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Apocalypse As Religious and Secular Discourse in Battlestar Galactica
Volume 6 2014-15 APOCALYPSE & GHOSTS Apocalypse as Religious and Secular Discourse in Battlestar Galactica and its Prequel Caprica Diane Langlumé University of Paris VIII Saint-Denis Abstract he concept of the end of the world is inherent in religious discourse. Illustratively, in T Medieval Christianity, a divine power was held responsible for cataclysmic events. In the post-Hiroshima era, the concept of apocalypse has taken on secular meaning. Not surprisingly, given recent history, the apocalypse has become a prominent component of popular television epics; broadcast narratives, such as Battlestar Galactica and Caprica, entwine both Biblical and secular versions of the apocalypse, thereby creating a novel apocalyptic discourse which, instead of establishing the apocalypse as an end, uses it as a foundation, as a thought-provoking means of conveying a political message of tolerance and acceptance of otherness, of encouraging self-reflectiveness; and as a way of denouncing the empty rhetoric of religious extremism. Keywords: Television series, Battlestar Galactica, Caprica, religion, Book of Mormon, Bible, Book of Revelation, John of Patmos, Genesis, Adam, Garden of Eden, Heaven, God, fall of man, the beast, false prophet, angel, Second Coming, resuscitation, apocalypse, end of the world, nuclear apocalypse, Hiroshima, post-apocalyptic, genocide, intertextuality, parody, pastiche, religious satire, 9/11, America, religious terrorism, suicide bombing, cyborg, robot, humanity, monotheism, polytheism. he television series Battlestar Galactica1 establishes its chronology between a nuclear T apocalypse that has just taken place and the threat of a potential future apocalypse,2 both at the hands of human-looking cyborgs called Cylons. Caprica, its prequel series, set fifty- eight years before the nuclear detonation, unfolds the events leading up to the apocalypse in Battlestar Galactica. -
Word Search 'Crisis on Infinite Earths'
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Convention Center Hotel Nears Completion PAGE J2 Courtyard by Marriott in Downtown Sioux City to Feature 151 Rooms
INDUSTRY SUNDAY, MARCH 17, 2019 | siouxcityjournal.com | SECTION I Today, in its annual Progress edition, The Journal continues a series of special sections over fi ve Sundays that detail new development in the tri-state region. Sections I and J today focus on a bevy of industrial and housing projects. TIM HYNDS PHOTOS, SIOUX CITY JOURNAL Developer to restore Warrior Hotel and Davidson Building developers Renee and Lew Weinberg, left, talk with Restoration St. Louis’ Amy and Amrit Gill prior to a three historic buildings in ceremonial ribbon cutting held Tuesday, Feb. 5, 2019, in what will become the second-story lobby area of the Warrior Hotel in downtown Sioux City. The long-empty historic hotel and the adjacent Davidson Building are being remodeled into hotel, apartment and retail spaces. Sioux City. HISTORIC WARRIOR gets extensive facelift Ho-Chunk Inc.’s Flatwater DOLLY A. BUTZ Crossing in South Sioux [email protected] enters next phases. SIOUX CITY — Plans to restore the War- rior Hotel to its former glory have come and gone over the past 40 years, but this time, PAGE I5 Amy and Amrit Gill, owners of Restoration St. Louis, say rehabilitation of the historic building is a “done deal.” The humming of construction equipment echoed through the Warrior on a Monday af- ternoon in early February as the Gills toured the historic hotel. A buck hoist, a temporary elevator, was being put in place to transport materials to each fl oor of the Warrior, and demolition work was ongoing in the next- door Davidson Building. First units sold in Sioux “When you do a hotel like this with Mar- City’s Chestnut Hill riott’s blessing, it can’t look like anything People leave the former Warrior Hotel following a ceremonial ribbon cutting Feb. -
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Robschambergerartbook1.Pdf
the Champions Collection the first year by Rob Schamberger foreward by Adam Pearce Artwork and text is copyright Rob Schamberger. Foreward text is copyright Adam Pearce. Foreward photograph is copyrgiht Brian Kelley. All other likenesses and trademarks are copyright to their respective and rightful owners and Rob Schamberger makes no claim to them. Brother. Not many people know this, but I’ve always considered myself an artist of sorts. Ever since I was a young kid, I invariably find myself passing the time by doodling, drawing, and, on occasion, even painting. In the space between my paper and pencil, and in those moments when inspiration would strike, my imagination would run amok and these bigger-than-life personas - football players and comic book characters and, of course, professional wrestlers - would come to life. I wasn’t aware of this until much later, but for all those years my mother would quietly steal away my drawings, saving them for all prosperity, and perhaps giving her a way to relive all of those memories of me as a child. That’s exactly what happened to me when she showed me those old sketches of Iron Man and Walter Payton and Fred Flintstone and Hulk Hogan. I found myself instantly transported back to a time where things were simpler and characters were real and the art was pure. I get a lot of really similar feelings when I look at the incredible art that Rob Schamberger has shared with 2 foreward us all. Rob’s passion for art and for professional wrestling struck me immediately as someone that has equally grown to love and appreciate both, and by Adam Pearce truth be told I am extremely jealous of his talents. -
Queer Performance in the Post-Millennial Scramble
QUEER PERFORMANCE IN THE POST-MILLENNIAL SCRAMBLE MOYNAN KING A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN THEATRE AND PERFORMANCE STUDIES YORK UNIVERSITY TORONTO, ONTARIO November 2019 © Moynan King, 2019 ii Abstract The subject of this dissertation is contemporary queer feminist performance in Canada. My practice-informed research takes a unique approach to studying performance through what I call the “queer performance scramble”—a term that draws on the multiple meanings of “scramble” to understand the aesthetics of queer performance and its challenges to stable conceptions of both identity and temporality. I investigate works that are happening now and that scramble the sticky elements of their own cultural constructions and queer temporalities. The temporal turn in queer theory supports my engagement with the effects of temporality, performativity, and history on queer performance, and, conversely, the effects of queer performance on time. I am equally interested in the formal and material dimensions of the work I study. I look to the content, style, material conditions, and social scenes of queer feminist performance from the perspective of both an academic and an artist to make accessible work that is often marginalized within Canadian cultural production ecology. Chapter 1 investigates queer feminist hauntings with an analysis of Allyson Mitchell and Deirdre Logue’s Killjoy’s Kastle: A Lesbian Feminist Haunted House. Chapter 2 argues that cabaret is the primary site for queer feminist performance in Canada, and when framed as a methodological problem/solution matrix, both the celebratory and limiting potential of the form can be explored. -
WHERE DO ALPHAS COME FROM?: a MEASURE of the VALUE of ACTIVE INVESTMENT MANAGEMENT∗ Andrew W
JOURNAL OF INVESTMENT MANAGEMENT, Vol. 6, No. 2, (2008), pp. 1–29 © JOIM 2008 JOIM www.joim.com WHERE DO ALPHAS COME FROM?: A MEASURE OF THE VALUE OF ACTIVE INVESTMENT MANAGEMENT∗ Andrew W. Lo† The value of active investment management is traditionally measured by alpha, beta, volatility, tracking error, and the Sharpe and information ratios. These are essentially static characteristics of the marginal distributions of returns at a single point in time, and do not incorporate dynamic aspects of a manager’s investment process. In this paper, I propose a measure of the value of active investment management that captures both static and dynamic contributions of a portfolio manager’s decisions. The measure is based on a decomposition of a portfolio’s expected return into two distinct components: a static weighted-average of the individual securities’ expected returns, and the sum of covariances between returns and portfolio weights. The former component measures the portion of the manager’s expected return due to static investments in the underlying securities, while the latter component captures the forecast power implicit in the manager’s dynamic investment choices. This measure can be computed for long-only investments, long/short portfolios, and asset allocation rules, and is particularly relevant for hedge-fund strategies where both components are significant contributors to their expected returns, but only one should garner the high fees that hedge funds typically charge. Several analytical and empirical examples are provided to illustrate the practical relevance of this decomposition. 1 Introduction ∗I thank Nicholas Chan, John Cox, Arnout Eikeboom, Lisa Goldberg, Mark Grinblatt, Stephanie Hogue, Rajnish Kamat, Philippe Luedi, Sara Salem, Nils Tuchschmid, an anonymous With the growing popularity of hedge funds and referee, and participants at the Le Club B 2006 Conference other absolute-return investment strategies, there and the JOIM 2007 Spring Conference for their helpful com- is a widening gap between the performance met- ments and discussion. -
Battlestar Galactica
Diaspora narrative in Battlestar Galactica Grace L. Dillon Science Fiction Film and Television, Volume 5, Issue 1, Spring 2012, pp. 1-21 (Article) Published by Liverpool University Press DOI: 10.1353/sff.2012.0001 For additional information about this article http://muse.jhu.edu/journals/sff/summary/v005/5.1.dillon.html Access provided by Portland State University (11 Jul 2013 09:31 GMT) dummy header Diaspora narrative in Battlestar Galactica Grace L. Dillon Seek the welfare of the city where I have sent you into exile, and pray to the Lord on its behalf, for in its welfare you will find your welfare. – Jeremiah 29:7 This article reads the original Battlestar Galactica series and its 1980 sequel as a diasporic narrative. It compares exodus and diaspora, contextualises the Colonial journey within emerging diaspora theory and views the Galactica allegory as an indicator of American imperialism. Reliance on the theme of exodus is a common characteristic that receives little attention in the scholarship on the original Battlestar Galactica (US 1978–9), its spinoff Galactica 1980 (US 1980) and the ‘reimagined’ Battlestar Galactica (US 2004–9). The proliferation of biblical allusions, along with the presence of original series creator Glen A. Larson’s theology, offers exodus as a ready-made description of characters’ movements throughout the narrative. However, ‘exo- dus’ has become the shorthand term of choice for artists and critics. Certainly the association heightens dramatic tension. Invoking it often and casually, how- ever, has diminished its contribution to the Battlestar Galactica storyline while overshadowing the significance of diaspora as a unifying element of original and remade series. -
NO BOUNDARIES World Wrestling Entertainment, Inc
NO BOUNDARIES World Wrestling Entertainment, Inc. World Wrestling Entertainment, Inc. 1241 E. Main Street Annual Report 2005 Stamford, CT. 06901 Board of Directors Transfer Agent, Dividend Paying Agent and Registrar Vincent K. McMahon Chairman of the Board American Stock Transfer & Trust Company 59 Maiden Lane Linda E. McMahon New York, NY 10038 Chief Executive Officer 877.777.0800 Lowell P. Weicker, Jr. Former Governor of the State of Connecticut and Independent Auditors United States Senator Chairman of Compensation Committee Deloitte & Touche LLP Stamford Harbor Park Robert A. Bowman 333 Ludlow Street President and Chief Executive Officer of MLB Stamford, CT 06902-6982 Advanced Media, LP 203.708.4600 Chairman of Audit Committee David Kenin Corporate Headquarters Executive Vice President of Programming, Crown Media United States, LLC World Wrestling Entertainment, Inc. Member of Audit and Compensation Committees 1241 E. Main Street P.O. Box 1241 Michael B. Solomon Stamford, CT 06901 Managing Principal of Gladwyne Partners, LLC 203.352.8600 Member of Audit and Compensation Committees Joseph Perkins President, Communications Consultants, Inc. Michael Sileck Chief Financial Offi cer Management Certifications In accordance with Section 3.03A.12(a) of the New York Stock Exchange Listed Company Manual, in connection with our last annual meeting Linda McMahon submitted a certification to the NYSE stating that she was not aware of any violations by the Company of the NYSE’s Corporate Governance listing standards. The certifications required by Section 302 of the Sarbanes-Oxley Act with respect to the Company’s Annual Report on Form 10-K for the fiscal year ended April 30, 2005 have been filed with the Securities and Exchange Commission as Exhibits 31.1 through 31.4 thereto. -