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Gone Girl : a Novel / Gillian Flynn
ALSO BY GILLIAN FLYNN Dark Places Sharp Objects This author is available for select readings and lectures. To inquire about a possible appearance, please contact the Random House Speakers Bureau at [email protected] or (212) 572-2013. http://www.rhspeakers.com/ This book is a work of ction. Names, characters, businesses, organizations, places, events, and incidents either are the product of the author’s imagination or are used ctitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental. Copyright © 2012 by Gillian Flynn Excerpt from “Dark Places” copyright © 2009 by Gillian Flynn Excerpt from “Sharp Objects” copyright © 2006 by Gillian Flynn All rights reserved. Published in the United States by Crown Publishers, an imprint of the Crown Publishing Group, a division of Random House, Inc., New York. www.crownpublishing.com CROWN and the Crown colophon are registered trademarks of Random House, Inc. Library of Congress Cataloging-in-Publication Data Flynn, Gillian, 1971– Gone girl : a novel / Gillian Flynn. p. cm. 1. Husbands—Fiction. 2. Married people—Fiction. 3. Wives—Crimes against—Fiction. I. Title. PS3606.L935G66 2012 813’.6—dc23 2011041525 eISBN: 978-0-307-58838-8 JACKET DESIGN BY DARREN HAGGAR JACKET PHOTOGRAPH BY BERND OTT v3.1_r5 To Brett: light of my life, senior and Flynn: light of my life, junior Love is the world’s innite mutability; lies, hatred, murder even, are all knit up in it; it is the inevitable blossoming of its opposites, a magnicent rose smelling faintly of blood. -
Female Anti-Heroes in Contemporary Literature, Film, and Television Sara A
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 2016 Female Anti-Heroes in Contemporary Literature, Film, and Television Sara A. Amato Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Amato, Sara A., "Female Anti-Heroes in Contemporary Literature, Film, and Television" (2016). Masters Theses. 2481. https://thekeep.eiu.edu/theses/2481 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Graduate School� f.AsTE�ILLINOIS UNIVERSITY" Thesis Maintenance and Reproduction Certificate FOR: Graduate Candidates Completing Theses in Partial Fulfillment of the Degree Graduate Faculty Advisors Directing the Theses RE: Preservation, Reproduction, andDistribution of Thesis Research Preserving, reproducing, and distributing thesis research is an important part of Booth Library's responsibility to provide access to scholarship. In order to further this goal, Booth Library makes all graduate theses completed as part of a degree program at Eastern Illinois University available for personal study, research, and other not-for-profit educational purposes. Under 17 U.S.C. § 108, the library may reproduce and distribute a copy without infringing on copyright; however, professional courtesy dictates that permission be requested from the author before doing so. Your signatures affirm the following: • The graduate candidate is the author of this thesis. • The graduate candidate retains the copyright and intellectual property rights associated with the original research, creative activity, and intellectual or artistic content of the thesis. -
Download the Gone Girl Screenplay PDF for Personal, Private
SCRIPT TITLE Written by Name of First Writer Based on, If Any Address Phone Number BLACK SCREEN NICK (V.O.) When I think of my wife, I always think of her head. FADE IN: INT. BEDROOM-SOMETIME We see the back of AMY DUNNE’S HEAD, resting on a pillow. NICK (V.O.) I picture cracking her lovely skull, unspooling her brain, Nick runs his fingers into Amy’s hair. NICK (V.O.) Trying to get answers. He twirls and twirls a lock, a screw tightening. NICK (V.O.) The primal questions of a marriage: What are you thinking? How are you feeling? What have we done to each other? AMY wakes, turns, gives a look of anger...or alarm. NICK (V.O.) What will we do? BLACK SCREEN EXT. CARTHAGE - MORNING The sun rises on the small town of Carthage, Missouri. We see in flashes: A giant decrepit MEGAMALL, boarded up, a series of downtown buildings with CLOSED or FOR SALE signs. A carved marble entry—reading FOREST GLEN—ushers us into a ruined HOUSING DEVELOPMENT. The majority of McMansions are empty. FORECLOSED, FOR SALE signs everywhere. The place has an almost bucolic air: swaying grasses, stray wildlife. EXT.- NICK DUNNE’S BACKYARD - DAWN TITLE CARD: THE MORNING OF 2. Nick Dunne, 30s, handsome, is watching bits of trash float along the Mississippi River; a McMansion behind him. His yard is the only one mowed—all around him wilderness encroaches. The SUN rises over the treeline and blares its FIRST-DEGREE SPOTLIGHT in his face. He looks, fearful, ill. -
Taylor Muller Honors Thesis
CONTEMPORARY REPRESENTATIONS OF MARRIAGE IN LITERATURE AND POP CULTURE by Taylor Muller Submitted in partial fulfillment of the requirements for Departmental Honors in the Department of English Texas Christian University Fort Worth, Texas May 2, 2014 ii CONTEMPORARY REPRESENTATIONS OF MARRIAGE IN LITERATURE AND POP CULTURE Project Approved: Supervising Professor: Ariane Balizet, Ph.D. Department of English Carrie Leverenz, Ph.D. Department of English Sharon Fairchild, Ph.D. Department of Modern Language Studies iii ABSTRACT This research examines the representations of marriage in the novels The Marriage Plot and Gone Girl, reality television shows including Say Yes to the Dress, Four Weddings, and The Bachelor, and social media websites such as Pinterest. The analysis focuses on how these contemporary representations demonstrate normative gender roles, and what claims they make about marriage today. Several patterns emerged when using in particular the theories of Judith Butler and Frances Dolan as a framework for understanding the portrayals of marriage. The depictions of marriage included individuals adopting some sort of role-performance, often gender specific, and reiterated the conflict for power in marriage between the two parties. These were magnified in the dramatization of real life, such as reality television shows, and frequently reiterated traditional understandings of marriage within a modern context. iv TABLE OF CONTENTS INTRODUCTION...............................................................................................................1 -
Personality Disorder of Amy Dunne in Gone Girl by Gillian Flynn
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PERSONALITY DISORDER OF AMY DUNNE IN GONE GIRL BY GILLIAN FLYNN AN UNDERGRADUATE THESIS Presented as Partial Fullfilment of the Requirements For the Degree of Sarjana Sastra in English Letters By PATRICIA NADIA RAHMA PRATIWI Student Number: 144214075 DEPARTEMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2019 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PERSONALITY DISORDER OF AMY DUNNE IN GONE GIRL BY GILLIAN FLYNN AN UNDERGRADUATE THESIS Presented as Partial Fullfilment of the Requirements For the Degree of Sarjana Sastra in English Letters By PATRICIA NADIA RAHMA PRATIWI Student Number: 144214075 DEPARTEMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2019 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI GOOD THINGS TAKE TIME vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI This page is dedicated for: MY FATHER IN HEAVEN, MY LOVELY MOTHER, AND MY BIG SISTER. viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGEMENTS First of all, I would like to express my gratitude towards Jesus Christ for His grace and endless blessings so that I could finish my undergraduate thesis. For so many things that I have faced make me even stronger. Second of all, I would like to say thank you to my thesis advisor, Dr. Ga- briel Fajar Sasmita Aji M.Hum., who patiently help me to finish this undergradu- ate thesis and also always give the positive vibes and the spirit. I would like to thank my co-advisor, Sri Mulyani, Ph,D. -
Osher at JHU Course Catalog Baltimore/Columbia Fall 2021
Osher at JHU COURSE SCHEDULE Baltimore/Columbia Fall 2021 Dedicated to lifelong learning, the Osher at JHU program was created in 1986 with a mission of enhancing the leisure time of semi-retired and retired individuals by providing stimulating learning experiences and the opportunity for new friendships. The Osher at JHU program builds on the rich resources of an internationally renowned university to offer members an array of educational and social opportunities, including the following: • Courses and discussion groups • Access to the university library system • Field trips to cultural events • Preferred participation in university-sponsored events Fall 2021 courses will be offered online via Zoom. When in-person programs resume, they will be offered at two convenient locations. On Tuesdays and Thursdays, courses are conducted at the Grace United Methodist Church, 5407 North Charles Street, Baltimore, Maryland 21210. On Mondays and Wednesdays, courses are conducted at the First Presbyterian Church of Howard County, 9325 Presbyterian Circle, Columbia, MD 21045. For additional information on membership, please call the program’s administrative office at 607-208-8693. Osher at JHU Home Page COLUMBIA Monday MORNING SESSION From Tribes to Monarchy: The Book of Judges The Book of Judges, the seventh (out of 24) book of the Hebrew Bible, describes the transition time between the conquest of Canaan (the Book of Joshua) and the beginning of monarchy (in the early Book of I Samuel). In the interim, warriors who were called Judges emerged as the leaders when needed. In the book of Judges, one finds the first attempt to explain history through Deuteronomist glasses, and therefore this and the rest of the history books are assumed to be written by “the Deuteronomic Historians.” Some stories are very short while others are long with many details. -
Atticus Ross, Leopold Ross and Bobby Krlic Almost Holy: Original Motion Picture Soundtrack
Atticus Ross, Leopold Ross and Bobby Krlic Almost Holy: Original Motion Picture Soundtrack track listing: 1 One Block Further (4:57) 2 Punching Bag (5:49) 3 Intervention (4:36) 4 Wild Moose (3:41) 5 Pharmacies (5:37) 6 Mokhnenko (4:03) 7 Distance (4:37) 8 Coursing (3:39) 9 Graves (3:42) 10 The End (7:28) key information / selling Points: Hometown / Key Markets: • London, New York, Los Angeles, Chicago, Austin, Portland, San Francisco Selling Points / Key Press: • Electronic score by Oscar-winning composer Atticus Ross (The Social Network, Gone Girl, The Girl With the Dragon Tattoo), his brother Leopold Ross (The Book of Eli), and Bobby Krlic (The Haxan Cloak) After the collapse of the Soviet Union, a number of Ukraine’s youth wound up • The composers appearing on Beats 1 radio and Apple homeless and addicted to a lethal cocktail of injected cold medicine and alcohol. Music supporting the album via playlists and placement Steve Hoover’s documentary Almost Holy follows a pastor named Gennadiy • Steve Hoover’s documentary Almost Holy premiered at Mokhnenko, who saves street kids, at times by forcible abduction, and brings the 2015 Tribeca Film Fest them to his Pilgrim Republic rehabilitation center. The film’s depiction of a • Also screened at International Documentary Film country in the grip of poverty, addiction, and warfare is made even more power- Festival in Amsterdam, Human Rights Watch in ful by its captivating electronic score by award-winning composer Atticus Ross, Toronto, and 40 more festivals all over the world his brother Leopold Ross, and Bobby Krlic (The Haxan Cloak). -
Leading Character's Sociopathic Behaviour In
LEADING CHARACTER’S SOCIOPATHIC BEHAVIOUR IN FLYNN’S GONE GIRL A THESIS BY INTANTA A. MANURUNG REG. NO 130705094 DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2017 i Universitas Sumatera Utara ii Universitas Sumatera Utara iii Universitas Sumatera Utara iv Universitas Sumatera Utara AUTHOR’S DECLARATION I, INTANTA A. MANURUNG, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHER FOR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION. Signed: Date: October 10th, 2017 v Universitas Sumatera Utara COPYRIGHT DECLARATION NAME : INTANTA A. MANURUNG TITLE OF THESIS : LEADING CHARACTER’S SOCIOPATHIC BEHAVIOUR IN FLYNN’S GONE GIRL QUALIFICATION : S-1/SARJANA SASTRA DEPARTMENT : ENGLISH I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF INDONESIA. Signed : Date : October10th, 2017 vi Universitas Sumatera Utara ACKNOWLEDGEMENTS Praise and great gratitude submitted to Almighty God, Jesus Christ who always gives his gracious mercy and tremendous blessing that has helped me finishing this thesis entitled: Leading Character‘s Sociopathic Behaviour of Flynn‘s Gone Girl. -
Gone Girl by David Fincher
FILM REVIEW GONE GIRL BY DAVID FINCHER Reviewed by Ryan Botha Department of Psychology Midrand Graduate Institute [email protected] In cinema, popular portrayals of male psychopaths abound. Etched in cinema history are seminal male psychopathic characters from films like Psycho, The Shining, Silence of the Lambs, American Psycho and more recently, No Country for Old Men. The fact that there is a preponderance of male psychopaths in cinema reflects an epidemiological fact, namely, that there are more male than female psychopaths in society. Empirical data evinces this trend across North American and European university of south africa New Voices in Psychology Print ISSN 1818-6874 Volume 11 | Number 1 | 2015 © 2015 Unisa Press pp. 150–156 150 Delivered by Sabinet to: 58010 IP: 163.200.101.52 On: Thu, 20 Oct 2016 08:46:18 Reviewed by Ryan Botha Gone Girl clinical and forensic settings (see De Vogel & De Ruiter, 20005; Grann, 2000; Hare, 2003; Hazelwood, 2006; Hemphill, Hare & Wong, 1998; Salekin et al., 1997; Vitale, Smith, Brinkley & Newman, 2002; Warren et al., 2003; Weizmann-Henelius et al., 2010). This trend in cinema though may entrench a societal myth, namely, that the female psychopath does not exist (Perri & Lichtenwald, 2010). There are a handful of films that portray female deviance (i.e. Rosemary’s Baby, Fatal Attraction, and Monster) and while the delineation of the characters in these films as psychopathic is confounded by concomitant psychopathology as well as technical inaccuracies, they have opened up a space for public reflection on the notion of female psychopathy. Gone Girl extends on this cinematic enquiry by breaching this seemingly taboo and rarely explored subject matter, the female psychopath. -
DISAPPEAR HERE Violence After Generation X
· · · · · · · · · · · · · · · · DISAPPEAR HERE Violence after Generation X Naomi Mandel THE OHIO STATE UNIVERSITY PRESS / COLUMBUS All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Copyright © 2015 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Mandel, Naomi, 1969– author. Disappear here : violence after Generation X / Naomi Mandel. pages cm Includes bibliographical references and index. ISBN 978-0-8142-1286-8 (cloth : alk. paper) 1. Violence in literature. 2. Violence—United States—20th century. 3. Generation X— United States—20th century. I. Title. PN56.V53M36 2015 809'.933552—dc23 2015010172 Cover design by Janna Thompson-Chordas Text design by Juliet Williams Type set in Adobe Sabon Printed by Thomson-Shore, Inc. Cover image: Young woman with knife behind foil. © Bernd Friedel/Westend61/Corbis. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. To Erik with love and x x x All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. contents · · · · · · · · · List of Illustrations vi Acknowledgments vii introduction The Middle Children of History 1 one Why X Now? Crossing Out and Marking the Spot 9 two Nevermind: An X Critique of Violence 41 three The Game That Moves: Bret Easton Ellis, 1985–2010 79 four Something Empty in the Sky: 9/11 after X 111 five Not Yes or No: Fact, Fiction, Fidelity in Jonathan Safran Foer 150 six I Am Jack’s Revolution: Fight Club, Hacking, Violence after X 178 conclusion X Out 210 Works Cited 227 Index 243 All Rights Reserved. -
ENGL 4384: Senior Seminar Student Anthology
ENGL 4384: Senior Seminar Student Anthology Spring 2015 Dr. Debra MacComb, Professor Department of English & Philosophy Printed on campus by UWG Publications and Printing. Behind the Veil: Inspecting and Interrogating Marriage in the Form of Fiction • • Introduction 5 by Dr. Debra MacComb Going, Going, Gone Frankly, My Dear, I Don’t Give a Damn: Scarlett O’Hara’s Battle 9 Against Traditional Southern Gender Roles During the Civil War Era in the Film Gone with the Wind by Carolyn Eaton Fifty Shades of Mocking Gray “The Girl on Fire” Now in the Hearth: Marriage in the Epilogue 23 of Suzanne Collins’ Mockingjay By Jessica Bell Fucking Tradition, Hard: Undressing Marital Form in E.L. 39 James’ Fifty Shades of Grey by Taylor Boltz Everybody Loves Downton Abbey A House Built on Marriages: The Implications of a Continuous 53 Narrative on the Marriage Plot in Downton Abbey by Danielle Smith Everybody Hates Raymond: The Tragi-Comedy’s Repurposing 67 of Traditional Marital Forms and the Unexpected, Retrospective Un-Conventionality of Sitcoms by Sarah Robertson Girls Gone Neverland Seduction of the Gone Girl 85 by Michael Chisholm Becoming Wendy: a Feminist Analysis of Wendy Darling in 99 Peter Pan by Jessica Fountain A Blonde Valentine for a Han Chinese Girl Saying “I Do” In Legally Blonde: The Double-Proposal and 113 Female Power by Courtney Grieb The New Deal: A Need for Renegotiating the Marriage Contract 125 in Blue Valentine by Alex Thompson Let’s Get Down to Business: The Double Proposal Narrative 137 in Disney’s Mulan. by Megan Shirley The Content of the Form ohn Singer Sargent’s late nineteenth-century painting “Mr. -
Representations of Female Violence in Muriel Spark's
‘NEVER FORGET YOUR FIRST’ (NOVEL) AND VIOLENT WOMEN: REPRESENTATIONS OF FEMALE VIOLENCE IN MURIEL SPARK’S ‘THE DRIVER’S SEAT’, VIRGINIE DESPENTES’S ‘BAISE-MOI’, GILLIAN FLYNN’S ‘GONE GIRL’, AND C.S. BARNES’S ‘NEVER FORGET YOUR FIRST’ by CHARLOTTE SOPHIE BARNES A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Film and Creative Writing School of English, Drama and American & Canadian Studies College of Arts and Law University of Birmingham September 2017 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Never Forget Your First presents the story of Gillian – a young woman who, from a young age, expresses an attraction to violence. Following an encounter with her father – in the course of which he suffers a fatal injury – Gillian begins her journey towards her first murder. Never Forget Your First aims to illustrate how contemporary authors can deviate from narrative norms in regard to representing female violence. Complementary to this, the critical portion of this thesis, Violent Women: Representations of Female Violence in Muriel Spark’s ‘The Driver’s Seat’, Virginie Despentes’s ‘Baise-Moi’, Gillian Flynn’s ‘Gone Girl’, and C.S.