Athletic Area Upgrades Nearing Completion
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JACK KIRBY COLLECTOR THIRTY-NINE $9 95 IN THE US . c n I , s r e t c a r a h C l e v r a M 3 0 0 2 © & M T t l o B k c a l B FAN FAVORITES! THE NEW COPYRIGHTS: Angry Charlie, Batman, Ben Boxer, Big Barda, Darkseid, Dr. Fate, Green Lantern, RETROSPECTIVE . .68 Guardian, Joker, Justice League of America, Kalibak, Kamandi, Lightray, Losers, Manhunter, (the real Silver Surfer—Jack’s, that is) New Gods, Newsboy Legion, OMAC, Orion, Super Powers, Superman, True Divorce, Wonder Woman COLLECTOR COMMENTS . .78 TM & ©2003 DC Comics • 2001 characters, (some very artful letters on #37-38) Ardina, Blastaar, Bucky, Captain America, Dr. Doom, Fantastic Four (Mr. Fantastic, Human #39, FALL 2003 Collector PARTING SHOT . .80 Torch, Thing, Invisible Girl), Frightful Four (Medusa, Wizard, Sandman, Trapster), Galactus, (we’ve got a Thing for you) Gargoyle, hercules, Hulk, Ikaris, Inhumans (Black OPENING SHOT . .2 KIRBY OBSCURA . .21 Bolt, Crystal, Lockjaw, Gorgon, Medusa, Karnak, C Front cover inks: MIKE ALLRED (where the editor lists his favorite things) (Barry Forshaw has more rare Kirby stuff) Triton, Maximus), Iron Man, Leader, Loki, Machine Front cover colors: LAURA ALLRED Man, Nick Fury, Rawhide Kid, Rick Jones, o Sentinels, Sgt. Fury, Shalla Bal, Silver Surfer, Sub- UNDER THE COVERS . .3 GALLERY (GUEST EDITED!) . .22 Back cover inks: P. CRAIG RUSSELL Mariner, Thor, Two-Gun Kid, Tyrannus, Watcher, (Jerry Boyd asks nearly everyone what (congrats Chris Beneke!) Back cover colors: TOM ZIUKO Wyatt Wingfoot, X-Men (Angel, Cyclops, Beast, n their fave Kirby cover is) Iceman, Marvel Girl) TM & ©2003 Marvel Photocopies of Jack’s uninked pencils from Characters, Inc. -
A Report from Depaul University School of Music 2008–09
SOUND INVESTMENT A Report from DePaul University09 School of Music 2008–09 letter from the dean october, 2009 Dear Friend, Our school was founded nearly a century ago, with modest (some would say “paltry”) facilities and limited expectations, but also with a fervent commitment to serve and the hopes that the new school would not only endure but become “respectable.” Now, 97 years later, we can look back over many generations of capable students and a very long string of dedicated and altogether memorable faculty and staff, and be genuinely astonished at all that these many folks accomplished. The DePaul School of Music rightly stands today as peer to the few finest and most celebrated music schools in America. I wonder if our founders ever imagined such a destiny for their fledgling cause. It was our faculty and staff who in large measure fueled this development—together with University leaders who sustained a faith in our part of DePaul’s story—who believed that a strong school of music could emerge from such modest circumstances and at a University that lived meagerly. Beyond that, it was giving and sacrifice that has made the difference, as individuals such as yourself gave the School what the University could not. Those gifts are woven into the fabric of what we’ve become and are now an Donald E. Casey important part of what we are. Whether the gifts were of a few dollars or a million or more, we are and Dean of the School of Music always will be deeply grateful. 2008-09 Now, though, we turn our gaze forward and imagine what the School of Music at DePaul will become. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
The Rules of #Metoo
University of Chicago Legal Forum Volume 2019 Article 3 2019 The Rules of #MeToo Jessica A. Clarke Follow this and additional works at: https://chicagounbound.uchicago.edu/uclf Part of the Law Commons Recommended Citation Clarke, Jessica A. (2019) "The Rules of #MeToo," University of Chicago Legal Forum: Vol. 2019 , Article 3. Available at: https://chicagounbound.uchicago.edu/uclf/vol2019/iss1/3 This Article is brought to you for free and open access by Chicago Unbound. It has been accepted for inclusion in University of Chicago Legal Forum by an authorized editor of Chicago Unbound. For more information, please contact [email protected]. The Rules of #MeToo Jessica A. Clarke† ABSTRACT Two revelations are central to the meaning of the #MeToo movement. First, sexual harassment and assault are ubiquitous. And second, traditional legal procedures have failed to redress these problems. In the absence of effective formal legal pro- cedures, a set of ad hoc processes have emerged for managing claims of sexual har- assment and assault against persons in high-level positions in business, media, and government. This Article sketches out the features of this informal process, in which journalists expose misconduct and employers, voters, audiences, consumers, or professional organizations are called upon to remove the accused from a position of power. Although this process exists largely in the shadow of the law, it has at- tracted criticisms in a legal register. President Trump tapped into a vein of popular backlash against the #MeToo movement in arguing that it is “a very scary time for young men in America” because “somebody could accuse you of something and you’re automatically guilty.” Yet this is not an apt characterization of #MeToo’s paradigm cases. -
Benemérita Universidad Autónoma De Puebla
BENEMÉRITA UNIVERSIDAD AUTÓNOMA DE PUEBLA INSTITUTO DE CIENCIAS SOCIALES Y HUMANIDADES “ALFONSO VÉLEZ PLIEGO” MAESTRÍA EN SOCIOLOGÍA EXPERIENCIA Y CULTURA JAPONESA EN IMÁGENES HISTÓRICAS MERCANTILES DEL ANIME EN MÉXICO TESIS PARA OBTENER EL GRADO DE MAESTRO EN SOCIOLOGÍA PRESENTA: LIC. ALAN EUGENIO GONZÁLEZ DIRECTOR: DR. FERNANDO T. MATAMOROS PONCE PUEBLA, PUE., DICIEMBRE 2020 1 Índice Portada……………………………………………………………………………………... 1 Agradecimientos………………………………………………............................................ 4 Introducción………………………………………………………………………………... 9 Capítulo I Revisión conceptual sobre las dimensiones culturales japonesas en la conformación de identidades………………………………………………………………………………. 17 1.1 La cultura y la vida cotidiana en una sociedad………………………………………. 18 1.2 Una sociedad dominada……………………………………………………………… 38 1.3 Impulsos y deseos de los sujetos en una sociedad…………………………………… 49 Capítulo II Una puerta al pasado: Lo japonés en México como antecedente participativo en la llegada del anime………………………………………………………………………... 57 2.1 Un encuentro, antes de un México. La misión Hasekura……………………………. 59 2.2 La comisión astronómica y las migraciones japonesas……………………………… 62 2.2.1 La comisión astronómica y sus consecuencias…………………………….. 62 2.2.2 Las migraciones japonesas………………………........................................ 67 2.3 La vida durante y después de la Segunda Guerra Mundial………………………….. 82 2.4 La literatura japonesa………………………………………………………………... 93 2.5 El karate en México………………………………………………………………….. 96 2.5.1 Koichi Choda Watanabe y el Karate-do -
2018 – Volume 6, Number
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 2 & 3 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor KEVIN CALCAMP Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Bump in the Night” by Brent Jones © 2018 Courtesy of Pixabay/Kellepics EDITORIAL ADVISORY BOARD ANTHONY ADAH PAUL BOOTH Minnesota State University, Moorhead DePaul University GARY BURNS ANNE M. CANAVAN Northern Illinois University Salt Lake Community College BRIAN COGAN ASHLEY M. DONNELLY Molloy College Ball State University LEIGH H. EDWARDS KATIE FREDICKS Florida State University Rutgers University ART HERBIG ANDREW F. HERRMANN Indiana University - Purdue University, Fort Wayne East Tennessee State University JESSE KAVADLO KATHLEEN A. KENNEDY Maryville University of St. Louis Missouri State University SARAH MCFARLAND TAYLOR KIT MEDJESKY Northwestern University University of Findlay CARLOS D. MORRISON SALVADOR MURGUIA Alabama State University Akita International -
New Comics & TP's for the Week of 11/15/17
Legend of Wonder Woman Origins TP New Comics & TP's Mage Hero Denied #4 Mighty Thor #701 for the Week of 11/15/17 Nightwing #33 /13 Ninja-K #1 Action / Adventure Not Brand Echh #14 Babyteeth #6 Peter Parker Spectacular Spider-Man #297 Black Science #33 Peter Parker Spectacular Spider-Man #297 Harren Var Briggs Land Lone Wolves #6 Punisher #218 Brilliant Trash #1 Punisher #218 Smallwood Var Curse Words #10 Punisher #218 Var Ed Lenticular East of West #35 Rasputin Voice of Dragon #1 Evolution #1 Secret Warriors #8 Family Trade #2 Spider-Men II #4 Fence #1 Super Sons #10 Greatest Adventure #7 Superman #35 James Bond Kill Chain #5 Trinity #15 Jim Butcher Dresden Files Dog Men #6 Weapon X #11 Kill the Minotaur #6 Wild Storm #9 Maestros #2 Wonder Woman Conan #3 Misfit City #7 Wonder Woman TP Vol 04 Godwatch Realm #3 X-Men Blue #15 Sheena #3 X-Men Gold TP Vol 02 Evil Empires Skin & Earth #5 TMNT Ongoing #76 Indie / Vertigo Unholy Grail #4 Neil Gaiman American Gods Shadows #9 Wicked & Divine #33 Horror Superhero Ash vs. Army of Darkness #5 Amazing Spider-Man #791 Grimm Fairy Tales #10 Aquaman #30 Batman #35 Kid’s Batman Who Laughs #1 Adventure Time Comics #17 Batwoman #9 Disney Princess #15 Batwoman TP Vol 01 The Many Arms of Death Goldie Vance TP Vol 03 Ben Reilly Scarlet Spider #10 My Little Pony Legends of Magic #8 Black Panther Prelude #2 Over Garden Wall Ongoing #20 Bloodshot Salvation #3 Simpsons Comics #241 Bombshells United #6 Bug the Adventures of Forager #5 Sci-Fi / Fantasy Champions #14 Descender #26 Deadpool vs. -
Modern Poetry Seminar “Shifting Poetics: from High Modernism to Eco-Poetics to Black Lives Matter”
San José State University Department of English and Comparative Literature ENGLISH 211: Modern Poetry Seminar “Shifting Poetics: From High Modernism to Eco-Poetics to Black Lives Matter” Spring 2021 Instructor: Prof. Alan Soldofsky Office Location: FO 106 Telephone: 408-924-4432 Email: [email protected] Virtual Office Hours: M, W 3:00 – 4:30 PM, and Th p.m. by appointment Class Days/Time: Synchronous Zoom Meetings M 7:00 – 8:30 PM; Asynchronous on Canvas (24/7) Classroom: Zoom Credit Units: 4 Credits Course Description This seminar is designed to engage students in an immersive study of salient themes and innovations in selected poets from the 20th and 21st centuries. The curriculum will include practice in close reading/explication of selected poems. The course will be taught in a partially synchronous distance learning mode, using SJSU’s Canvas and Zoom platforms, with weekly Monday Zoom class meetings, 7:00 – 8:15 p.m. The course may be taken two times for credit (toward an MA or MFA degree). Thematic Focus Shifting Cultural Politics and Poetics from High Modernism to Eco-Poetics to Black Lives Matter (1909 – 2021) The emphasis during the semester will be on the evolving poetics and associated cultural politics as viewed through various aesthetic movements in poetry from the high modernist period to the present. During the semester the curriculum will include reading one or more poems (online) by the following poets: W.B. Yeats, Ezra Pound, T.S. Eliot, William Carlos Williams, Wallace Stevens, Hart Crane, Marianne Moore, Robinson Jeffers, Langston Hughes, Claude McKay, H. -
Narcocorridos As a Symptomatic Lens for Modern Mexico
UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Vol. 1, No. 2 “Grave-Digging Crate Diggers: Retro “The Narcocorrido as an Ethnographic Fetishism and Fan Engagement with and Anthropological Lens to the War Horror Scores” on Drugs in Mexico” Spencer Slayton Samantha Cabral “Callowness of Youth: Finding Film’s “This Is Our Story: The Fight for Queer Extremity in Thomas Adès’s The Acceptance in Shrek the Musical” Exterminating Angel” Clarina Dimayuga Lori McMahan “Cats: Culturally Significant Cinema” Liv Slaby Spring 2020 Editor-in-Chief J.W. Clark Managing Editor Liv Slaby Review Editor Gabriel Deibel Technical Editors Torrey Bubien Alana Chester Matthew Gilbert Karen Thantrakul Graphic Designer Alexa Baruch Faculty Advisor Dr. Elisabeth Le Guin 1 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 2 Spring 2020 Contents Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement 2 with Horror Scores Spencer Slayton Callowness of Youth: Finding Film’s Extremity in Thomas Adès’s 10 The Exterminating Angel Lori McMahan The Narcocorrido as an Ethnographic and Anthropological Lens to 18 the War on Drugs in Mexico Samantha Cabral This Is Our Story: The Fight for Queer Acceptance in Shrek the 28 Musical Clarina Dimayuga Cats: Culturally Significant Cinema 38 Liv Slaby Contributors 50 Closing notes 51 2 Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement with Horror Scores Spencer Slayton he horror genre is in the midst of a renaissance. The slasher craze of the late 70s and early 80s, revitalized in the mid-90s, is once again a popular genre for Treinterpretation by today’s filmmakers and film composers. -
Directors Guild of America Creative Rights Handbook 2011 - 2014
DIRECTORS GUILD OF AMERICA CREATIVE RIGHTS HANDBOOK 2011 - 2014 Los Angeles, CA (310) 289-2000 New York, NY (212) 581-0370 Chicago, IL (312) 644-5050 www.dga.org Taylor Hackford, President • Jay D. Roth, National Executive Director Dear Colleague, As Co-Chairs of the DGA Creative Rights Committee, we spend a lot of time talking to Directors about their Theatrical Creative Rights work problems. Often we nd that trouble begins with Committee TABLE OF CONTENTS those who are unclear about or unaware of creative Jonathan Mostow Steven Soderbergh rights protections they already have as members of the Co-Chair Co-Chair Directors Guild of America. David Ayer Taylor Hackford Donald Petrie CREATIVE RIGHTS CHECKLISTS Some DGA Directors have voiced frustration over Michael Bay John Lee Hancock Sam Raimi Checklists of DGA Directors’ creative rights, practices in the editing room; they did not know John Carpenter Curtis Hanson Brett Ratner codied in this handbook that the DGA Basic Agreement protects them from .…..................….…….…….…….…….….3 interference when they are preparing their cut. Some omas Carter Mary Lambert Jay Roach television Directors have expressed concern about being Martha Coolidge Jonathan Lynn Tom Shadyac excluded from the looping and dubbing process; they Wes Craven Michael Mann Brad Silberling were unaware that they, like feature Directors, have SUMMARY OF CREATIVE RIGHTS Andy Davis Frank Marshall Penelope Spheeris the right to participate in both. And many Directors A summary of a Director’s creative rights did not realize that, because they are Guild members, Roger Donaldson McG Betty omas under the Directors Guild of America Basic they have a right to additional cutting time if necessary David Fincher E. -
ABSTRACT the Pdblications of the Marvel Comics Group Warrant Serious Consideration As .A Legitimate Narrative Enterprise
DOCU§ENT RESUME ED 190 980 CS 005 088 AOTHOR Palumbo, Don'ald TITLE The use of, Comics as an Approach to Introducing the Techniques and Terms of Narrative to Novice Readers. PUB DATE Oct 79 NOTE 41p.: Paper' presented at the Annual Meeting of the Popular Culture Association in the South oth, Louisville, KY, October 18-20, 19791. EDFS PRICE MF01/PCO2 Plus Postage." DESCRIPTORS Adolescent Literature:,*Comics (Publications) : *Critical Aeading: *English Instruction: Fiction: *Literary Criticism: *Literary Devices: *Narration: Secondary, Educition: Teaching Methods ABSTRACT The pdblications of the Marvel Comics Group warrant serious consIderation as .a legitimate narrative enterprise. While it is obvious. that these comic books can be used in the classroom as a source of reading material, it is tot so obvious that these comic books, with great economy, simplicity, and narrative density, can be used to further introduce novice readers to the techniques found in narrative and to the terms employed in the study and discussion of a narrative. The output of the Marvel Conics Group in particular is literate, is both narratively and pbSlosophically sophisticated, and is ethically and morally responsible. Some of the narrative tecbntques found in the stories, such as the Spider-Man episodes, include foreshadowing, a dramatic fiction narrator, flashback, irony, symbolism, metaphor, Biblical and historical allusions, and mythological allusions.4MKM1 4 4 *********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * *********************************************************************** ) U SOEPANTMENTO, HEALD.. TOUCATiONaWELFARE NATIONAL INSTITUTE CIF 4 EDUCATION THIS DOCUMENT was BEEN N ENO°. DOCEO EXACTLY AS .ReCeIVED FROM Donald Palumbo THE PE aSON OR ORGANIZATIONORIGuN- ATING T POINTS VIEW OR OPINIONS Department of English STATED 60 NOT NECESSARILY REPRf SENT OFFICIAL NATIONAL INSTITUTE OF O Northern Michigan University EDUCATION POSITION OR POLICY CO Marquette, MI. -
Brett Ratner
SLATE Brett Ratner Brett Ratner is one of Hollywood’s most successful filmmakers. His diverse films resonate with audiences worldwide and, as director, his films have grossed over $2 billion at the global box office. Brett began his career directing music videos before making his feature directorial debut at 26 years old with the action comedy hit Money Talks. He followed with the blockbuster Rush Hour and its successful sequels. Brett also directed The Family Man, Red Dragon, After the Sunset, X- Men: The Last Stand, Tower Heist and Hercules. Ratner has also enjoyed critical acclaim and box office success as a producer. He has served as an executive producer on the Golden Globe and Oscar winning The Revenant, starring Leonardo DiCaprio, Black Mass, starring Johnny Depp, and War Dogs, starring Jonah Hills ; and as a producer on Truth, starring Robert Redford and Cate Blanchett; I Saw the Light, starring Tom Hiddleston and Elizabeth Olsen; and Rules Don’t Apply, written, directed and produced by Warren Beatty. His other produced films include the smash hit comedy Horrible Bosses and its sequel, and the re-imagined Snow White tale Mirror Mirror. His additional producing credits include the documentaries Author: The JT LeRoy Story, Catfish, the Emmy-nominated Woody Allen - A Documentary, Helmut by June, I Knew It Was You: Rediscovering John Cazale, Chuck Norn's vs. Communism, the 5-time Emmy nominated and Peabody Award winning Night Will Fall, HBO’s Bright Lights, and National Geographic’s Before the Flood, with Fisher Stevens and Leonardo DiCaprio. He also executive produced and directed the Golden Globe-nominated FOX series Prison Break, and executive produced the television series Rush Hour, based on his hit films.