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The Storyworld Dynamics of Supernatural
PRODUCTIONS / MARKETS / STRATEGIES ANGELS, DEMONS AND WHATEVER COMES NEXT: THE STORYWORLD DYNAMICS OF SUPERNATURAL FLORENT FAVARD Name Florent Favard the series with an analysis of its writing, production and Academic centre IECA, Université de Lorraine reception contexts, and divides the long-running series into E-mail address [email protected] four eras, each defined by a specific showrunner. It starts by exploring the context of the series’ creation, before KEYWORDS cataloguing the shifting dynamics of the storyworld during Storyworld; narratology; writing; ethos; showrunner. the four eras: the ‘stealth teleological’ approach of series creator Eric Kripke; the complex reconfigurations of the Sera Gamble era; the ‘mythology reboot’ of the Jeremy ABSTRACT Carver era; and the ever-increasing stakes and expansionist This paper explores the narrative dynamics of the fantasy dynamics of the Andrew Dabb era. The aim of this paper television series Supernatural (2005-) in order to better is to show how ‘periodising’ a long-running series by using understand how this particular program has become a close-reading and studying the dynamics of a storyworld backbone of The CW network. Combining formal and can expand and complete analysis focused on audiences contextual narratologies, it blends a close-reading of and the genesis of the text. 19 SERIES VOLUME IV, Nº 2, WINTER 2018: 19-26 DOI https://doi.org/10.6092/issn.2421-454X/8164 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X INVESTIGATING THE CW PRODUCTIONS / MARKETS / STRATEGIES > FLORENT FAVARD ANGELS, DEMONS AND WHATEVER COMES NEXT: THE STORYWORLD DYNAMICS OF SUPERNATURAL The Apocalypse has just been averted. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Goodbye Stranger Free
FREE GOODBYE STRANGER PDF Rebecca Stead | 304 pages | 02 Jun 2016 | Andersen Press Ltd | 9781783443994 | English | London, United Kingdom Goodbye Stranger - Wikipedia It was an early morning yesterday I was up before Goodbye Stranger dawn And I really have enjoyed my stay But I must be moving on. Like a king without a castle Like a queen without a throne I'm an early morning lover And I Goodbye Stranger be moving on. Now I believe in what you say Is the undisputed truth But I have to have things my own way To keep me in my youth. Like a ship without an anchor Like a slave without a chain Just the thought of those sweet ladies Sends a shiver through my veins. And I will go Goodbye Stranger shining Shining like brand new I'll never look behind me My troubles will be few. Goodbye stranger it's been nice Hope you find your paradise Tried to see your point of view Hope your dreams will all come true. Goodbye Mary, goodbye Jane Will we ever meet again Feel no Goodbye Stranger, feel no shame Come tomorrow, feel no pain. Meet again? Now some they do and some they don't And some you just can't tell And some they will and Goodbye Stranger they won't With some it's just as well. You can laugh at my behaviour And that'll never bother me Say the devil is my saviour But I don't pay no heed. Goodbye, stranger, it's been nice Hope you find your paradise Tried to see your point of view Hope your dreams will all come true. -
ABSTRACT the Women of Supernatural: More Than
ABSTRACT The Women of Supernatural: More than Stereotypes Miranda B. Leddy, M.A. Mentor: Mia Moody-Ramirez, Ph.D. This critical discourse analysis of the American horror television show, Supernatural, uses a gender perspective to assess the stereotypes and female characters in the popular series. As part of this study 34 episodes of Supernatural and 19 female characters were analyzed. Findings indicate that while the target audience for Supernatural is women, the show tends to portray them in traditional, feminine, and horror genre stereotypes. The purpose of this thesis is twofold: 1) to provide a description of the types of female characters prevalent in the early seasons of Supernatural including mother-figures, victims, and monsters, and 2) to describe the changes that take place in the later seasons when the female characters no longer fit into feminine or horror stereotypes. Findings indicate that female characters of Supernatural have evolved throughout the seasons of the show and are more than just background characters in need of rescue. These findings are important because they illustrate that representations of women in television are not always based on stereotypes, and that the horror genre is evolving and beginning to depict strong female characters that are brave, intellectual leaders instead of victims being rescued by men. The female audience will be exposed to a more accurate portrayal of women to which they can relate and be inspired. Copyright © 2014 by Miranda B. Leddy All rights reserved TABLE OF CONTENTS Tables -
The Confessions of Aleister Crowley
The Confessions of Aleister Crowley The Confessions of Aleister Crowley www.Empirical-Academy.com Forward "It seemed to me that my first duty was to prove to the world that I was not teaching Magick for money. I promised myself always to publish my books on an actual loss on the cost of production --- never to accept a farthing for any form of instruction, giving advice, or any other service whose performance depended on my magical attainments. I regarded myself as having sacrificed my career and my fortune for initiation, and that the reward was so stupendous that it made the price pitifully mean, save that, like the widow's mite, it was all I had. I was therefore the wealthiest man in the world, and the least I could do was to bestow the inestimable treasure upon my poverty-stricken fellow men. I made it also a point of absolute honour never to commit myself to any statement that I could not prove in the same sense as a chemist can prove the law of combining weights. Not only would I be careful to avoid deceiving people, but I would do all in my power to prevent them deceiving themselves. This meant my declaring war on the spiritualists and even the theosophists, though I agreed with much of Blavatsky's teachings, as uncompromisingly as I had done on Christianity." file:///C|/Documents and Settings/Doc/Desktop/venomous-magick.com/members/confess/pdf cover.htm (1 of 2) [10/4/2004 5:52:45 PM] The Confessions of Aleister Crowley CONTENTS PART ONE: Towards the Golden Dawn {29} Chapter: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, -
Theology of Supernatural
religions Article Theology of Supernatural Pavel Nosachev School of Philosophy and Cultural Studies, HSE University, 101000 Moscow, Russia; [email protected] Received: 15 October 2020; Accepted: 1 December 2020; Published: 4 December 2020 Abstract: The main research issues of the article are the determination of the genesis of theology created in Supernatural and the understanding of ways in which this show transforms a traditional Christian theological narrative. The methodological framework of the article, on the one hand, is the theory of the occulture (C. Partridge), and on the other, the narrative theory proposed in U. Eco’s semiotic model. C. Partridge successfully described modern religious popular culture as a coexistence of abstract Eastern good (the idea of the transcendent Absolute, self-spirituality) and Western personified evil. The ideal confirmation of this thesis is Supernatural, since it was the bricolage game with images of Christian evil that became the cornerstone of its popularity. In the 15 seasons of its existence, Supernatural, conceived as a story of two evil-hunting brothers wrapped in a collection of urban legends, has turned into a global panorama of world demonology while touching on the nature of evil, the world order, theodicy, the image of God, etc. In fact, this show creates a new demonology, angelology, and eschatology. The article states that the narrative topics of Supernatural are based on two themes, i.e., the theology of the spiritual war of the third wave of charismatic Protestantism and the occult outlooks derived from Emmanuel Swedenborg’s system. The main topic of this article is the role of monotheistic mythology in Supernatural. -
Supernatural' Fandom As a Religion
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2019 The Winchester Gospel: The 'Supernatural' Fandom as a Religion Hannah Grobisen Claremont McKenna College Follow this and additional works at: https://scholarship.claremont.edu/cmc_theses Part of the Film and Media Studies Commons Recommended Citation Grobisen, Hannah, "The Winchester Gospel: The 'Supernatural' Fandom as a Religion" (2019). CMC Senior Theses. 2010. https://scholarship.claremont.edu/cmc_theses/2010 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Claremont McKenna College The Winchester Gospel The Supernatural Fandom as a Religion submitted to Professor Elizabeth Affuso and Professor Thomas Connelly by Hannah Grobisen for Senior Thesis Fall 2018 December 10, 2018 Table of Contents Dad’s on a Hunting Trip and He Hasn’t Been Home in a Few Days: My Introduction to Supernatural and the SPN Family………………………………………………………1 Saving People, Hunting Things. The Family Business: Messages, Values and Character Relationships that Foster a Community……………………………………………........9 There is No Singing in Supernatural: Fanfic, Fan Art and Fan Interpretation….......... 20 Gay Love Can Pierce Through the Veil of Death: The Importance of Slash Fiction….25 There’s Nothing More Dangerous than Some A-hole Who Thinks He’s on a Holy Mission: Toxic Misrepresentations of Fandom……………………………………......34 This is the End of All Things: Final Thoughts………………………………………...38 Works Cited……………………………………………………………………………39 Important Characters List……………………………………………………………...41 Popular Ships…………………………………………………………………………..44 1 Dad’s on a Hunting Trip and He Hasn’t Been Home in a Few Days: My Introduction to Supernatural and the SPN Family Supernatural (WB/CW Network, 2005-) is the longest running continuous science fiction television show in America. -
2018 Star Wars Archives Signatures Checklist
2018 Star Wars Archives Signatures Checklist 103 Unique Actors - 108 Unique Characters Actor Set - Story Chapter Character Chris Parsons Classic Saga 4-LOM Amy Allen Prequel Aayla Secura Tim Rose Classic Saga Admiral Ackbar Tim Rose New Trilogy Admiral Ackbar Tom Kane New Trilogy Admiral Ackbar Kenneth Colley Classic Saga Admiral Piett Stephen Stanton Rogue One Admiral Raddus Ken Leung New Trilogy Admiral Statura Ashley Eckstein Star Wars Rebels Ahsoka Tano Ashley Eckstein Dual Subject Ahsoka Tano Ashley Eckstein The Clone Wars Ahsoka Tano Hayden Christensen Prequel Anakin Skywalker Matt Lanter The Clone Wars Anakin Skywalker Nika Futterman The Clone Wars Asajj Ventress Dickey Beer Classic Saga Barada Brian Herring New Trilogy BB-8 Dave Chapman New Trilogy BB-8 Garrick Hagon Classic Saga Biggs Darklighter Nick Kellington Dual Subject Bistan Nick Kellington Rogue One Bistan Daniel Logan Prequel Boba Fett Daniel Logan Dual Subject Boba Fett Daniel Logan The Clone Wars Boba Fett Dickey Beer Classic Saga Boba Fett Jeremy Bulloch Classic Saga Boba Fett Jeremy Bulloch Dual Subject Boba Fett John Morton Classic Saga Boba Fett John Morton Dual Subject Boba Fett Aidan Cook New Trilogy Bobbajo Riz Ahmed Rogue One Bodhi Rook Alan Harris Classic Saga Bossk Alan Harris Dual Subject Bossk Dee Bradley Baker Dual Subject Bossk Dee Bradley Baker The Clone Wars Bossk Paul Kasey New Trilogy C'ai Threnalli Aidan Cook Dual Subject Caitken Adrian Edmondson New Trilogy Captain Peevey Stephen Stanton The Clone Wars Captain Tarkin Derek Arnold New Trilogy Chancellor -
SWPACA 2019 Final Program
Southwest Popular/American Culture Association 40th Annual Conference February 20-23, 2019 — Albuquerque, New Mexico Welcome & 2019 Southwest Popular/American General Info Culture Association Conference ¡Bienvenidos a Albuquerque! We are so pleased to have you with us this week! In 1979, Michael Schoenecke and Peter Rollins began an adventure, founding the Southwest/Texas Popular/American Culture Association and establishing the annual meeting, an event which has continued for forty years and brings us all together this week in Albuquerque. In these decades, thousands of scholars have joined their colleagues in the study and celebration of popular culture, some as first-time conference-goers, others as established scholars in their respective fields. All have contributed to the strength of this conference and organization, and we are honored to have you with us as we celebrate this milestone. This week, we will be reflecting on the foundations upon which the organization, and popular culture studies more broadly, were founded, and we will be looking ahead to the future of the Southwest Popular/American Culture Association, which we trust will be equally long and successful. Please join us Thursday evening at 6:00pm (Grand Pavilion VI) at the annual Peter C. Rollins Book Award and Student Awards Ceremony, where long-time members of the association will share their thoughts on the state of popular culture studies and where we will recognize the next generation of scholars and their work. We are additionally pleased to welcome Pam Houston, author of Cowboys Are My Weakness and the recently-released Deep Creek, among other works, as our conference Keynote speaker, Friday at 7:00pm, following our annual Fire and Ice Reception/40th Anniversary Celebration in Grand Pavilion IV-VI. -
By the Light of Twin Suns
By the Light of “Twin Suns” Essays inspired by Abigail Dillon © 2019 Table of Contents I Foreword 1 II Craftsmanship 5 A Very Good Place to Start--------------------------------------------- 7 Essential Ezra----------------------------------------------------------------- 21 Fireside Chats----------------------------------------------------------------- 29 The Duel is in the Details------------------------------------------------ 35 III Literary Analysis 45 Do We Enter as a Thief?------------------------------------------------- 47 A False Monomyth---------------------------------------------------------- 53 The Old Men and the Dune Sea--------------------------------------- 69 IV Canon Theories 79 From a Certain Point of View----------------------------------------- 81 What’s in a Title?----------------------------------------------------------- 85 The Chosen One------------------------------------------------------------- 105 V Character Study 113 The Boy Who Would Be a Jedi--------------------------------------- 115 Did You Ever Hear the Tragedy of Darth Maul the Lost? 131 A Brave Hope------------------------------------------------------------------ 151 Masterhood of the Ultimate Jedi------------------------------------- 167 VI One Last Lesson 203 VII Notes 235 References---------------------------------------------------------------------- 237 Acknowledgements--------------------------------------------------------- 249 About the Author------------------------------------------------------------ 249 I Foreword 1 2 The best stories -
Disney+ Disney+ Will Be the Ultimate Streaming Destination for Entertainment from Disney, Pixar, Marvel, Star Wars, and National Geographic
Welcome to Disney+ Disney+ will be the ultimate streaming destination for entertainment from Disney, Pixar, Marvel, Star Wars, and National Geographic. Disney+ will offer ad-free programming with a variety of original feature films, documentaries, episodic and unscripted series and short-form content, along with unprecedented access to Disney’s incredible library of films and television series. The service will also be the exclusive streaming home for films released by The Walt Disney Studios in 2019 and beyond, including Captain Marvel, Avengers: Endgame, Aladdin, Toy Story 4, The Lion King, Frozen 2, and Star Wars: Episode IX. Disney+ will launch in the U.S. on November 12, 2019 for $6.99 per month. The service will be available on a wide range of mobile and connected devices, including gaming consoles, streaming media players, and smart TVs. Visit DisneyPlus.com to register your email and be kept up to date on the service. Page 1 of 10 Disney+ Originals Never-before-seen original feature films, series, short-form content and documentaries exclusively for Disney+ subscribers. High School Musical: The Musical: The Series - The 10-episode scripted Live Action series, set at the real-life East High, where the original movie was filmed, follows Series a group of students as they countdown to opening night of their school's first-ever production of “High School Musical.” With meta references and some docu-style elements, it’s a modern take on the “classic” from 15 years ago. Show-mances blossom; friendships are tested, while new ones are made; rivalries flare; songs are sung; and lives are changed forever as these young people discover the transformative power that only high school theater can provide. -
“Let's Go Gank Ourselves a Paris Hilton”: a Textual Analysis
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SHAREOK repository “Let’s Go Gank Ourselves a Paris Hilton”: A Textual Analysis of the Dialogue of Supernatural (the First 10 Years) Liorah Golomb It may seem counterintuitive to examine an audiovisual medium through its dialogue alone, but some linguists have been doing just that. Using a freeware concordance toolkit and other computer programs, I analyzed the dialogue of the first 10 seasons of the American television program Supernatural (2005-present) through several facets in an attempt to demonstrate originality, variety, and how language contributes to character individuation.1 Using fan-made transcripts, I created three main corpora for the study: the SPN Corpus, which includes all dialogue from the first 218 episodes, and the DEAN and SAM Corpora, comprised of all of the dialogue of each of the two main characters. The SUBTLEXUS corpus of American film and television dialogue was used as a reference corpus. A sampling of Supernatural episodes was also compared to that of other contemporary genre shows. Background: Why Supernatural “Supernatural has everything. Life. Death. Resurrection. Redemption. But above all, family.” (Calliope, Supernatural episode 10.05, “Fan Fiction”) To give the barest of summaries, Supernatural is an American television show about two brothers, Dean and Sam Winchester (played by Jensen Ackles and Jared Padalecki, respectively), who were raised as hunters of supernatural beings. Created by Eric Kripke, Supernatural has 1 Generally, episodes referenced in this paper are identified only by season and episode number within the season, so 5.22 refers to the twenty-second episode of the fifth season.