Saki, Nietzsche and the Superwolf
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
1992 Federal Recovery Plan
U.S. Fish and Wildlife Service Twin Cities, Minnesota RECOVERY PLAN FOR THE EASTERN TIMBER WOLF Revised 1992 Original Recovery Plan ApprovedJune 5, 1978 Prepared by the Eastern Timber Wolf Recovery Team for Region 3, U.S. Fish and Wildlife Service Twin Cities, Minnesota Approved: gional Director, U.S. Fish and Wildlife Service Date: JAN ~; EASTERN TIMBER WOLF 0 DISCLAIMER PAGE z Recovery plans delineate reasonable actions which are believed to be required to recover and/or protect listed species. Plans are published by the U.S. Fish and Wildlife Service, sometimes prepared with the assistance of recovery teams, contractors, State agencies, and others. Objectives will be attained and any necessary funds made available subject to budgetary and other constraints affecting the parties involved, as well as the need to address other priorities. Recovery plans do not necessarily represent the views nor the official positions or approval of any individuals or agencies involved in the plan formulation, other than the U.S. Fish and Wildlife Service. They represent the official position of the U.S. Fish and Wildlife Service only after they have been signed by the Regional Director or Director as approved. Approved recovery plans are subject to modification as dictated by new findings, changes in species status, and the completion of recovery tasks. Page 2 EASTERN TIMBER WOLF 0 ACKNOWLEDGEMENTS The U.S. Fish and Wildlife Service gratefully acknowledges the efforts of the many individuals that have contributed their energy and time - official as well as personal - to the preparation of this recovery plan. We especially extend our appreciation to the current recovery team members, as well as former team members William Hickling, LeRoy Rutske, and Robert Linn, and recovery team consultants Tom Weise and John Mathisen. -
Haunted Narratives: the Afterlife of Gothic Aesthetics in Contemporary Transatlantic Women’S Fiction
HAUNTED NARRATIVES: THE AFTERLIFE OF GOTHIC AESTHETICS IN CONTEMPORARY TRANSATLANTIC WOMEN’S FICTION Jameela F. Dallis A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2015 Approved by: Minrose Gwin Shayne A. Legassie James Coleman María DeGuzmán Ruth Salvaggio © 2016 Jameela F. Dallis ALL RIGHTS RESERVED ii ABSTRACT Jameela F. Dallis: Haunted Narratives: The Afterlife of Gothic Aesthetics in Contemporary Transatlantic Women’s Fiction (Under the direction of Minrose Gwin and Shayne A. Legassie) My dissertation examines the afterlife of eighteenth- and nineteenth-century Gothic aesthetics in twentieth and twenty-first century texts by women. Through close readings and attention to aesthetics and conventions that govern the Gothic, I excavate connections across nation, race, and historical period to engage critically with Shirley Jackson’s The Haunting of Hill House, 1959; Angela Carter’s “The Lady of the House of Love,” 1979; Shani Mootoo’s Cereus Blooms at Night, 1996; and Toni Morrison’s Love, 2003. These authors consciously employ such aesthetics to highlight and critique the power of patriarchy and imperialism, the continued exclusion of others and othered ways of knowing, loving, and being, and the consequences of oppressing, ignoring, or rebuking these peoples, realities, and systems of meaning. Such injustices bear evidence to the effects of transatlantic commerce fueled by the slave trade and the appropriation and conquering of lands and peoples that still exert a powerful oppressive force over contemporary era peoples, especially women and social minorities. -
10 Vital Ways to Spot a Werewolf
12 What is a Werewolf? 13 Once they have experienced raw All werewolves have excessive 10 Vital Ways to 4meat in their wolf form, even as 8 body hair. This does not mean a human the werewolf will enjoy the that all people with extra body taste of fresh, bloody meat. hair are werewolves, but check for Spot a Werewolf hair on the palms of the hands, a Some werewolves exhibit pronounced “widow’s peak” or heightened senses of hearing, 5 marked hair loss either side of the Spotting a werewolf is not easy, especially when they are smell, and sight. forehead, and – harder to check – in human form. However, there are a few telltale clues All werewolves will be nervous, hair growing inside the skin. even secretive, as the full moon 6 When in human form a that you can use to make it easier: approaches. Some will enjoy this werewolf may show signs of time of power; others may meet this 9 In human form, check for than their middle finger is likely to increased agression or periods of prospect with sadness, even fear. eyebrows that meet in the be a werewolf in human guise. unprovoked rage. 1 middle. This has long been A werewolf will avoid silver of Werewolves have a pronounced Keep an eye on anyone who considered a sign of a werewolf. any kind, whether in wolf or ability to heal themselves, unless hangs about in the woods or 3 7 10 It is well known that any person human form, and will react as if struck by silver or, especially, shot moors during a full moon and comes 2 who has a ring finger longer burnt when touched by silver. -
Resolution Before the Ohio Lottery Commission Video Lottery Game Theme Approval April 15, 2013
RESOLUTION BEFORE THE OHIO LOTTERY COMMISSION VIDEO LOTTERY GAME THEME APPROVAL APRIL 15, 2013 WHEREAS, Game Rule Sixty, OAC 3770:2-10-60 is the “General video lottery game rule” effective 10/28/2010 which describes the conduct of video lottery games; and WHEREAS, the wager amount for a video lottery ticket may be in the minimum amount of one cent. The maximum price of a video lottery ticket shall be established for each video lottery game by the director and shall be subject to approval through a resolution of five commissioners present at a meeting of the commission. WHEREAS, the value of video lottery prize winnings and the number and type of different video lottery prize winning combinations available for each video lottery game shall be established by the director and shall be subject to approval through a resolution of five commissioners present at a meeting of the commission prior to the video lottery game being available to a video lottery sales agent for sale to video lottery participants. No resolution shall be approved unless there is a projected average return to video lottery participants of eighty-five percent or more during the expected lifetime of the video lottery game using standard methods of probability theory. WHEREAS, the Lottery Commission has granted technology provider licenses to qualified manufacturers and distributors and those technology providers have submitted to the Lottery for approval the game themes listed on Attachment A. WHEREAS, each game theme will be submitted by the technology provider to a lottery licensed test lab for independent certification of the software and the results provided to the Lottery. -
Reorienting the Female Gothic: Curiosity and the Pursuit of Knowledge
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2020 REORIENTING THE FEMALE GOTHIC: CURIOSITY AND THE PURSUIT OF KNOWLEDGE Jenna Guitar University of Rhode Island, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Guitar, Jenna, "REORIENTING THE FEMALE GOTHIC: CURIOSITY AND THE PURSUIT OF KNOWLEDGE" (2020). Open Access Dissertations. Paper 1145. https://digitalcommons.uri.edu/oa_diss/1145 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. REORIENTING THE FEMALE GOTHIC: CURIOSITY AND THE PURSUIT OF KNOWLEDGE BY JENNA GUITAR A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2020 DOCTOR OF PHILOSOPHY DISSERTATION OF JENNA GUITAR APPROVED: Dissertation Committee: Major Professor Jean Walton Christine Mok Justin Wyatt Nasser H. Zawia DEAN OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2020 ABSTRACT This dissertation investigates the mode of the Female Gothic primarily by examining how texts utilize the role of curiosity and the pursuit of knowledge, paying close attention to how female characters employ these attributes. Existing criticism is vital to understanding the Female Gothic and in presenting the genealogy of feminist literary criticism, and yet I argue, this body of criticism often produces elements of essentialism. In an attempt to avoid and expose the biases that essentialism produces, I draw from Sara Ahmed’s theory of queer phenomenology to investigate the connections between the way that women pursue and circulate knowledge through education and reading and writing practices in the Female Gothic. -
Lsh Script 7-43-8-44
NOTE: Here are 2 Legion of Super-Heroes scripts, issues 43 and 44 or the 7th and 8th installment in the 2008 series. One small story note... the "Peril Men" and the "Ikonns" are fighting over "VELMAR V." Clue: Velmar is Marvel spelled sideways. LEGION OF SUPER-HEROES ISSUE #43 Enemy Rising Part 4 “The Leader Who Lost the Legion” Script for 23 pages by Jim Shooter Michael Marts Editor DC COMICS 2 November 12, 2007 PAGE ONE: Panel 1 (FULL PAGE SPLASH): Scene: One second after the last panel of issue #42. SATURN GIRL, ULTRA BOY, ATOM GIRL, COLOSSAL BOY CHAMELEON and STAR BOY had been accosted by a large squadron of SCIENCE POLICE in several HOVERCRAFT (Hovercraft established last issue and in issue #38, I believe), intent upon arresting Ultra Boy. Here, Star Boy is sending all the hovercraft crashing to the ground by making them super heavy. Star Boy’s hands are down, palms down, as if gesturing “sit,” or “down.” His hands are glowing with his gravity-increasing power effect. The other Legionnaires react, surprised and awed by Star Boy’s rash move, and Saturn Girl is especially taken aback. This shot needs a fair amount of scope to succeed. Show all of the Legionnaires, full figure to establish them, and at least one hovercraft in its entirety, uncropped. CAPTION The 31st Century. CAPTION (2nd) The city of Ta Rshish, planet Rimbor. SFX (from the crashing hovercraft) THKRRMM CAPTION (3rd) (near Star Boy) Star Boy Homeworld: Zanthu Increases gravity SATURN GIRL (telepathic balloon) Star Boy…! What are you doing?! CAPTION (4th) (near Chameleon) -
Transcending Antinomies in Maggie Stiefvater’S Shiver Series
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons 1 ‘But by blood no wolf am I’: Language and Agency, Instinct and Essence – Transcending Antinomies in Maggie Stiefvater’s Shiver series The sympathetic vampire is now a familiar creature. Stephenie Mayer’s Twilight (2005) has made us aware of the attraction of radical otherness, where the mysterious non-humanity of the love object becomes a powerful source of desire rather than terror alone.1 Other paranormal species have also become somewhat domesticated and are now lovers rather than monstrous Others, resulting in the new hybridised genre of paranormal romance, where Gothic horror couples with romantic fiction.2 Each species of monster (whether vampire, shapeshifter, faerie, angel, or zombie) lends itself to different domains of enquiry. The shapeshifter, especially the werewolf, is particularly useful as an instrument for exploring the boundaries of humanity and animality, culture and nature. Werewolves are far more tied to animality and the physiological than the present-day vampire, despite the latter’s often compulsive blood-lust.3 The werewolf, too, is bound to a hierarchical pack society; this group membership necessarily evokes a different perspective on the social than the usually solitary vampire. Of course, the blurring of the boundary between animal and human recurs throughout literature. Yet wolves in particular have long played a versatile role in exploring these demarcations. Wolves are ambiguously social animals yet savage outsiders, predators on the community, and disruptors of the pastoral (with all the additional allegorical weight that arrives with Christianity). -
The Werewolf of Paris
The Werewolf of Paris Guy Endore The Werewolf of Paris Table of Contents The Werewolf of Paris........................................................................................................................................1 Guy Endore..............................................................................................................................................1 INTRODUCTION..................................................................................................................................2 CHAPTER ONE.....................................................................................................................................9 CHAPTER TWO..................................................................................................................................15 CHAPTER THREE..............................................................................................................................20 CHAPTER FOUR.................................................................................................................................25 CHAPTER FIVE..................................................................................................................................37 CHAPTER SIX.....................................................................................................................................42 CHAPTER SEVEN..............................................................................................................................51 CHAPTER EIGHT...............................................................................................................................64 -
The Beast Inside
University of Southern Maine USM Digital Commons Stonecoast MFA Student Scholarship Fall 12-15-2016 The Beast Inside Steve Cave University of Southern Maine Follow this and additional works at: https://digitalcommons.usm.maine.edu/stonecoast Part of the Creative Writing Commons Recommended Citation Cave, Steve, "The Beast Inside" (2016). Stonecoast MFA. 4. https://digitalcommons.usm.maine.edu/stonecoast/4 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at USM Digital Commons. It has been accepted for inclusion in Stonecoast MFA by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. The Beast Inside _______________ A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF SOUTHERN MAINE STONECOAST MFA IN CREATIVE WRITING BY Steve Cave _______________ 2016 i Abstract This thesis contains the first seven chapters of the novel Ravenous, the short story “Faithfall,” and the academic paper “From Hellhound to Hero: Tracking the Shifting Shape of the 21st Century Werewolf.” Both of the stories deal with werewolves as a common element, but use very different types of werewolves in each. The werewolves of Ravenous transform through losing control or giving in to their passions, while the werewolves in “Faithfall” change only with the full moon, and retain no control once transformed. Both stories have a gay male protagonist, though also in very different ways. Ravenous follows the story of a seventeen-year-old young man learning that he is a werewolf, and uses this to explore themes such as coming of age, hungering for belonging, and dealing with feeling like a monster. -
2017: a Werewolf Odyssey, Or a Study of the Werewolf Myth from Rome to Today
2017: A WEREWOLF ODYSSEY, OR A STUDY OF THE WEREWOLF MYTH FROM ROME TO TODAY By ANASTASIA IORGA AN HONORS THESIS PRESENTED TO THE CLASSICS DEPARTMENT OF THE UNIVERSITY OF FLORIDA UNIVERSITY OF FLORIDA SPRING 2017 © 2017 Anastasia Iorga 2 TABLE OF CONTENTS Page ABSTRACT.....................................................................................................................................4 INTRODUCTION...........................................................................................................................5 BACK TO THE FUTURE: WEREWOLF EDITION......................................................................7 The Werewolf as the Monster in the Modern Age....................................................7 The Werewolf as the Victim in the Middle Ages....................................................11 The Werewolf as the Shape-Shifter in Folklore......................................................16 I WAS A ROMAN WEREWOLF..................................................................................................22 The Werewolf in Classical Antiquity.....................................................................22 The Werewolf as Fiction........................................................................................26 The Werewolf as Fact.............................................................................................29 A Roman and His Werewolf...................................................................................32 CONCLUSION..............................................................................................................................34 -
Metamorphoses of the Werewolf Svitlana Krys University of Alberta
Metamorphoses of the Werewolf Svitlana Krys University of Alberta 404 Sconduto, Leslie A. Metamorphoses of the Werewolf: A Literary Study from Antiquity Through the Renaissance. Jefferson, NC and London: McFarland & Company, Inc., Publishers, 2008. Pp. 220. US $39.95 paper. Virtually everyone today is familiar with the mythical werewolf, thanks to pop cul- ture media, especially horror films such asGinger Snaps (2000), Underworld (2003), the remake of the 1941 classic, The Wolf Man (2009), music videos (for instance, a werewolf/werecat character in Michael Jackson’s famous Thriller [1983]), comic books and computer games, or bestselling mystery novels, such as the recent Twilight series by Stephenie Meyer (2005-2008). However, it is less widely known that this stereotypically fright-invoking figure of Hollywood film lore has frequently changed its image in the past. Boasting a long line of predecessors, originating in antiquity, werewolves have been portrayed in contradictory fashion as either savage preda- tors or noble heroes, their image vacillating on the border between good and evil. Precisely this evolution or metamorphosis of the werewolf’s depiction in various nar- ratives from antiquity through the Renaissance is the focus of Leslie A. Sconduto’s monograph, which occupies a prominent place among recent scholarly studies of the werewolf, such as Brad Steiger’s The Werewolf Book: Encyclopedia of Shape Shifting Beings (Detroit, MI: Visible Ink P, 1999), Leonard R.N. Ashley’s The Complete Book of Werewolves (Fort Lee, NJ: Barricade Books, 2001), Brian J. Frost’s The Essential Guide to Werewolf Literature (Madison, WI: U of Wisconsin P, 2003), and Rosemary Ellen Guiley’s The Encyclopedia of Vampires, Werewolves, and Other Monsters (New York: Checkmark Books, 2004). -
Heroclix Campaign
HeroClix Campaign DC Teams and Members Core Members Unlock Level A Unlock Level B Unlock Level C Unless otherwise noted, team abilities are be purchased according to the Core Rules. For unlock levels listing a Team Build (TB) requisite, this can be new members or figure upgrades. VPS points are not used for team unlocks, only TB points. Arkham Inmates Villain TA Batman Enemy Team Ability (from the PAC). SR Criminals are Mooks. A 450 TB points of Arkham Inmates on the team. B 600 TB points of Arkham Inmates on the team. Anarky, Bane, Black Mask, Blockbuster, Clayface, Clayface III, Deadshot, Dr Destiny, Firefly, Cheetah, Criminals, Ambush Bug. Jean Floronic Man, Harlequin, Hush, Joker, Killer Croc, Mad Hatter, Mr Freeze, Penguin, Poison Ivy, Dr Arkham, The Key, Loring, Kobra, Professor Ivo, Ra’s Al Ghul, Riddler, Scarecrow, Solomon Grundy, Two‐Face, Ventriloquist. Man‐Bat. Psycho‐Pirate. Batman Enemy See Arkham Inmates, Gotham Underground Villain Batman Family Hero TA The Batman Ally Team Ability (from the PAC). SR Bat Sentry may purchased in Multiples, but it is not a Mook. SR For Batgirl to upgrade to Oracle, she must be KOd by an opposing figure. Environment or pushing do not count. If any version of Joker for KOs Level 1 Batgirl, the player controlling Joker receives 5 extra points. A 500 TB points of Batman members on the team. B 650 TB points of Batman members on the team. Azrael, Batgirl (Gordon), Batgirl (Cain), Batman, Batwoman, Black Catwoman, Commissioner Gordon, Alfred, Anarky, Batman Canary, Catgirl, Green Arrow (Queen), Huntress, Nightwing, Question, Katana, Man‐Bat, Red Hood, Lady Beyond, Lucius Fox, Robin (Tim), Spoiler, Talia.