SHUTTLE December 1998
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Hugo Award -- Britannica Online Encyclopedia
10/10/2017 Hugo Award -- Britannica Online Encyclopedia Hugo Award Hugo Award, any of several annual awards presented by the World Science Fiction Society (WSFS). The awards are granted for notable achievement in science �ction or science fantasy. Established in 1953, the Hugo Awards were named in honour of Hugo Gernsback, founder of Amazing Stories, the �rst magazine exclusively for science �ction. Hugo Award. This particular award was given at MidAmeriCon II, in Kansas City, Missouri, on August … Michi Trota Pin, in the form of the rocket on the Hugo Award, that is given to the finalists. Michi Trota Hugo Awards https://www.britannica.com/print/article/1055018 1/10 10/10/2017 Hugo Award -- Britannica Online Encyclopedia year category* title author 1946 novel The Mule Isaac Asimov (awarded in 1996) novella "Animal Farm" George Orwell novelette "First Contact" Murray Leinster short story "Uncommon Sense" Hal Clement 1951 novel Farmer in the Sky Robert A. Heinlein (awarded in 2001) novella "The Man Who Sold the Moon" Robert A. Heinlein novelette "The Little Black Bag" C.M. Kornbluth short story "To Serve Man" Damon Knight 1953 novel The Demolished Man Alfred Bester 1954 novel Fahrenheit 451 Ray Bradbury (awarded in 2004) novella "A Case of Conscience" James Blish novelette "Earthman, Come Home" James Blish short story "The Nine Billion Names of God" Arthur C. Clarke 1955 novel They’d Rather Be Right Mark Clifton and Frank Riley novelette "The Darfsteller" Walter M. Miller, Jr. short story "Allamagoosa" Eric Frank Russell 1956 novel Double Star Robert A. Heinlein novelette "Exploration Team" Murray Leinster short story "The Star" Arthur C. -
Gang War Erupts in Combat Zone
WEATHER & GOSSIP OPINION TECH LIFESTYLES ENTERTAINMENT BUSINESS WORLD NEWS HAZARDS Gang War Erupts in Combat Zone By jericho hunt • Night City • 2 Hours Ago Earlier today, the northern sector of the Combat Zone was body conversions and heavily augmented individuals thrust into chaos as tensions between the Iron Sights and either on the edge of or in the grip of cyberpsychosis, the Red Chrome Legion exploded into a full-scale con- lost influence and territory during the Time of the Red. It flict. Bullets flew and rippers sliced as these two violent wasn’t until a recently that the Iron Sights began to see gangs released months of pent up hostility on each other a rise in membership once again. This increase in their and any unfortunate Night City resident that wandered ranks was initially attributed to individuals suffering into their bloody feud. NCPD officers are already on from cyberpsychosis who joined their ranks after fail- the scene attempting to quell this senseless violence but ing to reincorporate into society. But recently, intrepid the sighting of multiple full-body conversions in the fray reporter Jericho Hunt unearthed a discovery that will has necessitated the involvement of C-SWAT. No doubt shock the city and most definitely sheds light on this cur- this conflict will boil over beyond the Combat Zone as rent massacre. Undercover, at a Nomad operated train it escalates. station on the outskirts of Night City, Hunt witnessed a handoff between known Iron Sights affiliates and a mys- But what could have caused this bloodbath? Could there terious cabal of men in black suits. -
Translating Expertise Across Work Contexts: U.S. Puppeteers Move
ASRXXX10.1177/0003122420987199American Sociological ReviewAnteby and Holm 987199research-article2021 American Sociological Review 2021, Vol. 86(2) 310 –340 Translating Expertise across © American Sociological Association 2021 https://doi.org/10.1177/0003122420987199DOI: 10.1177/0003122420987199 Work Contexts: U.S. Puppeteers journals.sagepub.com/home/asr Move from Stage to Screen Michel Antebya and Audrey L. Holma Abstract Expertise is a key currency in today’s knowledge economy. Yet as experts increasingly move across work contexts, how expertise translates across contexts is less well understood. Here, we examine how a shift in context—which reorders the relative attention experts pay to distinct types of audiences—redefines what it means to be an expert. Our study’s setting is an established expertise in the creative industry: puppet manipulation. Through an examination of U.S. puppeteers’ move from stage to screen (i.e., film and television), we show that, although the two settings call on mostly similar techniques, puppeteers on stage ground their claims to expertise in a dialogue with spectators and view expertise as achieving believability; by contrast, puppeteers on screen invoke the need to deliver on cue when dealing with producers, directors, and co-workers and view expertise as achieving task mastery. When moving between stage and screen, puppeteers therefore prioritize the needs of certain audiences over others’ and gradually reshape their own views of expertise. Our findings embed the nature of expertise in experts’ ordering of types of audiences to attend to and provide insights for explaining how expertise can shift and become co-opted by workplaces. Keywords expertise, audiences, puppetry, film and television Expertise has become a fundamental currency of cases (Abbott 1988:8). -
JUDITH MERRIL-PDF-Sep23-07.Pdf (368.7Kb)
JUDITH MERRIL: AN ANNOTATED BIBLIOGRAPHY AND GUIDE Compiled by Elizabeth Cummins Department of English and Technical Communication University of Missouri-Rolla Rolla, MO 65409-0560 College Station, TX The Center for the Bibliography of Science Fiction and Fantasy December 2006 Table of Contents Preface Judith Merril Chronology A. Books B. Short Fiction C. Nonfiction D. Poetry E. Other Media F. Editorial Credits G. Secondary Sources About Elizabeth Cummins PREFACE Scope and Purpose This Judith Merril bibliography includes both primary and secondary works, arranged in categories that are suitable for her career and that are, generally, common to the other bibliographies in the Center for Bibliographic Studies in Science Fiction. Works by Merril include a variety of types and modes—pieces she wrote at Morris High School in the Bronx, newsletters and fanzines she edited; sports, westerns, and detective fiction and non-fiction published in pulp magazines up to 1950; science fiction stories, novellas, and novels; book reviews; critical essays; edited anthologies; and both audio and video recordings of her fiction and non-fiction. Works about Merill cover over six decades, beginning shortly after her first science fiction story appeared (1948) and continuing after her death (1997), and in several modes— biography, news, critical commentary, tribute, visual and audio records. This new online bibliography updates and expands the primary bibliography I published in 2001 (Elizabeth Cummins, “Bibliography of Works by Judith Merril,” Extrapolation, vol. 42, 2001). It also adds a secondary bibliography. However, the reasons for producing a research- based Merril bibliography have been the same for both publications. Published bibliographies of Merril’s work have been incomplete and often inaccurate. -
The Hugo Awards for Best Novel Jon D
The Hugo Awards for Best Novel Jon D. Swartz Game Design 2013 Officers George Phillies PRESIDENT David Speakman Kaymar Award Ruth Davidson DIRECTORATE Denny Davis Sarah E Harder Ruth Davidson N3F Bookworms Holly Wilson Heath Row Jon D. Swartz N’APA George Phillies Jean Lamb TREASURER William Center HISTORIAN Jon D Swartz SECRETARY Ruth Davidson (acting) Neffy Awards David Speakman ACTIVITY BUREAUS Artists Bureau Round Robins Sarah Harder Patricia King Birthday Cards Short Story Contest R-Laurraine Tutihasi Jefferson Swycaffer Con Coordinator Welcommittee Heath Row Heath Row David Speakman Initial distribution free to members of BayCon 31 and the National Fantasy Fan Federation. Text © 2012 by Jon D. Swartz; cover art © 2012 by Sarah Lynn Griffith; publication designed and edited by David Speakman. A somewhat different version of this appeared in the fanzine, Ultraverse, also by Jon D. Swartz. This non-commercial Fandbook is published through volunteer effort of the National Fantasy Fan Federation’s Editoral Cabal’s Special Publication committee. The National Fantasy Fan Federation First Edition: July 2013 Page 2 Fandbook No. 6: The Hugo Awards for Best Novel by Jon D. Swartz The Hugo Awards originally were called the Science Fiction Achievement Awards and first were given out at Philcon II, the World Science Fiction Con- vention of 1953, held in Philadelphia, Pennsylvania. The second oldest--and most prestigious--awards in the field, they quickly were nicknamed the Hugos (officially since 1958), in honor of Hugo Gernsback (1884 -1967), founder of Amazing Stories, the first professional magazine devoted entirely to science fiction. No awards were given in 1954 at the World Science Fiction Con in San Francisco, but they were restored in 1955 at the Clevention (in Cleveland) and included six categories: novel, novelette, short story, magazine, artist, and fan magazine. -
Banks Date Range: 6/01/2013 Thru 6/30/2013
7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 1 VENDOR SET: 99 CITY OF SEABROOK BANK: * ALL BANKS DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D. NAME STATUS DATE AMOUNT DISCOUNT NO STATUS AMOUNT C-CHECK VOID CHECK V 6/05/2013 114982 C-CHECK VOID CHECK V 6/05/2013 115020 C-CHECK VOID CHECK V 6/12/2013 115071 C-CHECK VOID CHECK V 6/26/2013 115197 * * T O T A L S * * NO INVOICE AMOUNT DISCOUNTS CHECK AMOUNT REGULAR CHECKS: 0 0.00 0.00 0.00 HAND CHECKS: 0 0.00 0.00 0.00 DRAFTS: 0 0.00 0.00 0.00 EFT: 0 0.00 0.00 0.00 NON CHECKS: 0 0.00 0.00 0.00 VOID CHECKS: 4 VOID DEBITS 0.00 VOID CREDITS 0.00 0.00 0.00 TOTAL ERRORS: 0 VENDOR SET: 99 BANK: * TOTALS: 4 0.00 0.00 0.00 BANK: * TOTALS: 4 0.00 0.00 0.00 7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 2 VENDOR SET: 08 CITY OF SEABROOK BANK: 08 Debt Service Fund DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D. NAME STATUS DATE AMOUNT DISCOUNT NO STATUS AMOUNT 0011 FULBRIGHT & JAWORSKI, LLP I-11208164 BOND COUNSEL R 6/19/2013 001127 08 808-5472 BOND ISSUANCE COSTS BOND COUNSEL 25,155.00 25,155.00 *** VENDOR TOTALS *** 1 CHECKS 25,155.00 * * T O T A L S * * NO INVOICE AMOUNT DISCOUNTS CHECK AMOUNT REGULAR CHECKS: 1 0.00 0.00 25,155.00 HAND CHECKS: 0 0.00 0.00 0.00 DRAFTS: 0 0.00 0.00 0.00 EFT: 0 0.00 0.00 0.00 NON CHECKS: 0 0.00 0.00 0.00 VOID CHECKS: 0 VOID DEBITS 0.00 VOID CREDITS 0.00 0.00 0.00 TOTAL ERRORS: 0 ** G/L ACCOUNT TOTALS ** G/L ACCOUNT NAME AMOUNT ---------------------------------------------------------------------- 08 808-5472 BOND ISSUANCE COSTS 25,155.00 *** FUND TOTAL *** 25,155.00 VENDOR SET: 08 BANK: 08 TOTALS: 1 25,155.00 0.00 25,155.00 BANK: 08 TOTALS: 1 25,155.00CR 0.00 25,155.00 7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 3 VENDOR SET: 70 CITY OF SEABROOK BANK: 70 SEDC 2 DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D. -
Thomas Fountain Collection Prepared by Piruz Haney 2019
1 Finding Aid for the Thomas Fountain Collection Prepared by Piruz Haney 2019 Collection Summary Title: Thomas Fountain Collection Span Dates: 1987-2003 Bulk Dates: 1997-2003 Creator: Thomas Fountain Extent: 6 boxes Language: English Repository: Nancy Staub Puppetry Research Library Center for Puppetry Arts 1404 Spring St NW Atlanta, GA 30309 Abstract: Contains scripts related to the career of film and television puppeteer Thomas “Thom” Fountain with a focus on the TV series “Sabrina, the Teenage Witch”. Administrative Information: Provenance: This collection contains materials donated to the Center for Puppetry Arts (CPA) by puppeteer Thom Fountain from his time working on various TV and movie productions. Processing History: The donation by Thom Fountain to the CPA was made in 2011. In the Spring of 2019, preservation methods were undertaken to remove all metal fasteners and replace them with more stable clips. Rehousing efforts, which began prior to 2019, were completed by transferring all documents to archival boxes. Documents were unscrambled and a finding aid was created. As of May 2019, this collection has not been processed within the Past Perfect system. Copyright Status: Some material may be copyrighted or restricted. It is the patron's obligation to determine and satisfy copyright or other case restrictions when publishing or otherwise distributing materials found in the collections. Access and Restrictions: The records of the Nancy Lohman Staub Archives collection are open to research by appointment only. The library and archives are open Monday-Friday from 9:00 to 3:00, it is suggested that researchers call a week in advance to set up an appointment. -
Rd., Urbana, Ill. 61801 (Stock 37882; $1.50, Non-Member; $1.35, Member) JOURNAL CIT Arizona English Bulletin; V15 N1 Entire Issue October 1972
DOCUMENT RESUME ED 091 691 CS 201 266 AUTHOR Donelson, Ken, Ed. TITLE Science Fiction in the English Class. INSTITUTION Arizona English Teachers Association, Tempe. PUB DATE Oct 72 NOTE 124p. AVAILABLE FROMKen Donelson, Ed., Arizona English Bulletin, English Dept., Ariz. State Univ., Tempe, Ariz. 85281 ($1.50); National Council of Teachers of English, 1111 Kenyon Rd., Urbana, Ill. 61801 (Stock 37882; $1.50, non-member; $1.35, member) JOURNAL CIT Arizona English Bulletin; v15 n1 Entire Issue October 1972 EDRS PRICE MF-$0.75 HC-$5.40 PLUS POSTAGE DESCRIPTORS Booklists; Class Activities; *English Instruction; *Instructional Materials; Junior High Schools; Reading Materials; *Science Fiction; Secondary Education; Teaching Guides; *Teaching Techniques IDENTIFIERS Heinlein (Robert) ABSTRACT This volume contains suggestions, reading lists, and instructional materials designed for the classroom teacher planning a unit or course on science fiction. Topics covered include "The Study of Science Fiction: Is 'Future' Worth the Time?" "Yesterday and Tomorrow: A Study of the Utopian and Dystopian Vision," "Shaping Tomorrow, Today--A Rationale for the Teaching of Science Fiction," "Personalized Playmaking: A Contribution of Television to the Classroom," "Science Fiction Selection for Jr. High," "The Possible Gods: Religion in Science Fiction," "Science Fiction for Fun and Profit," "The Sexual Politics of Robert A. Heinlein," "Short Films and Science Fiction," "Of What Use: Science Fiction in the Junior High School," "Science Fiction and Films about the Future," "Three Monthly Escapes," "The Science Fiction Film," "Sociology in Adolescent Science Fiction," "Using Old Radio Programs to Teach Science Fiction," "'What's a Heaven for ?' or; Science Fiction in the Junior High School," "A Sampler of Science Fiction for Junior High," "Popular Literature: Matrix of Science Fiction," and "Out in Third Field with Robert A. -
The Sci-Fi Brain: Narratives in Neuroscience and Popular Culture
The Sci-Fi Brain: Narratives in Neuroscience and Popular Culture By Åsa Alftberg & Peter Bengtsen Abstract The connection between neuroscience, popular media and lay perceptions of the brain involves the framing of complex scientific processes and results through familiar cultural narratives and metaphors. Such narratives are often built on the premise that neuroscience, with the help of powerful new technologies, will finally solve the mysteries of brain and mind, consciousness and morality. At the same time, popular culture—especially the science fiction genre—tends to focus on worst case scenarios of the implementation of technology. This article explores cultural narratives of what the brain is and how it functions in two different contexts—among neuroscientists and within popular culture. In particular, narratives about technology and the malleable brain as well as the notion of the mad scientist are studied. The article explores how these narratives are presented and used in popular culture and how neuroscientists relate to the narratives when describing their work. There is a contrast, but also a blurring of boundaries, between actual research carried out and the fictional portrayals of scientists constructing, or altering, fully functional brains. To some extent, the narratives serve as a background for the public’s understanding of, and attitude towards, neuroscience—something that must be taken into consideration when dealing with the therapeutic treatment of patients. The narratives of neuroscience in popular culture are to a certain degree shaped by actual scientific practices and findings, but neuroscience is also influenced by laypeople’s perceptions, which often have their roots in the narratives of popular culture. -
UNIVERSITY of CALIFORNIA Los Angeles Queering
UNIVERSITY OF CALIFORNIA Los Angeles Queering Black Gay Historiography: Performance, (Mis)Identifications, and Possibilities A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theatre/Performance Studies by Thomas Howard Fitzgerald 2013 ABSTRACT OF THE DISSERTATION Queering Black Gay Historiography: Performance, (Mis)Identifications, and Possibilities. by Thomas Howard Fitzgerald Doctor of Philosophy in Theatre and Performance Studies University of California, Los Angeles, 2013 Professor Sue Ellen Case, Chair This dissertation will examine black gay theatre/ performance in the United States from 1970 to 2010. My intent is to establish a genealogy of black gay performance by situating performance strategies of visibility employed by black gay men in the late 20th century utilizing various performance genres such as revue, theatrical biography, the “event” and history play. Specifically, I am interested that this writing act as a discursive in interrogating the historiography of the tactics of black gay visibility in contrast to and in concert with traditional heterosexual black masculinities where the overall effort was to distinguish a queer black aesthetic separate from the white gay project. My research is necessarily involved with both gay and black performances in this period, since a study of black gay performance practices cannot be pulled away from the black experience in America. Identity politics is the conduit to self- empowerment for black and gay liberation movements, for similar reasons. Accordingly, the project study will concentrate on three areas: (1) social trends and historiography, (2) select black gay performances in this period, and (3) theories of queer and racial identification. -
Puppeteer, Summer 2006
You’re a what? P t u PP e e e by Elka Jones r uppeteer Paul Mesner has Rapunzel on a string. system, scenery, and other props—for performances. But this Rapunzel gets her prince by taking the Although physical agility may be important for pup- Pwitch’s scooter—an inverted hair dryer that has peteers, a need for attention is not. “Many puppeteers are curlers for handle bars. shy,” says Paul. Speaking through puppets and behind a “I like to create zany, quirky versions of familiar curtain or screen allows people who are more reserved to stories,” says Paul. For inspiration, he turns to classic share their talents. fairytales and fables and then adds the unexpected. “It’s Among the many talents puppeteers share is their quite engaging for kids to hear old stories told in a new sense of humor. Paul uses all types of humor to keep his way,” he says. audience entertained. “I love to hear an audience laugh,” Paul, like many in his trade, writes his own scripts he says. “It’s very satisfying to hear a group of 350 kids and creates his own puppets. He primarily creates shadow roaring, and it’s often at the simplest things.” After a puppets and rod puppets. A shadow puppet is a figure, performance, Paul explains to the audience how he does sometimes cut out of cardboard, wood, or leather, that what he does, and then he answers questions. casts a shadow onto a screen. The audience watches the Puppetry, says Paul, is an art form with a lot of shadow of each puppet, rather than watching the figure potential. -
The Problem of Female Antagonisms in Blaxploitation Cinema Melissa
1 Who’s Got the “Reel” Power? The Problem of Female Antagonisms in Blaxploitation Cinema Melissa DeAnn Seifert, University of Wisconsin-Milwaukee Abstract: Between 1973 and 1975, films starring Pam Grier and Tamara Dobson such as Cleopatra Jones (Jack Starrett, 1973), Coffy (Jack Hill, 1973) and Foxy Brown (Hill, 1974) introduced leading black women into the predominantly male blaxploitation scene as aggressive action heroines. Within the cinematic spaces of blaxploitation films which featured women as active agents, a racial and sexual divide exists. These films positioned women either inside or outside of gender tolerability by utilising binary constructions of identity based on race, sex and elementary constructions of good and evil, black and white, straight and gay, and feminine and butch. Popular representations of lesbianism and sisterhood within blaxploitation cinema reflect a dominant social view of American lesbianism as white while straight women are consistently represented as black. However, these spaces also constricted black and white female identities by limiting sexuality and morality to racial boundaries. This article seeks to question the unique solitude of these female heroines and interrogate a patriarchal cinematic world where sisterhood is often prohibited and lesbianism demonised. I don’t believe in [women’s lib] for black people … we’re trying to free our black men … I like being a woman. I have been discriminated against, but not because I’m a woman. It’s because I am black … before [people] see me as being female, they see me as being black. The stigma that’s been placed on you because you’re black gives you enough kill to get you through the woman thing … it’s much tougher being black than being a woman.