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Outlaw: Wilderness and Exile in Old and Middle
THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sarah Michelle Haughey August 2011 © 2011 Sarah Michelle Haughey THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE Sarah Michelle Haughey, Ph. D. Cornell University 2011 This dissertation, The ‘Bestli’ Outlaw: Wilderness and Exile in Old and Middle English Literature explores the reasons for the survival of the beast-like outlaw, a transgressive figure who highlights tensions in normative definitions of human and natural, which came to represent both the fears and the desires of a people in a state of constant negotiation with the land they inhabited. Although the outlaw’s shelter in the wilderness changed dramatically from the dense and menacing forests of Anglo-Saxon England to the bright, known, and mapped greenwood of the late outlaw romances and ballads, the outlaw remained strongly animalistic, other, and liminal, in strong contrast to premodern notions of what it meant to be human and civilized. I argue that outlaw narratives become particularly popular and poignant at moments of national political and ecological crisis—as they did during the Viking attacks of the Anglo-Saxon period, the epoch of intense natural change following the Norman Conquest, and the beginning of the market revolution at the end of the Middle Ages. Figures like the Anglo-Saxon resistance fighter Hereward, the exiled Marcher lord Fulk Fitz Waryn, and the brutal yet courtly Gamelyn and Robin Hood, represent a lost England imagined as pristine and forested. -
Costume Culture: Visual Rhetoric, Iconography, and Tokenism In
COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to the Office of Graduate Studies Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2017 COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS A Dissertation by MICHAEL G. BAKER Submitted to: Advisor: Christopher Gonzalez Committee: Tabetha Adkins Donna Dunbar-Odom Mike Odom Head of Department: M. Hunter Hayes Dean of the College: Salvatore Attardo Interim Dean of Graduate Studies: Mary Beth Sampson iii Copyright © 2017 Michael G. Baker iv ABSTRACT COSTUME CULTURE: VISUAL RHETORIC, ICONOGRAPHY, AND TOKENISM IN COMIC BOOKS Michael G. Baker, PhD Texas A&M University-Commerce, 2017 Advisor: Christopher Gonzalez, PhD Superhero comic books provide a unique perspective on marginalized characters not only as objects of literary study, but also as opportunities for rhetorical analysis. There are representations of race, gender, sexuality, and identity in the costuming of superheroes that impact how the audience perceives the characters. Because of the association between iconography and identity, the superhero costume becomes linked with the superhero persona (for example the Superman “S” logo is a stand-in for the character). However, when iconography is affected by issues of tokenism, the rhetorical message associated with the symbol becomes more difficult to decode. Since comic books are sales-oriented and have a plethora of tie-in merchandise, the iconography in these symbols has commodified implications for those who choose to interact with them. When consumers costume themselves with the visual rhetoric associated with comic superheroes, the wearers engage in a rhetorical discussion where they perpetuate whatever message the audience places on that image. -
Friday, March 21St Saturday, March 22Nd
Friday, March 21st Hernandez’s Recent Narratives - Derek Royal 9-10:15 AM – Panel 1: The "Body" of 4-6 PM – Dinner the Text 6-7:30 – Phoebe Gloeckner Keynote → “Time is a Man / Space is a Woman”: Narrative + Visual Pleasure = Gender 7:30-9:30 – Reception Ustler Hall Confusion – Aaron Kashtan → Eggs, Birds and “an Hour for Lunch”: A Saturday, March 22nd Vision of the Grotesque Body in Clyde Fans: Book 1 by Seth - John Kennett 9-10:15 – Panel 5: The Figure on the → Love in the Binding – Laurie Taylor Page 10:30-11:45 – Panel 2: Groensteen's → "Gimme Gimme This, Gimme Gimme Networked Relations That": Confused Sexualities and Genres in Cooper and Myerson's Horror Hospital → Memory and Sexuality: An Arthrological Unplugged – James Newlin Study of Alison Bechdel’s Fun Home: A → How to Draw the (DC and) Marvel Way: Family Tragicomic - Adrielle Mitchell How Changes in Representation of Female → The Joy of Plex: Erotic Arthrology, Bodies and Attitudes are Changing Tromplographic Intercourse, and "Superheroine Chic" – Mollie Dezern “Interspecies Romances” in Howard → "The Muse or the Viper: Excessive Chaykin’s American Flagg - Daniel Yezbick Depictions of the Female in Les Bas-Bleus → Our Minds in the Gutters: Native and Cerebus" – Tof Eklund American Women, Sexuality, and George O’Connor’s Graphic Novel Journey into 10:30-11:45 – Panel 7: Let's Transgress Mohawk Country - Melissa Mellon → I for Integrity: Futurity, 11:45-1:15 – Lunch (Inter)Subjectivities, and Sidekicks in Alan 1:15-2:30 – Panel 3: Women on Top Moore's V for Vendetta and Frank -
Marvel-Verse: Captain America Pdf, Epub, Ebook
MARVEL-VERSE: CAPTAIN AMERICA PDF, EPUB, EBOOK Stan Lee | 112 pages | 11 Aug 2020 | Marvel Comics | 9781302925130 | English | New York, United States Marvel-verse: Captain America PDF Book Sign up to receive the top stories you need to know right now. See all 8 brand new listings. Plus, the Black Panther and Agent 13 join Cap in battle with one of his greatest foes, Baron Zemo - but is more going on than meets the eye? Format Trade Paperback. Captain America Sam Wilson 4. Before Gunn was rehired by Disney, he signed with Warner Bros. Share on: Facebook Twitter. By signing up you are agreeing to our Terms of Use and Privacy Policy. Skip to the beginning of the images gallery. Andy Kubert 1. Write to Eliana Dockterman at eliana. Mission Report: December 16, The cookie settings on this website are set to 'allow all cookies' to give you the very best experience. North America Paperback Illustrated. Subject to credit approval. Captain America Steve Rogers 3. Alberto E. Eric Francisco. Alan Davis 1. Release Week. Seller does not offer returns. No ratings or reviews yet No ratings or reviews yet. Publisher: Marvel Comics. Golden Age. Stuart Immonen 1. Close Filters close Filters. After Marvel Studios produced the surprise hit Iron Man , Disney swooped in to build an entire franchise out of characters long outshone by the X-Men and Spidey. Captain America objects, causing infighting amongst the Avengers. Show Out of Stock. Learn More - opens in a new window or tab Any international shipping and import charges are paid in part to Pitney Bowes Inc. -
Decoder Ring--Reprints and Refrigerators in "The American Comic Book (Critical Insights)" Jerry Spiller Art Institute of Charleston, [email protected]
Against the Grain Volume 27 | Issue 6 Article 43 2015 Decoder Ring--Reprints and Refrigerators in "The American Comic Book (Critical Insights)" Jerry Spiller Art Institute of Charleston, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/atg Part of the Library and Information Science Commons Recommended Citation Spiller, Jerry (2015) "Decoder Ring--Reprints and Refrigerators in "The American Comic Book (Critical Insights)"," Against the Grain: Vol. 27: Iss. 6, Article 43. DOI: https://doi.org/10.7771/2380-176X.7256 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Decoder Ring — Reprints and Refrigerators in “The American Comic Book (Critical Insights)” Column Editor: Jerry Spiller (Art Institute of Charleston) <[email protected]> often lament that printed academic and schol- “Comic Fandom Through the Ages” sums up The essayists also note the lack of credit arly works lag behind online sources in time- changes in readership and the relationship and “larger than life” appeal afforded to even Iliness. To a degree, this is a simple necessity. between readers, creators, and the tone and positively portrayed female characters, as any I was pleasantly surprised in this regard subject matter and tone. The changes in both heroism or actual plot contributions they make when reading through the Salem Press volume fandom and creators detailed by Munson and are are often simply forgotten or overshadowed The American Comic Book, part of their Critical Helvie work well together to set up Katherine by the acts of male figures. -
Why Wonder Woman Matters
Why Wonder Woman Matters When I was a kid, being a hero seemed like the easiest thing in the world to be- A Blue Beetle quote from the DC Comics publication The OMAC Project. Introduction The superhero is one of modern American culture’s most popular and pervasive myths. Though the primary medium, the comic book, is often derided as juvenile or material fit for illiterates the superhero narrative maintains a persistent presence in popular culture through films, television, posters and other mediums. There is a great power in the myth of the superhero. The question “Why does Wonder Woman matter?” could be answered simply. Wonder Woman matters because she is a member of this pantheon of modern American gods. Wonder Woman, along with her cohorts Batman and Superman represent societal ideals and provide colorful reminders of how powerful these ideals can be.1 This answer is compelling, but it ignores Wonder Woman’s often turbulent publication history. In contrast with titles starring Batman or Superman, Wonder Woman comic books have often sold poorly. Further, Wonder Woman does not have quite the presence that Batman and Superman both share in popular culture.2 Any other character under similar circumstances—poor sales, lack of direction and near constant revisions—would have been killed off or quietly faded into the background. Yet, Wonder Woman continues to persist as an important figure both within her comic universe and in our popular consciousness. “Why does Wonder Woman matter?” To answer this question an understanding of the superhero and their primary medium, the comic book, is required, Wonder Woman is a comic book character, and her existence in the popular consciousness largely depends on how she is presented within the conventions of the comic book superhero narrative. -
Marvel Pop! List Popvinyls.Com
Marvel Pop! List PopVinyls.com Updated December 2016 01 Thor 23 IM3 Iron Man 02 Loki 24 IM3 War Machine 03 Spider-man 25 IM3 Iron Patriot 03 B&W Spider-man (Fugitive) 25 Metallic IM3 Iron Patriot (HT) 03 Metallic Spider-man (SDCC ’11) 26 IM3 Deep Space Suit 03 Red/Black Spider-man (HT) 27 Phoenix (ECCC 13) 04 Iron Man 28 Logan 04 Blue Stealth Iron Man (R.I.CC 14) 29 Unmasked Deadpool (PX) 05 Wolverine 29 Unmasked XForce Deadpool (PX) 05 B&W Wolverine (Fugitive) 30 White Phoenix (Conquest Comics) 05 Classic Brown Wolverine (Zapp) 30 GITD White Phoenix (Conquest Comics) 05 XForce Wolverine (HT) 31 Red Hulk 06 Captain America 31 Metallic Red Hulk (SDCC 13) 06 B&W Captain America (Gemini) 32 Tony Stark (SDCC 13) 06 Metallic Captain America (SDCC ’11) 33 James Rhodes (SDCC 13) 06 Unmasked Captain America (Comikaze) 34 Peter Parker (Comikaze) 06 Metallic Unmasked Capt. America (PC) 35 Dark World Thor 07 Red Skull 35 B&W Dark World Thor (Gemini) 08 The Hulk 36 Dark World Loki 09 The Thing (Blue Eyes) 36 B&W Dark World Loki (Fugitive) 09 The Thing (Black Eyes) 36 Helmeted Loki 09 B&W Thing (Gemini) 36 B&W Helmeted Loki (HT) 09 Metallic The Thing (SDCC 11) 36 Frost Giant Loki (Fugitive/SDCC 14) 10 Captain America <Avengers> 36 GITD Frost Giant Loki (FT/SDCC 14) 11 Iron Man <Avengers> 37 Dark Elf 12 Thor <Avengers> 38 Helmeted Thor (HT) 13 The Hulk <Avengers> 39 Compound Hulk (Toy Anxiety) 14 Nick Fury <Avengers> 39 Metallic Compound Hulk (Toy Anxiety) 15 Amazing Spider-man 40 Unmasked Wolverine (Toytasktik) 15 GITD Spider-man (Gemini) 40 GITD Unmasked Wolverine (Toytastik) 15 GITD Spider-man (Japan Exc) 41 CA2 Captain America 15 Metallic Spider-man (SDCC 12) 41 CA2 B&W Captain America (BN) 16 Gold Helmet Loki (SDCC 12) 41 CA2 GITD Captain America (HT) 17 Dr. -
Bendis Pichelli Ponsor
0 0 3 1 1 7 59606 08698 6 MARVEL.COM DIRECT EDITION $3.99 RATED US T+ PICHELLI PONSOR BENDIS # 3 WHEN PETER PARKER WAS BITTEN BY A RADIOACTIVE SPIDER, HE GAINED THE PROPORTIONAL SPEED, STRENGTH AND AGILITY OF A SPIDER; ADHESIVE FINGERTIPS AND TOES; AND THE UNIQUE PRECOGNITIVE AWARENESS OF DANGER CALLED “SPIDER- SENSE”! AFTER LEARNING THAT WITH GREAT POWER THERE MUST ALSO COME GREAT RESPONSIBILITY, HE BECAME THE CRIMEFIGHTING SUPER HERO CALLED… PART THREE THE SPIDER-MEN FIRST MET WHEN A VILLAIN BROKE THROUGH THE WALL BETWEEN THEIR DIMENSIONS. AT THE TIME, PETER SEARCHED FOR A MILES MORALES IN HIS WORLD, AND WAS SHOCKED TO FIND…NOTHING EXTRAORDINARY. SINCE THEN, MILES AND MANY OF THE PEOPLE HE LOVES HAVE BEEN BROUGHT INTO PETER’S UNIVERSE, WHERE MILES HAS CONTINUED FIGHTING CRIME AS SPIDER-MAN, WITH PETER’S BLESSING. RECENTLY, PETER AND MILES INVESTIGATED THE REAPPEARANCE OF A DIMENSIONAL RIFT, APPARENTLY CONNECTED TO THE MERCENARY TASKMASTER. HE ESCAPED AFTER A DIFFICULT FIGHT, BUT NOT BEFORE THE YOUNGER SPIDER-MAN OVERHEARD HIM DISCUSSING HIS DEAL WITH A “MILES MORALES.” WHAT KIND OF PERSON WORKS WITH MEN LIKE TASKMASTER AND LEAVES NO TRACE OF A PUBLIC RECORD? IN A DIMENSION VERY MUCH LIKE OURS, MILES MORALES WAS BITTEN BY A STOLEN, GENETICALLY ALTERED SPIDER THAT GRANTED HIM INCREDIBLE ARACHNID-LIKE POWERS. WHEN THAT DIMENSION’S PETER PARKER WAS KILLED BY THE GREEN GOBLIN, MILES CHOSE TO DEDICATE HIS LIFE TO THE LEGACY OF SPIDER-MAN AND BECAME... BRIAN MICHAEL BENDIS WRITER SARA PICHELLI ARTIST ELISABETTA D’AMICO INKING ASSISTANT JUSTIN PONSOR COLOR ARTIST VC’s CORY PETIT LETTERER SARA PICHELLI & MORRY HOLLOWELL COVER ARTISTS JESÚS SAIZ CONNECTING VARIANT COVER ARTIST KATHLEEN WISNESKI ASSISTANT EDITOR NICK LOWE EDITOR AXEL ALONSO EDITOR IN CHIEF JOE QUESADA CHIEF CREATIVE OFFICER DAN BUCKLEY PRESIDENT ALAN FINE EXECUTIVE PRODUCER SPIDER-MAN CREATED BY STAN LEE & STEVE DITKO SPIDER-MEN II No. -
Three Icelandic Outlaw Sagas
THREE ICELANDIC OUTLAW SAGAS THREE ICELANDIC OUTLAW SAGAS THE SAGA OF GISLI THE SAGA OF GRETTIR THE SAGA OF HORD VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 2004 Selection, introduction and other critical apparatus © J. M. Dent 2001 Translation of The Saga of Grettir and The Saga of Hord © J. M. Dent 2001 Translation of The Saga of Gisli © J. M. Dent 1963 This edition first published by Everyman Paperbacks in 2001 Reissued by Viking Society for Northern Research in 2004 Reprinted with minor corrections in 2014 ISBN 978 0 903521 66 6 The maps are based on those in various volumes of Íslensk fornrit. The cover illustration is of Grettir Ásmundarson from AM 426 fol., a late seventeenth-century Icelandic manuscript in Stofnun Árna Magnússonar á Íslandi, Reykjavík Printed by Short Run Press Limited, Exeter CONTENTS Preface ............................................................................................ vii Chronology .................................................................................... viii Introduction ..................................................................................... xi Note on the Text .......................................................................... xxvi THE SAGA OF GISLI ..................................................................... 1 THE SAGA OF GRETTIR ............................................................. 69 THE SAGA OF HORD ................................................................ 265 Text Summaries ........................................................................... -
Daniel Way Paco Medina Vc's Cory Petit Jason Pearson
Some jobs are just too tough for your average fast-talkin’ high-tech gun-for-hire. Sometimes...to get the job done right...you need someone crazier than a sack’a ferrets. You need Wade Wilson. The Crimson Comedian. The Regeneratin’ Degenerate. The Merc with a Mouth… During the Secret Invasion, Deadpool was hired by Nick Fury to steal vital Skrull bio- data. But Norman Osborn intercepted the transmission of the data and used it to take down the Skrull Queen—which made him famous, and Deadpool one ticked-off (and unpaid) merc. Deadpool then hired the reformed villain Taskmaster to help him take on Norman’s covert strike force, the Thunderbolts, and squeeze the cash out of Osborn. Not only did Deadpool and Taskmaster defeat the Thunderbolts, but by the end of the battle, Deadpool managed to steal Osborn’s gold card…and finally got paid! Well…at least enough to cover the money he owed Taskmaster. But Wade’s expecting a payday all his own and he’s not finished with Norman...not by a long shot… Unfortunately Osborn feels the same way about Deadpool and he’s just sent the unstoppable assassin Bullseye (now masquerading as the Avenger Hawkeye) to take Deadpool out once and for all. The ensuing fight didn’t go very well for Wade... DANIEL WAY PACO MEDINA JUAN VLASCO MARTE GRACIA WRITER PENCILER INKER COLORIST JASON PEARSON VC’S CORY PETIT JODY LEHEUP COVER ARTIST LETTERER ASSISTANT EDITOR AXEL ALONSO JOE QUESADA DAN BUCKLEY ALAN FINE EDITOR EDITOR IN CHIEF PUBLISHER EXEC. PRODUCER TRUE BELIEVERS: THE MEATY DEADPOOL No. -
Mason 2015 02Thesis.Pdf (1.969Mb)
‘Page 1, Panel 1…” Creating an Australian Comic Book Series Author Mason, Paul James Published 2015 Thesis Type Thesis (Professional Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3741 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367413 Griffith Research Online https://research-repository.griffith.edu.au ‘Page 1, Panel 1…” Creating an Australian Comic Book Series Paul James Mason s2585694 Bachelor of Arts/Fine Art Major Bachelor of Animation with First Class Honours Queensland College of Art Arts, Education and Law Group Griffith University Submitted in fulfillment for the requirements of the degree of Doctor of Visual Arts (DVA) June 2014 Abstract: What methods do writers and illustrators use to visually approach the comic book page in an American Superhero form that can be adapted to create a professional and engaging Australian hero comic? The purpose of this research is to adapt the approaches used by prominent and influential writers and artists in the American superhero/action comic-book field to create an engaging Australian hero comic book. Further, the aim of this thesis is to bridge the gap between the lack of academic writing on the professional practice of the Australian comic industry. In order to achieve this, I explored and learned the methods these prominent and professional US writers and artists use. Compared to the American industry, the creating of comic books in Australia has rarely been documented, particularly in a formal capacity or from a contemporary perspective. The process I used was to navigate through the research and studio practice from the perspective of a solo artist with an interest to learn, and to develop into an artist with a firmer understanding of not only the medium being engaged, but the context in which the medium is being created. -
13Th Age Archmage Engine, Or You Can Make Your Own
Monsters You can use the monsters included in the 13th Age Archmage Engine, or you can make your own. Monster Rules Stats & Characteristics Most monster attacks generally deal a specific amount of damage (instead of rolling for damage) and don’t add on the escalation die. Only exceptional monsters get to add the escalation die to their attacks. Monsters may have particular abilities or powers that are triggered when the attack roll is greater than a certain threshold. The default trigger happens at a 16+ monster d20 attack roll, though unpredictable monsters may have effects trigger on other rolls. Mooks Mooks are weaker monsters that can be cut down in large numbers in a single turn. Damage is not tracked against single mooks, but against the entire mob of mooks you’re facing. If you roll damage against a mook and it is greater than the single mook’s hit points, then another mook takes the remainder. In this way, damage can cascade to multiple mooks, and a player can kill multiple in one turn, even if they’re not all directly within your attack range. A mook’s hit point value is one-fifth that of a regular monster. Mooks move and attack individually. Mooks deal a fixed damage when they hit, and double damage when they roll a natural 20. Mooks can be split up into multiple mobs with different initiative numbers and hit point pools for each. Large & Huge Monsters Large monsters generally have twice the hit points and deal roughly double the damage of a normal-sized monster.