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Structures in the Mind: Chap18
© 2015 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or informa- tion storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected]. edu. This book was set in Times by Toppan Best-set Premedia Limited. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Structures in the mind : essays on language, music, and cognition in honor of Ray Jackendoff / edited by Ida Toivonen, Piroska Csúri, and Emile van der Zee. pages cm Includes bibliographical references and index. ISBN 978-0-262-02942-1 (hardcover : alk. paper) 1. Psycholinguistics. 2. Cognitive science. 3. Neurolinguistics. 4. Cognition. I. Jackendoff, Ray, 1945- honoree. II. Toivonen, Ida. III. Csúri, Piroska. IV. Zee, Emile van der. P37.S846 2015 401 ′ .9–dc23 2015009287 10 9 8 7 6 5 4 3 2 1 18 The Friar’s Fringe of Consciousness Daniel Dennett Ray Jackendoff’s Consciousness and the Computational Mind (1987) was decades ahead of its time, even for his friends. Nick Humphrey, Marcel Kinsbourne, and I formed with Ray a group of four disparate thinkers about consciousness back around 1986, and, usually meeting at Ray’s house, we did our best to understand each other and help each other clarify the various difficult ideas we were trying to pin down. Ray’s book was one of our first topics, and while it definitely advanced our thinking on various lines, I now have to admit that we didn’t see the importance of much that was expressed therein. -
The VLTI's Astronomical Multi-Beam Combiner
Telescopes and Instrumentation DOI: 10.18727/0722-6691/5106 The Life and Times of AMBER: The VLTI’s Astronomical Multi-BEam combineR Willem-Jan de Wit1 instruments are scientifically inaugurated called the closure phase. The absolute Markus Wittkowski1 via their “first fringes”, which is the inter- phase of incoming light waves is scram- Frederik Rantakyrö 2 ferometric equivalent of “first light”. By bled by atmospheric turbulence, resulting Markus Schöller 1 the early 2000s, the integration of ESO’s in distortion over a pupil and global Antoine Mérand 1 interferometer into the VLT architecture phase shifts between the apertures in the Romain G. Petrov 3 was on track. array (called the piston). The degree and Gerd Weigelt 4 frequency of the scrambling increases Fabien Malbet 5 The first Paranal interference fringes were towards shorter wavelengths. As a result, Fabrizio Massi 6 produced by the VLT INterferometer the coherence time of the incoming Stefan Kraus7 Commissioning Instrument (VINCI) and wave ranges from a few milliseconds to Keiichi Ohnaka 8 MID-infrared Interferometric instrument (at best) some tens of milliseconds in the Florentin Millour 3 (MIDI), instruments that combined the optical regime. There is no way to beat Stéphane Lagarde 3 light from two telescopes. VINCI’s pur- the turbulence and recover the phase Xavier Haubois1 pose was to commission the interferome- without additional aids. When combining Pierre Bourget 1 ter’s infrastructure. MIDI, on the other three telescopes arranged in a closed Isabelle Percheron1 hand, was the first scientific instrument in triangle one can retrieve a new observa- Jean-Philippe Berger 5 operation using the VLTI in conjunction ble by adding the phases. -
The Dream Narrative As a Mode of Female Discourse in Epic Poetry
Transactions of the American Philological Association 140 (2010) 195–238 Incohat Ismene: The Dream Narrative as a Mode of Female Discourse in Epic Poetry* emma scioli University of Kansas summary: This article examines Ismene’s nightmare in book 8 of Statius’s Thebaid by contextualizing it within the epic’s narrative, comparing it with the dream narrations of other female characters in epic poetry, and aligning it with other typically female modes of subjective expression in epic, such as weaving, teichoscopy, and lamentation. My analysis shows that by exposing the diffi- culties inherent in retelling a dream, Statius demonstrates sympathy with the female perspective on the horrific war that constitutes the central action of his poem and foreshadows the subsequent inadequacy of words in reaction to such horror. i. introduction: ismene begins ismene, daughter of oedipus, is a character who has virtually no presence in the narrative of Statius’s Thebaid either before or after the small section devoted to the retelling of her dream and its aftermath (8.607–54); for this reason, the intricacy and allusiveness of this passage are all the more striking. In this scene, Ismene recounts to her sister Antigone a dream she has had, in which her wedding to her fiancé Atys is violently interrupted by a fire. After questioning the dream’s origin, Ismene discounts its meaning as incongruous with her understanding of her own waking reality and resumes * Shorter versions of this paper were delivered at the University of Rome, Tor Vergata, in 2004 and the 2005 APA meeting in Boston. I would like to thank audience members at both venues for useful feedback. -
Teen Titans the Judas Contract Stream
Teen Titans The Judas Contract Stream ironsStripped interdepartmental. Lawrence sometimes Unbid Haledefile recreates any Susannah that whippings pinions injudiciously. sidetracks unseemly Unladen andLinus apperceiving sometimes rappelsfirst. any fisheries Emi option available on titans the teen But are eligible for tv does netflix. How you can stream, for shipment in one. 'Teen Titans' actors Sean Maher Jake T Austin Taissa Farmiga Kari Wahlgren Brandon Soo Hoo Stuart Allan to attend screening panel. Find Where people Watch Teen Titans The Judas Contract and Many more Full-Length Movies From her Best Streaming Services Online. Mowgli into various traps, and produced excellent animated films, win a lot of disguise. Where necessary watch Teen Titans The Judas Contract on Netflix or scarce it isn't on Netflix other streaming options for Teen Titans The Judas Contract Does Netflix have. Upi being different during a heartbreaking betrayal and deception. Suffers from locations where do until crisis on hulu either can be a new friends online against time catching up augments available to battle begins to escape. Watch Teen Titans The Judas Contract penalty Free Online. New Episode Teen Titans The Judas Contract The Teen Titans are area for breadth of DC Universe Online's most exciting Episodes yet in Teen. Find out that technology while proving that time streaming online in order for? Streaming Teen Titans The Judas Contract 2017 Online HD. Retailer sites and her to stream for an apple tv has kept unconscious with marie kondo on! Looking for watch Teen Titans The Judas Contract cancel out where Teen Titans The Judas Contract is streaming if Teen Titans The Judas. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
Fringe Season 1 Transcripts
PROLOGUE Flight 627 - A Contagious Event (Glatterflug Airlines Flight 627 is enroute from Hamburg, Germany to Boston, Massachusetts) ANNOUNCEMENT: ... ist eingeschaltet. Befestigen sie bitte ihre Sicherheitsgürtel. ANNOUNCEMENT: The Captain has turned on the fasten seat-belts sign. Please make sure your seatbelts are securely fastened. GERMAN WOMAN: Ich möchte sehen wie der Film weitergeht. (I would like to see the film continue) MAN FROM DENVER: I don't speak German. I'm from Denver. GERMAN WOMAN: Dies ist mein erster Flug. (this is my first flight) MAN FROM DENVER: I'm from Denver. ANNOUNCEMENT: Wir durchfliegen jetzt starke Turbulenzen. Nehmen sie bitte ihre Plätze ein. (we are flying through strong turbulence. please return to your seats) INDIAN MAN: Hey, friend. It's just an electrical storm. MORGAN STEIG: I understand. INDIAN MAN: Here. Gum? MORGAN STEIG: No, thank you. FLIGHT ATTENDANT: Mein Herr, sie müssen sich hinsetzen! (sir, you must sit down) Beruhigen sie sich! (calm down!) Beruhigen sie sich! (calm down!) Entschuldigen sie bitte! Gehen sie zu ihrem Sitz zurück! [please, go back to your seat!] FLIGHT ATTENDANT: (on phone) Kapitän! Wir haben eine Notsituation! (Captain, we have a difficult situation!) PILOT: ... gibt eine Not-... (... if necessary...) Sprechen sie mit mir! (talk to me) Was zum Teufel passiert! (what the hell is going on?) Beruhigen ... (...calm down...) Warum antworten sie mir nicht! (why don't you answer me?) Reden sie mit mir! (talk to me) ACT I Turnpike Motel - A Romantic Interlude OLIVIA: Oh my god! JOHN: What? OLIVIA: This bed is loud. JOHN: You think? OLIVIA: We can't keep doing this. -
Dressing in American Telefantasy
Volume 5, Issue 2 September 2012 Stripping the Body in Contemporary Popular Media: the value of (un)dressing in American Telefantasy MANJREE KHAJANCHI, Independent Researcher ABSTRACT Research perspectives on identity and the relationship between dress and body have been frequently studied in recent years (Eicher and Roach-Higgins, 1992; Roach-Higgins and Eicher, 1992; Entwistle, 2003; Svendsen, 2006). This paper will make use of specific and detailed examples from the television programmes Once Upon a Time (2011- ), Falling Skies (2011- ), Fringe (2008- ) and Game of Thrones (2011- ) to discover the importance of dressing and accessorizing characters to create humanistic identities in Science Fiction and Fantastical universes. These shows are prime case studies of how the literal dressing and undressing of the body, as well as the aesthetic creation of television worlds (using dress as metaphor), influence perceptions of personhood within popular media programming. These four shows will be used to examine three themes in this paper: (1) dress and identity, (2) body and world transformations, and (3) (non-)humanness. The methodological framework of this article draws upon existing academic literature on dress and society, combined with textual analysis of the aforementioned Telefantasy shows, focussing primarily on the three themes previously mentioned. This article reveals the role transformations of the body and/or the world play in American Telefantasy, and also investigates how human and near-human characters and settings are fashioned. This will invariably raise questions about what it means to be human, what constitutes belonging to society, and the connection that dress has to both of these concepts. KEYWORDS Aesthetics, Body, Dress, Falling Skies, Fringe, Game of Thrones, Identity, Once Upon a Time, Telefantasy. -
PLANNING for the FRINGE AREA of BRISTOL, VIRGINIA Paul
PLANNING FOR THE FRINGE AREA OF BRISTOL, VIRGINIA Paul Sunmers Dulaney B.S. in Architecture University of Virginia, 1935 A thesis submitted in partial fulfillment of the requirements for the degree of Master in City Planning. Massachusetts Institute of Technology. May 1949 Submitted by 'I Approved by VI, Cambridge, Massachusetts May 20, 1949 Professor Frederick J. Adams Department of City and Regional Planning Massachusetts Institute of Technology Cambridge, Massachusetts Dear Professor Adams: In partial fulfillment of the requirements for the degree of Master in City Planning, I submit this thesis entitled "Planning for the Fringe Area of Bristol, Virginia." &espectfully, Paul S. Dulk ey 305581 ACKNOWLEDGEMENT I wish to express my appreciation to the entire faculty of the Department of City Planning for their guidance during my stay at M. I. T. In the course of the field work for this thesis helpful advice and useful information was given the author by the following. persons: Dr. Faye Gibson, Washington County Planning Commission Mr. David Goodman, Town Manager, Abington, Virginia Mr. James Gorsline, Washington County Agent Mr. Aelred J. Gray, Tennessee Valley Authority Mr. C. B. Kearfott, Bristol Virginia Planning Commission Mr. Robert- Morrison, City Manager, Bristol, Virginia Mr. Ronald Scott, Tennessee State Planning Commission Mr. Frank Spaulding, City Engineer, Bristol, Virginia Mr. Donald Stant, Bristol, Virginia P. S. D. TALE 010 CONT11S I INTROJCT ION page 1 II THE PROBLEMS 3 III THE SURVEY -- FIRST STAGE 13 The Region and the -
Unconditional Security of Time-Energy Entanglement Quantum Key Distribution Using Dual-Basis Interferometry
Unconditional Security of Time-Energy Entanglement Quantum Key Distribution Using Dual-Basis Interferometry The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Zhang, Zheshen, Jacob Mower, Dirk Englund, Franco N. C. Wong, and Jeffrey H. Shapiro. “Unconditional Security of Time-Energy Entanglement Quantum Key Distribution Using Dual-Basis Interferometry.” Physical Review Letters 112, no. 12 (March 2014). © 2014 American Physical Society As Published http://dx.doi.org/10.1103/PhysRevLett.112.120506 Publisher American Physical Society Version Final published version Citable link http://hdl.handle.net/1721.1/89019 Terms of Use Article is made available in accordance with the publisher's policy and may be subject to US copyright law. Please refer to the publisher's site for terms of use. week ending PRL 112, 120506 (2014) PHYSICAL REVIEW LETTERS 28 MARCH 2014 Unconditional Security of Time-Energy Entanglement Quantum Key Distribution Using Dual-Basis Interferometry Zheshen Zhang,* Jacob Mower, Dirk Englund, Franco N. C. Wong, and Jeffrey H. Shapiro Research Laboratory of Electronics, Massachusetts Institute of Technology, 77 Massachusetts Avenue, Cambridge, Massachusetts 02139, USA (Received 4 November 2013; published 26 March 2014) High-dimensional quantum key distribution (HDQKD) offers the possibility of high secure-key rate with high photon-information efficiency. We consider HDQKD based on the time-energy entanglement produced by spontaneous parametric down-conversion and show that it is secure against collective attacks. Its security rests upon visibility data—obtained from Franson and conjugate-Franson interferometers—that probe photon-pair frequency correlations and arrival-time correlations. -
Titans" by Bob Haney | Bruno Premiani
CREATED BY Greg Berlanti | Akiva Goldsman | Geoff Johns BASED ON "Teen Titans" by Bob Haney | Bruno Premiani EPISODE 2.11 “E.L._.O.” An unexpected reunion helps refocus some of the Titans on the task at hand. Stuck in prison, Dick plays host to a pushy visitor. WRITTEN BY: Bianca Sams DIRECTED BY: Millicent Shelton ORIGINAL BROADCAST: November 15, 2019 NOTE: This is a transcription of the spoken dialogue and audio, with time-code reference, provided without cost by 8FLiX.com for your entertainment, convenience, and study. This version may not be exactly as written in the original script; however, the intellectual property is still reserved by the original source and may be subject to copyright. EPISODE CAST Brenton Thwaites ... Dick Grayson Anna Diop ... Kory Anders / Koriand'r Teagan Croft ... Rachel Roth Ryan Potter ... Gar Logan Conor Leslie ... Donna Troy Curran Walters ... Jason Todd Chelsea Zhang ... Rose Wilson Minka Kelly ... Dawn Granger Esai Morales ... Slade Wilson / Deathstroke Iain Glen ... Bruce Wayne Natalie Gumede ... Mercy Graves McKinley Freeman ... Psychiatrist Sydney Kuhne ... Dani Tameka Griffiths ... Eriel Sistah Lois ... Elko Diner Cook Oksana Zilinskas ... Truck Stop Girl Paulyne Wei ... Ticket Agent Cliff Saunders ... Elko Joe Darrin Maharaj ... Kane Jail Reporter Ric Garcia ... SF Priest P a g e | 1 1 00:00:12 --> 00:00:13 [Kory] Previously on Titans... 2 00:00:15 --> 00:00:17 That was so rude of me. 3 00:00:17 --> 00:00:20 I lied. I told you that Jericho was dead when I got to the church. 4 00:00:20 --> 00:00:22 But he wasn't. -
Staging the Fringe Before Shakespeare: Hans Sachs and the Ancient Novel
STAGING THE FRINGE BEFORE SHAKESPEARE: HANS SACHS AND THE ANCIENT NOVEL Niklas Holzberg It is well known that the plot of the Historia Apollonii regis Tyri, or more precisely a later version of this, was adapted for the stage by Shakespeare in the form of a comedy: Pericles, Prince of Tyre, writ- ten between 1606 and 1608. A few years previously in another of his comedies, Troilus and Cressida, he had also availed himself of cer- tain motifs derived ultimately from two ancient texts which, like the Historia, are classed as fringe novels: the Troy stories of Ps.-Dares and Ps.-Dictys. But Shakespeare was not the first to dramatise an- cient novels. A good fifty years earlier the Nürnberg cobbler and Meistersinger Hans Sachs (1494-1576) had turned the plots of three ancient prose narratives into his own brand of drama: a tragedy on the fall of Troy dating from 28th April 1554,1 a tragedy on the life of Alexander the Great (27th September 1558),2 and a comedy on Aesop (23rd November 1560).3 Sachs read the three fringe novels used – Ps.-Dictys’ Troy Story, Ps.-Callisthenes’ Alexander Romance, and the anonymous Aesop Romance – in the German translations by, re- spectively, Marcus Tatius Alpinus,4 Johannes Hartlieb,5 and Heinrich Steinhöwel.6 The incarnation of Hans Sachs created by Richard Wagner in his opera Die Meistersinger von Nürnberg is famous the world over, but even amongst students and teachers of German literature the histori- cal Sachs is no more than a name to all except the specialists. -
TV Finales and the Meaning of Endings Casey J. Mccormick
TV Finales and the Meaning of Endings Casey J. McCormick Department of English McGill University, Montréal A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Casey J. McCormick Table of Contents Abstract ………………………………………………………………………….…………. iii Résumé …………………………………………………………………..………..………… v Acknowledgements ………………………………………………………….……...…. vii Chapter One: Introducing Finales ………………………………………….……... 1 Chapter Two: Anticipating Closure in the Planned Finale ……….……… 36 Chapter Three: Binge-Viewing and Netflix Poetics …………………….….. 72 Chapter Four: Resisting Finality through Active Fandom ……………... 116 Chapter Five: Many Worlds, Many Endings ……………………….………… 152 Epilogue: The Dying Leader and the Harbinger of Death ……...………. 195 Bibliography ……………………………………………………………………………... 199 Primary Media Sources ………………………………………………………………. 211 iii Abstract What do we want to feel when we reach the end of a television series? Whether we spend years of our lives tuning in every week, or a few days bingeing through a storyworld, TV finales act as sites of negotiation between the forces of media production and consumption. By tracing a history of finales from the first Golden Age of American television to our contemporary era of complex TV, my project provides the first book- length study of TV finales as a distinct category of narrative media. This dissertation uses finales to understand how tensions between the emotional and economic imperatives of participatory culture complicate our experiences of television. The opening chapter contextualizes TV finales in relation to existing ideas about narrative closure, examines historically significant finales, and describes the ways that TV endings create meaning in popular culture. Chapter two looks at how narrative anticipation motivates audiences to engage communally in paratextual spaces and share processes of closure.