ImageDb3/249655_S/TV‐Series‐Planned‐For‐The‐Sandman‐Can‐It‐Work.jpg KEYWORDS •Graphic Novel •Endless •Perception/Variation •Sigil •Subculture •Artistic Style GRAPHIC NOVELS 101: A NEW LITERARY ARTFORM! •Graphic Novel –A medium in which text is both accompanied and complimented by art, oftentimes to a degree in which neither elements can stand alone and tell a story. (Exception: “‘Nuff Said” comics) The “Graphic Novel” Controversy: •According to Alan Moore (Watchmen, V for Vendetta), graphic novel is merely “a marketing term…[that] just came to mean ‘expensive comic book’”. http://images.wikia.com/marveldatabase/images/9/91/Amazing_Spider‐Man_Vol_2_39.jpg THE GRAPHIC NOVEL FORMAT American Comic Book Format: •Dimensions: 6 5/8” x 10 ¼“ (17 x 26 cm) •Scaled up or down for graphic novels or trade collections. •Length: 32 pages, 21‐24 pages of story and art plus 8 pages of advertisements •Read from left‐to‐right, top‐to‐bottom (unless otherwise dictated by the artistic Types of Publications: arrangement on the pages). •The Standard comic book •Published as an Ongoing Series (Amazing Spider‐Man, Batman, etc.), Annual, One‐Shot, or Limited Series. •Graphic Novels •Trade Paperbacks (TPB’s), Anthologies, and Omnibuses ENDLESS NIGHTS FORMAT •American Graphic Novel •Largely traditional paneled pages and directional flow http://upload.wikimedia.org/wikipedia/en/thumb/4/4f/Endless_Nights_cover.jpg/250px-Endless_Nights_cover.jpg NOTE! Endless Nights was only published as a Graphic Novel, whereas the original Sandman series was published as a standard monthly Comic Book later collected in TPB’s. -
Neil Gaiman's Feminist Fairy Tales
About this Volume Joseph Michael Sommers 7KHHVVD\VFRQWDLQHGZLWKLQWKLVYROXPHFRQVWLWXWHDQLQWHUHVWLQJ mélange of thoughts, ruminations, perspectives, and approaches that are as diverse a look at the life and work of Neil Gaiman as any in SULQWWRGD\WRP\PLQGDWOHDVW7KHFRQWULEXWRUVDQG,DUHTXLWH SURXGRIWKDW7KHFKDSWHUVGRQRWUDGLDWHIURPDQ\FHQWUDOWKHVLV chronology (though one is presented in the Resources section of this book), or even thematic progression nearly as much as they make DYDLQDWWHPSWWRH[SORUHDVPDQ\IDFHWVRIWKHDXWKRUDQGWKH¿UVW thirty years of his career from as many different avenues as one FRXOG ¿W EHWZHHQ WZR FRYHUV:H VWDUW DV QHDU DV SRVVLEOH WR WKH beginning of his career in short stories, comics, and journalism and examine works as recent as 2016’s The View from the Cheap Seats while we await his next volume Norse Mythology and the televised adaptation of American Gods, both slated to appear in 2017. Some subjects, like Gaiman’s seminal work on The Sandman receive greater coverage; winning over twenty-six Eisner awards garners that sort of attention. Other topics received less. I could cajole no one to cover Gaiman’s foray into the autobiographical history of Duran Duran no matter how hard I tried. Perhaps, next time. 6R DW EHVW DQG FHUWDLQO\ DW ¿UVW FRQVLGHU WKH YROXPH EHIRUH you as the lot of us making a start, to paraphrase the great American poet William Carlos William’s Patterson, out of particulars and making them general . rolling up the sum by the defective means RIZKDWRQHERRNFDQHQFDSVXODWHRIRQHRIWKHPRVWSUROL¿FZULWHUV RIWKHODWHWZHQWLHWKDQGWZHQW\¿UVWFHQWXU\&HUWDLQO\ZLWKLQWKHVH -
The Neil Gaiman Reader
THE NEIL GAIMAN READER EDITED BY DARRELL SCHWEITZER WILDSIDE PRESS CONTENTS INTRODUCTION Sandman Studies CAMPBELL AND THE SANDMAN: REMINDING US OF THE SACRED by Stephen Rauch 11 DREAMS AND FAIRY TALES: THE THEME OF RATIONALITY IN A MIDSUMMER NIGHT'S DREAM AND THE SANDMAN by Julie Myers Saxton 22 THE KING FORSAKES HIS THRONE: CAMPBELLIAN HERO ICONS IN NEIL GAIMAN'S SANDMAN byPeterS.RawlikJr. 30 BLUE AND PINK: GENDER IN NEIL GAIMAN'S WORK by Mary Borsellino 51 GODS AND OTHER MONSTERS: A SANDMAN EXIT INTERVIEW AND PHILOSOPHICAL OMNIBUS by Robert K. Elder 54 The Rest ofGaiman NEIL GAIMAN IN WORDS AND PICTURES by Ben R Indick 79 PAY ATTENTION: THERE MAY OR MAY NOT BE A MAN BEHIND THE CURTAIN, AN ANALYSIS OF NEIL GAIMAN AND DAVE MCKEAN'S VIOLENT CASES by JaNell Golden 97 AN AUTOPSY OF STORYTELLING: METAFICTION AND NEIL GAIMAN by Chris Dowd . 103 TAPDANCING ON THE SHOULDERS OF GIANTS: NEIL GAIMAN'S STARDUST AND ITS ANTECEDENTS by Darrell Schweitzer 121 THE OLD SWITCHEROO: A STUDY IN NEIL GAIMAN'S USE OF CHARACTER REVERSAL by Jason Erik Lundberg 122 BACKSTAGE by William Alexander 131 NO NEED TO CHOOSE: A MAGNIFICENT ANARCHY OF BELIEF by Bethany Alexander 135 THE THIN LINE BETWEEN by Marilyn "Mattie" Brahen 140 ON THE DEATH OF MAD KING SWEENY: IRISH LORE AND LITERATURE IN AMERICAN GODS by William Alexander CATHARSIS AND THE AMERICAN GOD: NEIL GAIMAN by Baba Singh 154 THE FRAME AND THE FLASHBACK: ANALYZING NEIL GAIMAN'S STORY "MURDER MYSTERIES" by Marilyn Mattie Brahen 165 CORALINE—A QUEST FOR IDENTITY by Mike Ashley 171 ANOTHER INTERVIEW WITH NEIL GAIMAN, by Darrell Schweitzer 175 NEIL GAIMAN: AN INCOMPLETE BIBLIOGRAPHY by Davey Snyder 190 CONTRIBUTOR NOTES 213 INDEX \. -
Childhood and Memory in the Comics of Neil Gaiman and Dave Mckean
CHAPTER SIX Childhood and memory in the comics of Neil Gaiman and Dave McKean For Alan Moore. With thanks and gratitude, and, after all these years, still a smidgen of awe. – Neil and Dave.1 It makes sense to discuss Alan Moore and Neil Gaiman side by side because not only are they arguably the most prominent names in British alternative comics but they have been instrumental in each other’s careers. In the mid 1980s Gaiman was introduced to comics partly by reading Moore’s Swamp Thing, and Moore subsequently taught Gaiman how to lay out a comics script.2 Melinda Gebbie claims that it was Gaiman who first gave her Moore’s phone number in the early 90s, and Moore credits Gaiman with some of the references in From Hell.3 As I will demonstrate, Gaiman shares some of Moore’s preoccupations with the power of the imagination and issues surrounding childhood, but where Moore’s interest is in perception, Gaiman’s focus is primarily on memory. In this chapter I will discuss the relationship between Neil Gaiman’s preoccupations with imagination, memory and childhood identity and Dave McKean’s distinctive collage illustration style. I will focus on three comics scripted by Gaiman and drawn by McKean: Violent Cases (1987), Signal to Noise (1992) and The Tragical Comedy or Comical Tragedy of Mr Punch (1994). These collaborative works form a triad of short, richly coloured, collage-based comics about the difficulties involved in forming and sustaining adult subjectivity. Where Violent Cases and Mr Punch narrate an individual’s first unwilling steps into the adult world, Signal to Noise, which is told through the eyes of a dying film director, comprises reflections on the end of a life. -
Liminality in Neil Gaiman's Neverwhere and American Gods Courtney Linn Firman Bucknell University
Bucknell University Bucknell Digital Commons Master’s Theses Student Theses 2010 Fantasy Making the Invisible Visible: Liminality in Neil Gaiman's Neverwhere and American Gods Courtney Linn Firman Bucknell University Follow this and additional works at: https://digitalcommons.bucknell.edu/masters_theses Recommended Citation Firman, Courtney Linn, "Fantasy Making the Invisible Visible: Liminality in Neil Gaiman's Neverwhere and American Gods" (2010). Master’s Theses. 27. https://digitalcommons.bucknell.edu/masters_theses/27 This Masters Thesis is brought to you for free and open access by the Student Theses at Bucknell Digital Commons. It has been accepted for inclusion in Master’s Theses by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. I, Courtney L. Firman, do grant permission for my thesis to be copied. i Acknowledgements I would like to, first, thank my committee for all of their input and support. Prof. Jean Peterson, Prof. Alf Siewers, and Prof. James Peterson have been indispensible throughout this process. Second, I would like to thank my entire family (especially Logan and Nicole). Without their love, support, and understanding there is no way I could have reached this goal. ii Table of Contents Introduction p. 1 Chap. 1 : The Invisible in Literature: The Voice of the Liminal in Neverwhere p. 5 and American Gods Chap. 2 : The Beast in the Sewer: Representing the Liminal for Two Millenia p. 27 Chap. 3 : Revealing the Invisible: Gaiman’s Use of the Beast in the Sewer p. 41 Conclusion p. 54 Works Cited p. 56 iii Abstract The purpose of this thesis was to examine the ways in which the fantasy genre is ideally positioned for discussing social issues, such as invisibility and liminality. -
2013 Programfor Posting
ICFA 34: Fantastic Transformations, Adaptations and Audiences March 20-23, 2013 Tuesday, March 19, 2013 8:30-11:00 p.m. Pre-Conference Party President’s Suite Open to all. Refreshments will Be served. ******* Wednesday, March 20, 2013 2:30-3:15 p.m. Pre-Opening Refreshment Ballroom Foyer ******* Wednesday, March 20, 2013 3:30-4:15 p.m. Opening Ceremony Ballroom Host: Donald E. Morse, Conference Chair Welcome from the President: Jim Casey Opening Panel: The Transformative Fantastic Ballroom The Fantastic is constantly evolving, simultaneously relying on and rejecting its past, Borrowing from other cultures, retelling tales, highlighting alterations in gender and politics, and adapting itself to new forms of participatory reading and writing. This panel will explore some of the ways in which the Fantastic engages in exploring transformation and thus transforms itself as a genre. Moderator: Andy Duncan Neil Gaiman Constance Penley Kij Johnson ******* Wednesday, March 20, 2013 4:30-6:00 p.m. 1. (F/CYA) Gaiman: Magic, Death, and Pastiche Pine Chair: Stefan Ekman University of Gothenburg The Creative Spectrum of Magic in Neil Gaiman’s Works ABstract: This paper is an experiment in approaching fantasy literature through the lense magic as the main focus for critical exploration. A selection of Neil Gaiman’s works: American Gods (2001), Anansi Boys (2005), Neverwhere (1996), The Graveyard Book (2008) and Stardust (1999), is used as a testing sample for the creative spectrum of magic apparatus. A. J. Drenda Anglia Ruskin University The Insightful Dead and the Insight of the Tale in American Gods and The Graveyard Book ABstract: The dead and other fantastic manifestations of death in Neil Gaiman’s American Gods and The Graveyard Book serve didactic and epistemic functions rather than – as is the case in many other tales which adapt a reaper, ghosts, or similar characters – disruptive and destructive ones. -
Graphic Novel Finding Aid for Merril Collection of Science Fiction, Speculation & Fantasy Last Updated: September 15, 2020
Graphic Novel Finding Aid for Merril Collection of Science Fiction, Speculation & Fantasy Last updated: September 15, 2020 Most books in this list are in English. We have some graphic novels in other languages . Books are listed alphabetically by series title. Books in series are listed in numerical order (if possible) — otherwise they’re listed alphabetically by sub-title. A | B |C |D | E |F |G | H | I| J| K | L | M | N |O | P | Q| R |S | T| U | V | W | X | Y | Z Title Writer/Artist Notes A A.B.C. Warriors. The Mills, Pat and Kevin A.B.C. Warriors began in Mek-nificent Seven O’Neill and Mike Starlord. McMahon A. D.: after death Snyder, Scott and Jeff Lemire A.D.D. : Adolescent Rushkoff, Douglas Demo Division et al. Aama. 1, The smell Peeters, Frederick of warm dust Aama. 2, The Peeters, Frederick invisible throng Aama. 3, The desert Peeters, Frederick of mirrors The Abaddon Shadmi, Koren Abbott Ahmed, Saladin and Originally published in single others magazine form as Abbott, #1-5. Aama. 4, You will be Peeters, Frederick glorious, my daughter Abe Sapien. Vol. 1, Mignola, Mike et al. The drowning Abe Sapien. Vol. 2, Mignola, Mike et al. The devil does not jest and other stories Across the Universe. Moore, Alan et al. “Superman annual” #11; The DC Universe “Detective comics” #549, 550, stories of Alan “Green Lantern” #188; Moore “Vigilante” #17, 18; “The Omega men” #26, 27; “DC Comics presents” #85; “Tales of the Green Lantern corps annual” #2, 3; “Secret origins” #10; “Batman annual” #11 The Action heroes Gill, Joe et al. -
Teacher Resource Guide
Teacher Resource Guide and Lesson Plan Activities Featuring general information about our production along with some creative activities which will help you make connections to your classroom curriculum, before and after the show. The production and accompanying activities address North Carolina Essential Standards in Theatre Arts, Goal A.1: Analyze literary texts and performances. Look for this symbol throughout the resource guide for other curriculum connections. About the Play Bored by her colorless surroundings, Coraline goes exploring through a magic door and gets trapped in a strange, unsettling parallel world. Get scared out of your wits with this creepy musical version of the popular fantasy novel by Neil Gaiman. About the Author Neil Gaiman was born in Hampshire, UK and got his start in writing as a journalist. His first graphic novel “Violent Cases” with artist Dave McKean was published when Gaiman was 26 and led to a series of graphic novels called “Black Orchid,” published by D.C. Comics. The ground- breaking series Sandman followed; the first comic ever to receive a literary award. Coraline was written in 2002. Originally considered “too frightening for children”, it won the British Science Fiction Award, the Hugo, the Nebula, the Bram Stoker, and the American Elizabeth Burr/Worzalla award. More about Neil Gaiman can be found on his website: www.neilgaiman.com. Coraline About the Playwright Based on the book by Neil Gaiman David Greenspan is an American author, playwright, director Book by David Greenspan and actor, based in New York. He holds a drama degree Music and Lyrics by Stephin Merritt from the University of California at Irvine and has received Directed by Mark Sutton six Obie awards over the course of his career, including one for sustained achievement. -
Úniky a Návraty Ve Fantastických Příbězích Neila Gaimana Escapes and Returns in Neil Gaiman´S Fantasy
Jihočeská univerzita v Českých Budějovicích Pedagogická fakulta Katedra anglistiky Diplomová práce Úniky a návraty ve fantastických příbězích Neila Gaimana Escapes and Returns in Neil Gaiman´s Fantasy Stories Vypracovala: Bc. Barbora Šedivá Vedoucí práce: PhDr. Kamila Vránková, Ph.D. České Budějovice 2018 Prohlášení: Prohlašuji, že jsem diplomovou práci s názvem Úniky a návraty ve fantastických příbězích Neila Gaimana vypracovala samostatně a veškeré použité zdroje jsem uvedla v seznamu literatury. Prohlašuji, že v souladu s § 47b zákona č. 111/1998 Sb. v platném znění souhlasím se zveřejněním své diplomové práce, a to v nezkrácené podobě elektronickou cestou ve veřejně přístupné části databáze STAG provozované Jihočeskou univerzitou v Českých Budějovicích na jejích internetových stránkách, a to se zachováním mého autorského práva k odevzdanému textu této kvalifikační práce. Souhlasím dále s tím, aby toutéž elektronickou cestou byly v souladu s uvedeným ustanovením zákona č. 111/1998 Sb. zveřejněny posudky školitele a oponentů práce i záznam o průběhu a výsledku obhajoby kvalifikační práce. Rovněž souhlasím s porovnáním textu mé kvalifikační práce s databází kvalifikačních prací Theses.cz provozovanou Národním registrem vysokoškolských kvalifikačních prací a systémem na odhalování plagiátů. V Českých Budějovicích 18. 4. 2018 Bc. Barbora Šedivá Poděkování Touto cestou bych ráda poděkovala své vedoucí diplomové práce PhDr. Kamile Vránkové, Ph.D. za vedení mé diplomové práce, vstřícný přístup, ochotu a cenné rady při tvorbě této práce. Anotace Diplomová práce se zabývá charakteristikou a intepretací díla Neila Gaimana, konkrétně příběhů pro děti Coraline (2002), The Graveyard Book (2008) a Fortunately, the Milk (2013). Teoretická část se soustředí na souvislost zkoumaného díla s tradicí dobrodružné literatury a gotického románu, na britskou literaturu pro děti a mládež, Neila Gaimana a jeho nejvýznamnější díla, dále na strukturu přechodových rituálů (Gennep) a téma zkoušky/krize jako nevyhnutelné součásti hrdinova hledání vlastní identity (Bachtin, Hodrová). -
Author Essay Neil Gaiman
Author Essay Neil Gaiman Sandman ISBN13: 9780380817702 Biographical Notes Tori Amos has been playing the piano since she was two years old. She was accepted into the Peabody Conservatory at the age of five. She was kicked out for irreconcilable differences at the age of eleven. Her album Little Earthquakes was initially released in the U.K. In January 1992 and worldwide release followed. A 1992 world tour gave Tori a chance to eat lots of good food and play over two- hundred cities worldwide alone at her piano. Since then Tori has released two more bestselling albums, Under the Pink in 1994 and Boys for Pele in 1996.Clive Barker established himself as a major voice in the horror field with the publication of his anthologies, the Book of Blood 1-4, in the 1980s. Novels such as Imajica and The Damnation Game and films such as Hellraiser and Nightbreed only strengthen that claim. The covers and interior artwork of many of Clive's works are drawn and painted by him as well. A novelist, playwright, filmmaker, and artist, Clive Barker qualifies as a true Renaissance Man of the Macabre and the Fantastique.Steven Brust is the popular author of the Vlad Taltos series, chronicling the adventures of an assassin-for-hire. His most recent works include The Phoenix Guard and 500 Years After.Brenda W. Clough is the author of four fantasy novels, a novel for young readers, and a number of short stories. Her latest book, How Like a God, will be published by Tor Books. She has been reading and collecting comics since she was seven years old.Susanna Clarke lives in Cambridge, England, where she spends most of her time editing cookbooks and watching people take photographs of food.