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Eric Kurlander. Hitler's Monsters
130 Book Reviews / Correspondences 5 (2017) 113–139 Eric Kurlander. Hitler’s Monsters: A Supernatural History of the Third Reich. New Haven/London: Yale University Press, 2017. ISBN: 9780300189452. Among the steady stream of publications devoted to the relationship between esotericism and National Socialism, Eric Kurlander’s study is one of the rare examples of a serious contribution to an old debate. It offers a most welcome critical perspective that sets it apart from the scholarship of recent decades, most significantly Nicholas Goodrick-Clarke’s The Occult Roots of Nazism (1985) and Corinna Treitel’s A Science for the Soul (2004). In contrast to these studies, which were highly cautious about claiming actual links between esotericism and National Socialism, Kurlander establishes the central argument that “ National Socialism, even when critical of occultism, was more preoccupied by and indebted to a wide array of supernatural doctrines and esoteric practices than any mass political movement of the interwar period.” (xiv) By covering a vast spectrum of topics and sources, and by taking into consideration an impressive amount of secondary literature, the ambitions of Hitler’s Monsters are high: In the three chapters of Part One, Kurlander investigates the emergence of National Socialism since the late 1880s and its relationship to what is termed “the supernatural”; Part Two, again consisting of three chapters, discusses the relationship between the National Socialist state and the supernatural; while the last three chapters of Part Three deal with the period of the Second World War until 1945. Despite a range of important arguments and inspiring thoughts, Hitler’s Monsters is at times a highly problematic book that leaves an ambivalent impression. -
“My” Hero Or Epic Fail? Torchwood As Transnational Telefantasy
“My” Hero or Epic Fail? Torchwood as Transnational Telefantasy Melissa Beattie1 Recibido: 2016-09-19 Aprobado por pares: 2017-02-17 Enviado a pares: 2016-09-19 Aceptado: 2017-03-23 DOI: 10.5294/pacla.2017.20.3.7 Para citar este artículo / to reference this article / para citar este artigo Beattie, M. (2017). “My” hero or epic fail? Torchwood as transnational telefantasy. Palabra Clave, 20(3), 722-762. DOI: 10.5294/pacla.2017.20.3.7 Abstract Telefantasy series Torchwood (2006–2011, multiple production partners) was industrially and paratextually positioned as being Welsh, despite its frequent status as an international co-production. When, for series 4 (sub- titled Miracle Day, much as the miniseries produced as series 3 was subti- tled Children of Earth), the production (and diegesis) moved primarily to the United States as a co-production between BBC Worldwide and Amer- ican premium cable broadcaster Starz, fan response was negative from the announcement, with the series being termed Americanised in popular and academic discourse. This study, drawn from my doctoral research, which interrogates all of these assumptions via textual, industrial/contextual and audience analysis focusing upon ideological, aesthetic and interpretations of national identity representation, focuses upon the interactions between fan cultural capital and national cultural capital and how those interactions impact others of the myriad of reasons why the (re)glocalisation failed. It finds that, in part due to the competing public service and commercial ide- ologies of the BBC, Torchwood was a glocalised text from the beginning, de- spite its positioning as Welsh, which then became glocalised again in series 4. -
Ragnarok Worksheet
Ragnarok 231 RAGNAROK Also known as “the Twilight of the Gods,” Ragnarok, the Norse Doomsday, is the ultimate battle between good and evil—an event similar to the apocalypse of the Bible. According to the Norse myths, Ragnarok will contain a number of specific events, which are related here. But is it the end of the world—or just the beginning of a new one? hat tidings are to be told of Ragnarok? First, there W will come a winter called the Fimbul‐winter, where snow will drive from all quarters, the frost will be so severe, and the winds so keen and piercing that there will be no joy to be found— not even in the sun. There will be three such winters in succession without any intervening summer. Great wars will rage over all the world. Brothers will slay each other for the sake of gain, and no one will spare his father or mother in that carnage. Then a great supernatural tragedy will happen: The two wolves of darkness that have pursued the sun and moon since the beginning of time will finally catch their prey. One wolf will devour the sun, and the second wolf will devour the moon. The stars shall be hurled from heaven. Then it shall come to pass that the earth and the mountains will shake so violently that trees will be torn up by the roots, the mountains will topple down, and all bonds and fetters will be broken and snapped. Loki and the Fenrir‐wolf will be loosed. The sea will rush over the earth, for the Midgard Serpent will writhe in rage and seek to gain the land. -
Indigo in Motion …A Decidedly Unique Fusion of Jazz and Ballet
A Teacher's Handbook for Pittsburgh Ballet Theatre's Production of Indigo in Motion …a decidedly unique fusion of jazz and ballet Choreography Kevin O'Day Lynne Taylor-Corbett Dwight Rhoden Music Ray Brown Stanley Turrentine Lena Horne Billy Strayhorn Sponsored by Pittsburgh Ballet Theatre's Arts Education programs are supported by major grants from the following: Allegheny Regional Asset District Claude Worthington Benedum Foundation Pennsylvania Council on the Arts The Hearst Foundation Sponsoring the William Randolph Hearst Endowed Fund for Arts Education Additional support is provided by: Alcoa Foundation, Allegheny County, Bayer Foundation, H. M. Bitner Charitable Trust, Columbia Gas of Pennsylvania, Dominion, Duquesne Light Company, Frick Fund of the Buhl Foundation, Grable Foundation, Highmark Blue Cross Blue Shield, The Mary Hillman Jennings Foundation, Milton G. Hulme Charitable Foundation, The Roy A. Hunt Foundation, Earl Knudsen Charitable Foundation, Lazarus Fund of the Federated Foundation, Matthews Educational and Charitable Foundation,, McFeely-Rogers Fund of The Pittsburgh Foundation, William V. and Catherine A. McKinney Charitable Foundation, Howard and Nell E. Miller Foundation, The Charles M. Morris Charitable Trust, Pennsylvania Department of Community and Economic Development, The Rockwell Foundation, James M. and Lucy K. Schoonmaker Foundation, Target Corporation, Robert and Mary Weisbrod Foundation, and the Hilda M. Willis Foundation. INTRODUCTION Dear Educator, In the social atmosphere of our country, in this generation, a professional ballet company with dedicated and highly trained artists cannot afford to be just a vehicle for public entertainment. We have a mission, a commission, and an obligation to be the standard bearer for this beautiful classical art so that generations to come can view, enjoy, and appreciate the significance that culture has in our lives. -
Meet the Cast on the All New Series of Doctor Who
Monday 23 October 2017 Meet the cast on the all new series of Doctor Who When Jodie Whittaker takes over as the thirteenth Doctor on the global hit show next year, she will be joined by an all new regular cast. BBC announces today that Bradley Walsh, Tosin Cole and Mandip Gill will line-up as the new regular cast on Doctor Who. Bradley will star as Graham, Tosin will play Ryan and Mandip will play Yasmin. Also joining the series in a returning role is Sharon D Clarke. New head writer and executive producer Chris Chibnall, who made the decision to cast the first ever woman in the iconic role, is also shaking up who will travel with the Doctor in the TARDIS, with a team of new characters. In more exclusive news, it is confirmed that the new series will be a ten-week run of fifty-minute episodes, kicking off with a feature length hour for the opening launch. Chris Chibnall says: “The new Doctor is going to need new friends. We’re thrilled to welcome Mandip, Tosin and Bradley to the Doctor Who family. They’re three of Britain’s brightest talents and we can’t wait to see them dive into brand new adventures with Jodie’s Doctor. Alongside them, we’re delighted that Sharon D Clarke is also joining the show." Jodie Whittaker says: "I am so excited to share this huge adventure with Mandip, Tosin and Bradley. It's a dream team!" Bradley Walsh says: “I remember watching William Hartnell as the first Doctor. -
Dr. Eric Kurlander Professor of Modern European History Stetson University
Dr. Eric Kurlander Professor of Modern European History Stetson University Department of History Office: (386) 822-7578 Elizabeth Hall, Unit 8344 (386) 822-7535 421 N. Woodland Blvd. Fax: (386) 822-7544 Stetson University Email: [email protected] Deland, FL 32724 EDUCATION HARVARD UNIVERSITY Cambridge, MA PhD, Modern European History. 2001 MA, Modern European History. 1997 BOWDOIN COLLEGE Brunswick, ME BA, summa cum laude. History and English (minor). 1994 PROFESSIONAL EXPERIENCE Professor, History Department, Stetson University Spring 2015 - present Professor and Chair, History Department, Stetson University Fall 2013 – Fall 2014 Associate Professor and Chair, History Department, Stetson University Fall 2010 – Spring 2013 Visiting Professor and Fulbright Fellow, History Department, Freiburg Pädagogische Hochschule January 2012 – July 2012 Associate Professor, History Department, Stetson University Fall 2007 – Spring 2010 Alexander von Humboldt Fellow, History Department, University of Bonn/Berlin December 2007 – June 2008 Thyssen-Heideking Fellow, Anglo-American Institute, University of Cologne June 2007 – February 2008 Assistant Professor, History Department, Stetson University Fall 2001 – Spring 2007 Assistant Senior Tutor, Currier House, Harvard University Fall 2000 – Spring 2001 Teaching Fellow, History Department, Harvard University Fall 1999 – Spring 2001 SELECTED PUBLICATIONS (2001 – present) Books Hitler’s Monsters: A Supernatural History of the Third Reich. New Haven and London: Yale University Press (under contract). The West in Question: Continuity and Change. v. II. New York and Oxford: Oxford University Press (under contract) Monica Black and Eric Kurlander, eds., Revisiting the Nazi Occult: Histories, Realities, Legacies. Rochester: Camden House, 2015. Joanne Miyang Cho, Eric Kurlander, and Douglas McGetchin, eds., Transcultural Encounters between Germany and India: Kindred Spirits in the Nineteenth and Twentieth Centuries, New York and London: Routledge, 2014. -
The Supernatural World of the Kawaiisu by Maurice Zigmond1
The Supernatural World of the Kawaiisu by Maurice Zigmond1 The most obvious characteristic at the supernatural world of the Kawaiisu is its complexity, which stands in striking contrast to the “simplicity” of the mundane world. Situated on and around the southern end of the Sierra Nevada mountains in south - - central California, the tribe is marginal to both the Great Basin and California culture areas and would probably have been susceptible to the opprobrious nineteenth century term, ‘Diggers’ Yet, if its material culture could be described as “primitive,” ideas about the realm of the unseen were intricate and, in a sense, sophisticated. For the Kawaiisu the invisible domain is tilled with identifiable beings and anonymous non-beings, with people who are half spirits, with mythical giant creatures and great sky images, with “men” and “animals” who are localized in association with natural formations, with dreams, visions, omens, and signs. There is a land of the dead known to have been visited by a few living individuals, and a netherworld which is apparently the abode of the spirits of animals - - at least of some animals animals - - and visited by a man seeking a cure. Depending upon one’s definition, there are apparently four types of shamanism - - and a questionable fifth. In recording this maze of supernatural phenomena over a period of years, one ought not be surprised to find the data both inconsistent and contradictory. By their very nature happenings governed by extraterrestrial fortes cannot be portrayed in clear and precise terms. To those involved, however, the situation presents no problem. Since anything may occur in the unseen world which surrounds us, an attempt at logical explanation is irrelevant. -
Will This Manhattan Projects Original Artwork Cliffhanger Make Another
COMICS COSPLAY TV/FILM GAMES SUBMIT CGC Search … Will This Manhattan Projects Original Artwork Cliffhanger Make Another Big Splash? Posted by Mark Seifert March 19, 2014 0 Comments Facebook Twitter Pinterest LinkedIn Tumblr Email Reddit [The Manhattan Projects #18 has been out for a couple weeks, but still — if you haven’t read this issue and plan to, you might want to skip this post for now.] Several years into the digital era for both comics reading and comics production, I still love to look at original comic art up close. The look and feel of the art board, the subtle texture of the ink, the faint traces of changes and corrections… it all adds up to a little extra insight into the time and circumstances behind the comics book’s creation. We’ve mentioned a bunch of noteworthy original art sales here in recent times — from that awe-inspiring Golden Age Action Comics #15 cover by Fred Guardineer, to this Silver Age Fantastic Four #55 page by Jack Kirby, to this Bronze Age classic Amazing Spider- Man #121 cover by John Romita Sr, down to the current record holder for a piece of American comic book art with this Amazing Spider-Man #328 cover by Todd McFarlane. And increasingly, original art sales from much more recent comics are turning heads as well. It’s probably no surprise that Skottie Young original art is highly sought after, or that Walking Dead original art — even panel pages — can command some eye- popping prices. But modern comic art collectors have broadened their interests to many other artists and titles of quality in recent times, such as this Pia Guerra Y: The Last Man panel page that recently went for $1000. -
Episode 47 – “A Very Merry Supernatural Christmas”
Episode 47 – “A Very Merry Supernatural Christmas” Release Date: December 24, 2018 Running Time: 1 hour, 11 minutes Sally: Kay. Fuck, marry, kill. Sam, Dean, Cas. Emily: Ah, fu-- (laugh) Brie: I feel like that’s easy. (laugh) Emily: That’s super easy. Sally: I just -- we gotta start the episode somehow. Emily: OK, kill Sam, obviously. Brie: Duh. Yeah, no, duh. Yeah. Emily: Yeah. Brie: Yeah. Mm. Sally: (laugh) Emily: Uh, then I guess I’d marry Cas? Brie: Yeah … Sally: Fuck Dean? Emily: Yeah. Sally: That’s where I was sitting too. Brie: Yeah. Sally: So we’re all in agreement. Brie: Yeah. Emily: I just -- Cas actually has a personality I can stand. When he actually develops a personality, which is later, I guess, in the series. Sally: Yeah. Brie: I do think, though, that, like, the emotional parts of Dean -- Emily: Yeah. Brie: If that -- if that was, like, turned on all the time. Marry. Emily: My idealized version of Dean -- Brie: Yeah. Emily: I would marry. Brie: Yeah. Yeah. Emily: But the Dean that’s actually on the show? Mm-mm. Fuckin’ leave. Sally: OK! (all laugh) Emily, singing: Have a holly, jolly Christmas … Sally: Um, earlier I was reading an article called -- Brie: Oh! Oh, yeah. Yeah. Emily: Don’t repeat it. It’s the worst. Sally: (laughing) Emily: I know we’re an explicit podcast, but this might be the line of what’s too explicit. Brie: (laugh) Sally: K, it was an article about monster erotica, and the title of the article is also a title for the book. -
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 -
Doctor Who Series 12 Episode Five Fugitive of the Judoon Programme
DOCTOR WHO SERIES 12 EPISODE FIVE FUGITIVE OF THE JUDOON PROGRAMME NUMBER: DRAA715N/01 10:00:00 BBC WORLDWIDE STING 10:00:05 OPENING TITLES 10:00:05 Music in ‘M1 Opening Titles’ 10:00:12 Caption 'Jodie Whittaker' 10:00:13 Caption 'Bradley Walsh' 10:00:15 Caption ‘Tosin Cole 10:00:17 Caption ‘Mandip Gill’ 10:00:20 Caption 'BBC Doctor Who' 10:00:27 Caption 'Series Producer Nikki Wilson 10:00:30 Caption 'Director Nida Manzoor’ 10:00:34 Caption ‘Fugitive of the Judoon Written by Vinay Patel Chris Chibnall 10:00:38 Music out ‘M1 Opening Titles’ CUT TO: 10:00:39 INT. RUTH'S FLAT/KITCHEN - DAY 10:00:39 Music in ‘M2 My Guided Tour’ A WATCH on a wrist. Each tick feels mighty. TICK! TICK! Seconds hand cruises past ten. EYES. WATCH. MOUTH. Two to twelve. One to twelve -- BANG! TWO SLICES OF TOAST snap smartly out of a toaster. The hand rescues them, gives them refuge on a plate where a knob of butter on a knife sits waiting, alongside a single hard boiled egg in a floral cup. We see now the architect: RUTH CLAYTON, mid-50s. A woman who knows who she is and loves it. She smiles upon her creation. RUTH CLAYTON Proper. CUT TO: 10:01:02 INT. RUTH'S FLAT/LIVING ROOM - DAY RUTH, eating her toast, looks up to see her partner LEE -- early 50s, slippery, charming, sexy, edge of danger -- stumble in, half-asleep. LEE CLAYTON I said I'd make your birthday breakfast. RUTH CLAYTON Yeah well, I was hungry. -
A University of Wisconsin Arboretum Narrative: Changing Landscapes and Changing Meaning
A University of Wisconsin Arboretum Narrative: Changing Landscapes and Changing Meaning Molly Evjen, Andreas Karlsson, Ryan Kelly, Matt Lamb Geography 565 Fall 2010 Abstract As societies change, so too does their relationship with the land. These changing relationships are reflected in and imprinted upon the land on which they live. In order to demonstrate how the landscape of the UW Arboretum has mirrored this changing association with nature through time, we have conducted an environmental history which focuses on four vignettes representing major changes in this relationship. Through research of primary data sources such as historical newsletters, observation, and plat map analysis our research shows that the Arboretum is a palimpsest of landforms and meaning resulting from these changing relationships. Introduction Environmental History is the study of the changing relationship between human beings and the natural world. We believe that the UW arboretum is a landscape that, through time, has been reflective of this changing relationship. Our purpose is to demonstrate how the landscape of the UW Arboretum has changed through time and how these changes reflect a cycle of changing, complex relationships between society and nature. We utilize multiple primary resources in our analysis such as plat maps, CCC newsletters, photographs, observations and personal reflections from our own field journals. We will demonstrate how the UW Arboretum is representative of this changing relationship in a number of ways. It is a reminder of early connections to the land represented by numerous burial mounds. The mounds also symbolize, through the multitude of possible interpretations of their purpose, people’s ever-changing interpretations of our relationship with nature in general.