Chronos 2011
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LEAPING TALL BUILDINGS American Comics SETH KUSHNER Pictures
LEAPING TALL BUILDINGS LEAPING TALL BUILDINGS LEAPING TALL From the minds behind the acclaimed comics website Graphic NYC comes Leaping Tall Buildings, revealing the history of American comics through the stories of comics’ most important and influential creators—and tracing the medium’s journey all the way from its beginnings as junk culture for kids to its current status as legitimate literature and pop culture. Using interview-based essays, stunning portrait photography, and original art through various stages of development, this book delivers an in-depth, personal, behind-the-scenes account of the history of the American comic book. Subjects include: WILL EISNER (The Spirit, A Contract with God) STAN LEE (Marvel Comics) JULES FEIFFER (The Village Voice) Art SPIEGELMAN (Maus, In the Shadow of No Towers) American Comics Origins of The American Comics Origins of The JIM LEE (DC Comics Co-Publisher, Justice League) GRANT MORRISON (Supergods, All-Star Superman) NEIL GAIMAN (American Gods, Sandman) CHRIS WARE SETH KUSHNER IRVING CHRISTOPHER SETH KUSHNER IRVING CHRISTOPHER (Jimmy Corrigan, Acme Novelty Library) PAUL POPE (Batman: Year 100, Battling Boy) And many more, from the earliest cartoonists pictures pictures to the latest graphic novelists! words words This PDF is NOT the entire book LEAPING TALL BUILDINGS: The Origins of American Comics Photographs by Seth Kushner Text and interviews by Christopher Irving Published by To be released: May 2012 This PDF of Leaping Tall Buildings is only a preview and an uncorrected proof . Lifting -
Bl12-2Pgs.Pdf
Volume 12, Number 2 $8.50 ARTISTS’ BOOKSbBOOKBINDINGbPAPERCRAFTbCALLIGRAPHY Volume 12, Number 2, February 2015. 3 Creating Double-Stroke Letterforms by Martin Jackson 8 Dancing Letters Scholarship Fund 12 Creating a Scroll-Tip Pilot Parallel Pen by Carol DuBosch 14 Between Verse and Vision by Risa Gettler 22 Heraldry for Calligraphy by Helen Scholes 28 Spinning Letters by Judy Black, Susan Gunter, and Marilyn Rice 30 A Passionate Gallery 37 New Tools & Materials 38 Passionate Pen Envelopes 40 Leporello Accordion Book by Carol DuBosch 42 Contributors / credits 47 Subscription information A Few Excerpts from the Now Intergalactic Song Fest and Cosmic Miscelany. 2014. Risa Gettler. Hand- lettered and illustrated manuscript book of nineteen poems by John S. Tumlin. 40 pages, images and text on recto pages only. Leather binding is by Edna Wright. Each page is held in an open-front sleeve that is sewn into the binding. The front of the sleeve serves as a frame for its book page (which can be removed). 22" x 13" x 4". Photo by Risa Gettler. “Between Verse and Vision,” page 14. Bound & Lettered b Spring 2015 1 All calligraphy shown in this article is by the author. CREATING DOUBLE-STROKE LETTERFORMS BY MARTIN JACKSON There are two methods to create double-stroke letterforms. One is to use a scroll (or split) nib or pen. These are made to automatically produce double strokes – the pen/nib does it for you. A variety of writing instruments offer scroll versions: Mitchell makes six differ- ent scroll dip pen nibs, Manuscript offers two different scroll nibs (Scroll 4 and Scroll 6) for some of its fountain pens, and four of the Automatic pens have split nibs (numbers 7, 8, 9, and 10). -
Showcase LION’S LAST STAND Leonidas, Which Is Greek for “Lion’S Son” Or “Lion-Like,” Was Born Around 540 B.C., the Son of T Y King Anaxandrides II
could be of a delicate nature, the Persian threat to their freedom led many Greeks to unite SC together in an alliance. TH AL While the Persians’ superior numbers /6 E eventually overran the Greeks, the defenders’ 1 sacrifice has never been forgotten. Monuments to both the Spartans and the Thespians can be found at Thermopylae today. The last stand at Thermopylae has also captured the popular imagination thanks to books like Steven Pressfield’s fictional “Gates of Fire.” Movies include 1962’s “The 300 Spartans,” starring Richard Egan as Leonidas; and 2006’s “300,” with Gerard Butler portraying the Greek commander. SHOWCASE LION’S LAST STAND Leonidas, which is Greek for “Lion’s son” or “Lion-like,” was born around 540 B.C., the son of T Y King Anaxandrides II. At this time Sparta had two H kings who shared in ruling the state. One leader would be a descendant of the Agiad dynasty, as E M was Leonidas, while the other would be a S R descendant of Eurypon in this twin monarchy. IXTH A Leonidas was married to Gorgo, the daughter of his half-brother King Cleomenes I. At some point between 490 and 488 B.C., Leonidas became King after his half-brother went mad and committed suicide. Scott J. Dummitt and Bill Thomas Leonidas faced a difficult decision as the Persian invasion of Greece developed. Spartan cover the latest action figure- law forbade him from leading the army out of the kingdom during a religious festival being held at the time. However, it would be unthinkable to not related items. -
Everybody Loves a Muscle Boi”: Homos, Heroes, and Foes in Post-9/11 Spoofs of the 300 Spartans
1 “Everybody Loves a Muscle Boi”: Homos, Heroes, and Foes in Post-9/11 Spoofs of the 300 Spartans Ralph J. Poole “It’s Greek to whom?” In 2007-2008, a significant accumulation of cinematic and other visual media took up a celebrated episode of Greek antiquity recounting in different genres and styles the rise of the Spartans against the Persians. Amongst them are the documentary The Last Stand of the 300 (2007, David Padrusch), the film 300 (2007, Zack Snyder), the video game 300: March to Glory (2007, Collision Studios), the short film United 300 (2007, Andy Signore), and the comedy Meet the Spartans (2008, Jason Friedberg/Aaron Seltzer). Why is the legend of the 300 Spartans so attractive for contemporary American cinema? A possible, if surprising account for the interest in this ancient theme stems from an economic perspective. Written at the dawn of the worldwide financial crisis, the fight of the 300 Spartans has served as point of reference for the serious loss of confidence in the banking system, but also in national politics in general. William Streeter of the ABA Banking Journal succinctly wonders about what robs bankers’ precious resting hours: What a fragile thing confidence is. Events of the past six months have seen it coalesce and evaporate several times. […] This is what keeps central bankers awake at night. But then that is their primary reason for being, because the workings of economies and, indeed, governments, hinge upon trust and confidence. […] With any group, whether it be 300 Spartans holding off a million Persians at Thermopylae or a group of central bankers trying to keep a global financial community from bolting, trust is a matter of individual decisions. -
TIME and ETHOS in RHETORICAL THEORY Collin Bjork Submitted To
ACCUMULATING CHARACTER: TIME AND ETHOS IN RHETORICAL THEORY Collin Bjork Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of English, Indiana University June 2019 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee __________________________________________ Chair: Dana Anderson, Ph.D. __________________________________________ John Schilb, Ph.D. __________________________________________ Justin Hodgson, Ph.D. __________________________________________ Freya Thimsen, Ph.D. __________________________________________ Scot Barnett, Ph.D. 2 May 2019 ii Acknowledgements I am incredibly thankful for the long list of people and places that have impacted the direction and contours of this dissertation. And in a project that engages the imbricated concepts of character and time, I am particularly grateful for those who gave their own time to contribute to the ongoing development of my ethos as a scholar, teacher, and community member. I am thankful first for the public libraries that provided a quiet yet communal space in which to write: the Monroe Country Public Library, Ector County Public Library, Round Rock Public Library, Cedar Park Public Library, Austin Public Library, and Ghent Public Library. Your community-based work shares many important aims with the field of rhetoric that I now call home. I look forward to more opportunities to collaborate with you and other public libraries in the future. I am also grateful for the many universities that made their libraries and classrooms available for my thinking, writing, and teaching: Indiana University, the University of Texas at Austin, the University of Texas Permian Basin, Texas A&M University, Texas State University, Southwestern University, and Austin Community College. -
Italy's Atlanticism Between Foreign and Internal
UNISCI Discussion Papers, Nº 25 (January / Enero 2011) ISSN 1696-2206 ITALY’S ATLANTICISM BETWEEN FOREIGN AND INTERNAL POLITICS Massimo de Leonardis 1 Catholic University of the Sacred Heart Abstract: In spite of being a defeated country in the Second World War, Italy was a founding member of the Atlantic Alliance, because the USA highly valued her strategic importance and wished to assure her political stability. After 1955, Italy tried to advocate the Alliance’s role in the Near East and in Mediterranean Africa. The Suez crisis offered Italy the opportunity to forge closer ties with Washington at the same time appearing progressive and friendly to the Arabs in the Mediterranean, where she tried to be a protagonist vis a vis the so called neo- Atlanticism. This link with Washington was also instrumental to neutralize General De Gaulle’s ambitions of an Anglo-French-American directorate. The main issues of Italy’s Atlantic policy in the first years of “centre-left” coalitions, between 1962 and 1968, were the removal of the Jupiter missiles from Italy as a result of the Cuban missile crisis, French policy towards NATO and the EEC, Multilateral [nuclear] Force [MLF] and the revision of the Alliance’ strategy from “massive retaliation” to “flexible response”. On all these issues the Italian government was consonant with the United States. After the period of the late Sixties and Seventies when political instability, terrorism and high inflation undermined the Italian role in international relations, the decision in 1979 to accept the Euromissiles was a landmark in the history of Italian participation to NATO. -
Durham E-Theses
Durham E-Theses TERRONI AND POLENTONI: WHERE DOES THE TRUTH LIE? AN ANTHROPOLOGY OF SOCIAL NETWORKS AND ETHNICITY IN PALERMO (SICILY), ITALY. PARDALIS, STERGIOS How to cite: PARDALIS, STERGIOS (2009) TERRONI AND POLENTONI: WHERE DOES THE TRUTH LIE? AN ANTHROPOLOGY OF SOCIAL NETWORKS AND ETHNICITY IN PALERMO (SICILY), ITALY. , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/289/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 TERRONI AND POLENTONI: WHERE DOES THE TRUTH LIE? AN ANTHROPOLOGY OF SOCIAL NETWORKS AND ETHNICITY IN PALERMO (SICILY), ITALY. A THESIS SUBMITTED IN DECEMBER 2009 TO THE DEPARTMENT OF ANTHROPOLOGY IN PARTIAL FULFILMENT OF THE REQUIREMENTS OF THE SCHOOL OF SOCIAL SCIENCES AND HEALTH OF DURHAM UNIVERSITY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY Stergios Pardalis Stergios Pardalis: ‘Terroni and Polentoni: Where Does the Truth Lie? An Anthropology of Social Networks and Ethnicity in Palermo (Sicily), Italy. -
January 13, 2009 (XVIII:1) Carl Theodor Dreyer VAMPYR—DER TRAUM DES ALLAN GREY (1932, 75 Min)
January 13, 2009 (XVIII:1) Carl Theodor Dreyer VAMPYR—DER TRAUM DES ALLAN GREY (1932, 75 min) Directed by Carl Theodor Dreyer Produced by Carl Theodor Dreyer and Julian West Cinematography by Rudolph Maté and Louis Née Original music by Wolfgang Zeller Film editing by Tonka Taldy Art direction by Hermann Warm Special effects by Henri Armand Allan Grey…Julian West Der Schlossherr (Lord of the Manor)…Maurice Schutz Gisèle…Rena Mandel Léone…Sybille Schmitz Village Doctor…Jan Heironimko The Woman from the Cemetery…Henriette Gérard Old Servant…Albert Bras Foreign Correspondent (1940). Some of the other films he shot His Wife….N. Barbanini were The Lady from Shanghai (1947), It Had to Be You (1947), Down to Earth (1947), Gilda (1946), They Got Me Covered CARL THEODOR DREYER (February 3, 1889, Copenhagen, (1943), To Be or Not to Be (1942), It Started with Eve (1941), Denmark—March 20, 1968, Copenhagen, Denmark) has 23 Love Affair (1939), The Adventures of Marco Polo (1938), Stella Directing credits, among them Gertrud (1964), Ordet/The Word Dallas (1937), Come and Get It (1936), Dodsworth (1936), A (1955), Et Slot i et slot/The Castle Within the Castle (1955), Message to Garcia (1936), Charlie Chan's Secret (1936), Storstrømsbroen/The Storstrom Bridge (1950), Thorvaldsen Metropolitan (1935), Dressed to Thrill (1935), Dante's Inferno (1949), De nåede færgen/They Caught the Ferry (1948), (1935), Le Dernier milliardaire/The Last Billionaire/The Last Landsbykirken/The Danish Church (1947), Kampen mod Millionaire (1934), Liliom (1934), Paprika (1933), -
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300: Cultural Stereotypes and War against Barbarism Masoud Kowsari1 Abstract: During the era of Bush administration and post-September 11th anti-terrorism discourse, the movie 300 was one of the best exemplar of a close relationship between Hollywood pop culture products and the neo- conservatives’ political discourse of nationalism. From my point of view, 300 is not an example of outstanding artistic films, but a film that more than any other film contains an Iranophobic discourse, produced by Hollywood. The film is another example for ‘warfare-ization’ of public sphere and envisioning war as part of the people’s everyday life using pop culture products in U.S. after 9/11. Connecting war with collective memory, 300 brings war to the heart of everyday life. The Western or American youths should think that just like the brave and devoted Spartan soldiers in 300, they also fight for democracy, freedom, and glory. This film is full of cultural stereotypes on the Eastern and Iranian culture, in particular, their identity. For example, women are depicted as erotic objects. In contrast to the Spartan women who are free, brave, kind mothers and faithful wives, the Iranian women are represented as slavish, lustful, indecent, and homosexual. They look like the sexy dancers in nightclubs and discothèques. Using van Leeuwen’s approach in critical discourse analysis (2008), this paper is aimed at analyzing this film as a media text. Keywords: CDA, cultural stereotypes, Iranophobia, Islamophobia, women, 300. 1. Assisstant Professor, Social Communications Department, Faculty of Social Sciences, University of Tehran, Tehran, Iran, Email: [email protected]. -
Chronos 2020-2021.Pdf (1.572Mb)
CHRONOS The History Journal of Yeshiva University 2020-2021 Editor-in-Chief David Tanner Editors Moshe Cohen Benguigui Deborah Coopersmith Moshe Hecht Sara Schapiro Faculty Advisor Dr. Hadassah Kosak Yeshiva University, New York, NY TABLE OF CONTENTS iv Welcome Letter 1 Yonatan U. Kurz A Linchpin of the Upper East Side: The Evolution of Congregation Kehilath Jeshurun and Its Surroundings 14 Allie Matofsky Who was Living at the Qumran Site? 25 Zachary Ottenstein The Boston Massacre in the American Collective Memory 37 Natan Pittinsky The Transformation of Porcelain in Pre-Revolutionary France 44 Joshua Polster Runic Alphabet: The History of Futhark 52 Shoshana Rockoff Leaving a Legacy: The Impact of Daring to be Different 59 Faculty Contribution Professor Jeffrey Freedman The Dangers Within: Fears of Imprisonment in Enlightenment France 91 Picture Credits Dear Reader, Welcome to the 2020-2021 edition of Chronos: The History Journal of Yeshiva University. For over a decade, Chronos has served as a forum dedicated to the dissemination of student research on a broad range of subjects within the realm of history. A number of this edition’s articles were submitted for publication in the 2019-2020 edition of Chronos; unfortunately, due to the COVID-19 pandemic, that edition never saw the light of day. We mention this only to leave a record for future readers that indeed, we live in historical times. As the COVID-19 pandemic tragically took millions of lives throughout the world, many were faced with a sense of despair in the face of “these unprecedented times.” However, the study of history can serve as a source of comfort by teaching that these times are not unprecedented. -
Appendix A: Electoral Rules
Appendix A: Electoral Rules Table A.1 Electoral Rules for Italy’s Lower House, 1948–present Time Period 1948–1993 1993–2005 2005–present Plurality PR with seat Valle d’Aosta “Overseas” Tier PR Tier bonus national tier SMD Constituencies No. of seats / 6301 / 32 475/475 155/26 617/1 1/1 12/4 districts Election rule PR2 Plurality PR3 PR with seat Plurality PR (FPTP) bonus4 (FPTP) District Size 1–54 1 1–11 617 1 1–6 (mean = 20) (mean = 6) (mean = 4) Note that the acronym FPTP refers to First Past the Post plurality electoral system. 1The number of seats became 630 after the 1962 constitutional reform. Note the period of office is always 5 years or less if the parliament is dissolved. 2Imperiali quota and LR; preferential vote; threshold: one quota and 300,000 votes at national level. 3Hare Quota and LR; closed list; threshold: 4% of valid votes at national level. 4Hare Quota and LR; closed list; thresholds: 4% for lists running independently; 10% for coalitions; 2% for lists joining a pre-electoral coalition, except for the best loser. Ballot structure • Under the PR system (1948–1993), each voter cast one vote for a party list and could express a variable number of preferential votes among candidates of that list. • Under the MMM system (1993–2005), each voter received two separate ballots (the plurality ballot and the PR one) and cast two votes: one for an individual candidate in a single-member district; one for a party in a multi-member PR district. • Under the PR-with-seat-bonus system (2005–present), each voter cast one vote for a party list. -
The Mediaeval Bestiary and Its Textual Tradition
THE MEDIAEVAL BESTIARY AND ITS TEXTUAL TRADITION Volume 1: Text Patricia Stewart A Thesis Submitted for the Degree of PhD at the University of St Andrews 2012 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/3628 This item is protected by original copyright The Mediaeval Bestiary and its Textual Tradition Patricia Stewart This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 17th August, 2012 1. Candidate’s declarations: I, Patricia Stewart, hereby certify that this thesis, which is approximately 88 000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September, 2007 and as a candidate for the degree of PhD in May, 2008; the higher study for which this is a record was carried out in the University of St Andrews between 2007 and 2012. Date 17th August, 2012 signature of candidate ……… 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date 17th August, 2012 signature of supervisor ……… 3. Permission for electronic publication: (to be signed by both candidate and supervisor) In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby.