The Bookworm & the Butterfly
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Weather Underground Rises from the Ashes: They're Baack!
Weather Underground Rises from the Ashes: They're Baack! I attended part of a January 20, 2006, "day workshop of interventions" — aka "a day of dialogic interventions" — at Columbia University on "Radical Politics and the Ethics of Life."[1] The event aimed "to stage a series of encounters . to bring to light . the political aporias [sic] erected by the praxis of urban guerrilla groups" in Europe and the United States from the 1960s to the 80s.[2] Hosted by Columbia's Anthropology Department, workshop speakers included veterans and leaders of the Weather Underground Bernardine Dohrn and Bill Ayers, historian Jeremy Varon, poststructuralist theorist Gayatri Chakravorty Spivak and a dozen others. The panel I sat through was just awful.[3] Veterans of Weather (as well as some fans) seem to be on a drive to rehabilitate, cleanse, and perhaps revive it — not necessarily as a new organization, but rather as an ideological component of present and future movements. There have been signs of such a sanitization and romanticization for some time. A landmark in this rehabilitation is Bill Ayers, Fugitive Days: A Memoir (Beacon Press 2001; Penguin Books 2003). This is a dubious account, full of anachronisms, inaccuracies, unacknowledged borrowings from unnamed sources (such as the documentary, Atomic Cafe, 17-19), adding up to an attempt to cover over the fact that Ayers was there only for a part of the things he describes in a volume that nonetheless presents itself as a memoir. It's also faux literary and soft core ("warm and wet and welcoming"(68)), "ruby mouth"(38), "she felt warm and moist"(81)), full of archaic sexism, littered with boasts of Ayers's sexual achievements, utterly untouched by feminism. -
The Politics of Revolutionary Anti-Imperialism
FIRE THE POLITICS OF REVOLUTIONARY ANTI-IMPERIALISM ---- - ... POLITICAL STATEMENT OF THE UND£ $1.50 Prairie Fire Distributing Lo,rnrrntte:e This edition ofPrairie Fire is published and copyrighted by Communications Co. in response to a written request from the authors of the contents. 'rVe have attempted to produce a readable pocket size book at a re'ls(m,tbl.e cost. Weare printing as many as fast as limited resources allow. We hope that people interested in Revolutionary ideas and events will morc and better editions possible in the future. (And that this edition at least some extent the request made by its authors.) PO Box 411 Communications Co. Times Plaza Sta. PO Box 40614, Sta. C Brooklyn, New York San FrancisQ:O, Ca. 11217 94110 Quantity rates upon request to Peoples' Bookstores and Community organiza- tlOBS. PRAIRIE FIRE THE POLITICS OF REVOLUTIONARY ANTI-IMPERIALISM POLITICAL STATEMENT , OF THE WEATHER Copyright © 1974 by Communications Co. UNDERGROUND All rights reserved The pUblisher's copyright is not intended to discourage the use ofmaterial from this book for political debate and study. It is intended to prevent false and distorted reproduction and profiteering. Aside from those limits, people are free to utilize the material. This edition is a copy of the original which was Printed Underground In the US For The People Published by Communications Co. 1974 +h(~ of OlJr(1)mYl\Q~S tJ,o ~Q.Ve., ~·Ir tllJ€~ it) #i s\-~~\~ 'Yt)l1(ch ~, \~ 10 ~~\ d~~~ee.' l1~rJ 1I'bw~· reU'w) ~it· e\rrp- f'0nit'l)o yralt· ~YZlpmu>I')' ca~-\e.v"C2lmp· ~~ ~[\.ll10' ~li~ ~n. -
Copyright 2013 Shawn Patrick Gilmore
Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way. -
Bobby in Movieland Father Francis J
Xavier University Exhibit Father Francis J. Finn, S.J. Books Archives and Library Special Collections 1921 Bobby in Movieland Father Francis J. Finn S.J. Xavier University - Cincinnati Follow this and additional works at: http://www.exhibit.xavier.edu/finn Recommended Citation Finn, Father Francis J. S.J., "Bobby in Movieland" (1921). Father Francis J. Finn, S.J. Books. Book 6. http://www.exhibit.xavier.edu/finn/6 This Book is brought to you for free and open access by the Archives and Library Special Collections at Exhibit. It has been accepted for inclusion in Father Francis J. Finn, S.J. Books by an authorized administrator of Exhibit. For more information, please contact [email protected]. • • • In perfect good faith Bobby stepped forward, passed the dir ector, saying as he went, "Excuse me, sir,'' and ignoring Comp ton and the "lady" and "gentleman," strode over to the bellhop. -Page 69. BOBBY IN MO VI ELAND BY FRANCIS J. FINN, S.J. Author of "Percy Wynn," "Tom Playfair," " Harry Dee," etc. BENZIGER BROTHERS NEw Yonx:, Cmcnrn.ATI, Cmc.AGO BENZIGER BROTHERS CoPYlUGBT, 1921, BY B:n.NZIGEB BnoTHERS Printed i11 the United States of America. CONTENTS CHAPTER 'PAGB I IN WHICH THE FmsT CHAPTER Is WITHIN A LITTLE OF BEING THE LAST 9 II TENDING TO SHOW THAT MISFOR- TUNES NEVER COME SINGLY • 18 III IT NEVER RAINS BUT IT PouRs • 31 IV MRs. VERNON ALL BUT ABANDONS Ho PE 44 v A NEW WAY OF BREAKING INTO THE M~~ ~ VI Bonny ENDEA vo:r:s TO SH ow THE As TONISHED CoMPTON How TO BE- HAVE 72 VII THE END OF A DAY OF SURPRISES 81 VIII BonnY :MEETS AN ENEMY ON THE BOULEVARD AND A FRIEND IN THE LANTRY STUDIO 92 IX SHOWING THAT IMITATION Is NOT AL WAYS THE SINCEREST FLATTERY, AND RETURNING TO THE MISAD- VENTURES OF BonBY's MoTHER. -
Bernardine Dohrn
Bernardine Dorhn: Never the Good Girl, Not Then, not Now: An Interview By Jonah Raskin Who doesn’t have a reaction to the name and the reputation of Bernadine Dohrn? Is there anyone over the age of 60 who doesn’t remember her role at the outrageous Days of Rage demonstrations, her picture on FBI “wanted posters,” or her dramatic surrender to law enforcement officials in Chicago after a decade as a fugitive? To former members of SDS, anti-war activists, Yippies, Black Panthers, White Panthers, women’s liberationists, along with students and scholars of Weatherman and the Weather Underground, she probably needs no introduction. Sam Green featured her in his award-winning 2002 film, The Weather Underground. Todd Gitlin added to her iconic stature in his benchmark cultural history, The Sixties, though he was never on her side of the ideological splits or she on his. Dozens of books about the long decade of defiance have documented and mythologized Dohrn’s role as an American radical. Of course, her flamboyant husband and long-time partner, Bill Ayers, has been at her side for decades, aiding and abetting her much of the time, and adding to her legendary renown and notoriety. Born in 1942, and a diligent student at the University of Chicago, she attended law school there and in the late 1960s “stepped out of the role of the good girl," as she once put it. She has never really stepped back into it again, though she’s been a wife, a mother, and a professional woman for more years than she was a street fighting woman. -
11Eyes Achannel Accel World Acchi Kocchi Ah! My Goddess Air Gear Air
11eyes AChannel Accel World Acchi Kocchi Ah! My Goddess Air Gear Air Master Amaenaideyo Angel Beats Angelic Layer Another Ao No Exorcist Appleseed XIII Aquarion Arakawa Under The Bridge Argento Soma Asobi no Iku yo Astarotte no Omocha Asu no Yoichi Asura Cryin' B Gata H Kei Baka to Test Bakemonogatari (and sequels) Baki the Grappler Bakugan Bamboo Blade Banner of Stars Basquash BASToF Syndrome Battle Girls: Time Paradox Beelzebub BenTo Betterman Big O Binbougami ga Black Blood Brothers Black Cat Black Lagoon Blassreiter Blood Lad Blood+ Bludgeoning Angel Dokurochan Blue Drop Bobobo Boku wa Tomodachi Sukunai Brave 10 Btooom Burst Angel Busou Renkin Busou Shinki C3 Campione Cardfight Vanguard Casshern Sins Cat Girl Nuku Nuku Chaos;Head Chobits Chrome Shelled Regios Chuunibyou demo Koi ga Shitai Clannad Claymore Code Geass Cowboy Bebop Coyote Ragtime Show Cuticle Tantei Inaba DFrag Dakara Boku wa, H ga Dekinai Dan Doh Dance in the Vampire Bund Danganronpa Danshi Koukousei no Nichijou Daphne in the Brilliant Blue Darker Than Black Date A Live Deadman Wonderland DearS Death Note Dennou Coil Denpa Onna to Seishun Otoko Densetsu no Yuusha no Densetsu Desert Punk Detroit Metal City Devil May Cry Devil Survivor 2 Diabolik Lovers Disgaea Dna2 Dokkoida Dog Days Dororon EnmaKun Meeramera Ebiten Eden of the East Elemental Gelade Elfen Lied Eureka 7 Eureka 7 AO Excel Saga Eyeshield 21 Fight Ippatsu! JuudenChan Fooly Cooly Fruits Basket Full Metal Alchemist Full Metal Panic Futari Milky Holmes GaRei Zero Gatchaman Crowds Genshiken Getbackers Ghost -
Sakura-Con 2013
1 of 12 SAKURA-CON 2013 Convention Events Schedule, March 29 revision FRIDAY - SATURDAY, March 29th - 30th (2 of 4) FRIDAY - SATURDAY, March 29th - 30th (3 of 4) FRIDAY - SATURDAY, March 29th - 30th (4 of 4) Panels 4 Panels 5 Panels 6 Panels 7 Panels 8 Workshop Karaoke Youth Console Gaming Arcade/Rock Theater 1 Theater 2 Theater 3 FUNimation Theater Anime Music Video Seattle Go Mahjong Miniatures Gaming Roleplaying Gaming Collectible Card Gaming Bold text in a heavy outlined box indicates revisions to the Pocket Programming Guide schedule. 4C-4 401 4C-1 Time 3AB 206 309 307-308 Time Time Matsuri: 310 606-609 Band: 6B 616-617 Time 615 620 618-619 Theater: 6A Center: 305 306 613 Time 604 612 Time Closed Closed Closed 7:00am Closed Closed Closed Closed 7:00am 7:00am Closed Closed Closed Closed 7:00am Closed Closed Closed Closed Closed Closed Closed 7:00am Closed Closed 7:00am FRIDAY - SATURDAY, March 29th - 30th (1 of 4) 7:30am 7:30am 7:30am 7:30am 7:30am 7:30am Main Stage Autographs Sakuradome Panels 1 Panels 2 Panels 3 Time 4A 4B 6E Time 6C 4C-2 4C-3 8:00am 8:00am 8:00am Swasey/Mignogna showcase: 8:00am The IDOLM@STER 1-4 Moyashimon 1-4 One Piece 237-248 8:00am 8:00am TO Film Collection: Elliptical 8:30am 8:30am Closed 8:30am 8:30am 8:30am 8:30am (SC-10, sub) (SC-13, sub) (SC-10, dub) 8:30am 8:30am Closed Closed Closed Closed Closed Orbit & Symbiotic Planet (SC-13, dub) 9:00am Located in the Contestants’ 9:00am A/V Tech Rehearsal 9:00am Open 9:00am 9:00am 9:00am AMV Showcase 9:00am 9:00am Green Room, right rear 9:30am 9:30am for Premieres -
AAPI Heritage Month Resources 2021-Families
Asian American Pacific Islander (AAPI) Heritage Month Resources for Families AAPI Heritage Month recognizes the contributions and influences that Asian Americans and Pacific Islander Americans have made to the history, culture and achievements of the United States. This year, it is especially important to support, celebrate and advocate for the AAPI community who have been experiencing an increase in anti-Asian bias and violence. So this year’s theme is “Stop AAPI Hate: Solidarity, Community, and Celebration”. The month of May was chosen as a way to commemorate the first wave of Japanese immigrants to the United States on May 7, 1843 and to also mark the anniversary of the completion of the transcontinental railroad on May 10, 1869. The majority of the workers who laid the tracks were Chinese immigrants. It is important to remember that members of the AAPI community come from East Asia, South Asia, Southeast Asia, Western Asia, and the Pacific Islands of Melanesia, Micronesia and Polynesia. Each Asian country and Pacific Island nation has its own unique culture, language and traditions. This resource was created in collaboration with Dobbs Ferry Public Library Children’s Librarian Gina Elbert, Springhurst Library Media Specialist Lauren Rodriguez, Dobbs Ferry Middle/High School Library Media Specialist Ellen Elsen, and Dobbs Ferry K-8 Literacy Coordinator Michelle Yang-Kaczmarek. Our hope is that these resources will help you to amplify, respect and make space for AAPI every single day, not just in May. Booklist Below is a list of published books written by AAPI authors and/or include AAPI characters. This is a sampling of what is available. -
News Release for IMMEDIATE RELEASE
News Release FOR IMMEDIATE RELEASE Media Contact: Caron Sjoberg, IDEAWORKS [email protected] (850) 434-9095 (O) | (850) 982-2410 (C) Alice Crann Good’s New Book Inspires Young Readers to Take a Break from Electronic Devices and Join a Reading Revolution “Betsy the Bookworm” tells the story of a loveable wiggler on a wild mission to save libraries and bookstores from extinction PENSACOLA, Fla. (December 1, 2020) — Written by Pensacola author Alice Crann Good, “Betsy the Bookworm’s Book Revolution” is the first book of an inspiring series, focusing on the value and importance of printed books, bookstores and libraries. Great for children aged 3-8, this colorful children's picture book is brimming with fun and action and shares Betsy the Bookworm's passion for reading. The book introduces us to Betsy the Bookworm, a smart, fun and adventurous character who loves to read. Betsy comes from a long line of proud book lovers and traces her ancestors back hundreds of years to a time when worms ate books because they could not read. But, once they learned to read, the worms fell in love with books and became bookworms – little worms that like to read more than anything else in the whole wide world. Over time, bookworms became too busy watching TV, playing video games, sending messages on smartphones and wrapping their little heads in earphones. Betsy’s bookworm friends wanted computers, iPads and Wi-Fi. Now they wished for mobile devices, not books. This is when Betsy decided to have a book revolution! “Betsy the Bookworm’s Book Revolution” takes children for quite a ride with Betsy as she saves print books, libraries and bookstores, multiplying the number of bookworms around the globe. -
Penggambaran Stereotip Gender Shoujo Manga Pada Tokoh Anime
IR - PERPUSTAKAAN UNIVERSITAS AIRLANGGA BAB I PENDAHULUAN 1.1 Latar Belakang Manga adalah komik Jepang, di mana salah satu genre-nya adalah shoujo manga, yaitu manga yang dipasarkan kepada sebagian besar perempuan. Mizuki Takahashi (dalam Macwilliams, 2008) berpendapat bahwa shoujo manga adalah hal yang melekat kepada subkultur Jepang yang disebut shoujo bunka, yaitu dunia tertutup dari, oleh, untuk dan tentang perempuan. Shoujo manga sendiri memiliki berberapa pola didalamnya, salah satunya menyangkut mengenai gender. Ninomiya (dalam Choo, 2008: 281) berpendapat bahwa shoujo manga modern lebih cenderung kepada percintaan dengan narasi ‘perempuan pecundang yang mendapatkan pangeran tampan’. Mengimplikasikan bahwa tidak ada pandangan setara perempuan dengan laki-laki. Pada tahun 1970 dan 1980, ada beberapa shoujo manga yang sangat populer dan juga dianggap sebagai sesuatu yang revolusioner, seperti Candy Candy karya Kyoko Mizuki dan The Rose of Versailles karya Riyoko Ikeda. Kedua komik tersebut fokus kepada percintaan, namun hal itu tidak menghapuskan ambisi dari karakter utama, dimana karakter utama dikomik shoujo manga ini memprioritaskan karir mereka (Choo, 2008). Narasi ini 1 SKRIPSI PENGGAMBARAN STEREOTIP GENDER... TARRA TIARANI IR - PERPUSTAKAAN UNIVERSITAS AIRLANGGA 2 merupakan salah satu narasi yang populer pada era 1970, namun narasi ini perlahan menjadi sedikit dan memiliki pergeseran dalam fokusnya. Ada pergeseran dalam dinamika gender di dalam shoujo manga, seperti yang tercermin dari dua judul shoujo manga terkenal yaitu Fruits Basket dan Hana yori Dango. Berbeda dengan The Rose of Versailles, kedua judul ini memiliki penggambaran karakter perempuan yang cukup berbeda. Dalam Fruits Basket dan Hana yori Dango, karakter utama perempuannya adalah seorang yang kuat namun digambarkan sebagai orang yang menyedihkan dan laki-laki yang sangat agresif (Choo, 2008). -
Monthly Review Press Catalog, 2011
PAID PAID Social Structure RIPON, WI and Forms of NON-PROFIT U.S. POSTAGE U.S. POSTAGE Consciousness ORGANIZATION ORGANIZATION PERMIT NO. 100 volume ii The Dialectic of Structure and History István Mészáros Class Dismissed WHY WE CANNOT TEACH OR LEARN OUR WAY OUT OF INEQUALITY John Marsh JOSÉ CARLOS MARIÁTEGUI an anthology MONTHLY REVIEW PRESS Harry E. Vanden and Marc Becker editors and translators the story of the center for constitutional rights How Venezuela and Cuba are Changing the World’s Conception of Health Care the people’s RevolutionaRy lawyer DOCTORS 2011 Albert Ruben Steve Brouwer WHAT EVERY ENVIRONMENTALIST NEEDS TO KNOW ABOUT CAPITALISM JOHN BELLAMY FOSTER FRED MAGDOFF monthly review press review monthly #6W 29th Street, 146 West NY 10001 New York, www.monthlyreview.org 2011 MRP catalog:TMOI.qxd 1/4/2011 3:49 PM Page 1 THE DEVIL’S MILK A Social History of Rubber JOHN TULLY From the early stages of primitivehistory accu- mulation“ to the heights of the industrial revolution and beyond, rubber is one of a handful of commodities that has played a crucial role in shaping the modern world, and yet, as John Tully shows in this remarkable book, laboring people around the globe have every reason to THE DEVIL’S MILK regard it as “the devil’s milk.” All the A S O C I A L H I S T O R Y O F R U B B E R advancements made possible by rubber have occurred against a backdrop of seemingly endless exploitation, con- quest, slavery, and war. -
The Press of A. Colish Archives
Special Collections Department The Press of A. Colish Archives 1913 - 1990 (bulk dates 1930s - 1950s) Manuscript Collection Number: 358 Accessioned: Purchase, September 1991. Extent: 5 linear ft. plus oversize material Content: Correspondence, galley and page proofs, drafts, notes, photographs, negatives, illustrations, advertisements, clippings, broadsides, books, chapbooks, pamphlets, journals, typography specimens, financial documents, and ephemera. Access: The collection is open for research. Processed: March 1998, by Shanon Lawson for reference assistance email Special Collections or contact: Special Collections, University of Delaware Library Newark, Delaware 19717-5267 (302) 831-2229 Table of Contents Biographical and Historical Note Scope and Contents Note Series Outline Contents List Biographical and Historical Note American fine printer and publisher Abraham Colish (1882-1963) immigrated with his family to the United States from Eastern Europe in the late nineteenth century. In 1894, at the age of twelve, he took an after-school job with a small printing shop in Bridgeport, Connecticut. Over the next few years, his duties progressed from sweeping the shop and selling papers to feeding the press and composing type. When he was sixteen, Colish and his mother moved to New York City, where he quickly found a position as a typesetter for Kane Brothers, a Broadway printing company. In 1907, Colish left his position as a composing room foreman at Rogers and Company and opened his own composing office. His business specialized in advertising typography and is credited as the first shop to exclusively cater to the advertising market. By the next year, Colish moved into larger quarters and began printing small orders. After several moves to successively larger offices in New York City, the Press of A.