BARKER, Clive
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The Galilee Report
THE GALILEE REPOrt Primate’s Theological Commission The Galilee Report Contents . Galilee Report . Integrity and Sanctity A Consideration by the Primate’s Theological Commission Papers 3–16 will be posted on this website by the end of June, 2009. 3. The Bible, Human Sexuality, Marriage and Same-Sex Unions Walter Deller 4. Is There a Natural Reading of Romans :4-7? Stephen Andrews 5. Notes on the Development of Doctrine Lisa Wang 6. Development of Doctrine Stephen Andrews 7. Same-Sex Blessings: A Systematic-Theological Rationale Paul Jennings 8. An Argument Against Gary Thorne 9. Friendship: The End of Marriage Gary Thorne 0. The Grace of Eros Paul Jennings . Thinking Theologically about Sex and Marriage Jamie Howison . What is Holiness and What Does it Look Like? Victoria Matthews 3. Tradition Trudy Lebans 4. Pastoral Practice and Doctrine — Two Instances of Change and Some Questions They Raise Walter Deller 5. Anglicans and the Abolition of Salvery Robert Moore 6. Divorce and Remarriage in the Anglican Church of Canada Linda Nicholls The Galilee Report one THE GALILEE REPOrt Primate’s Theological Commission The Role and Mandate of the Commission . The General Synod 007 asked the Primate to request the Primate’s Theological Commission to consult with dioceses and parishes and to report in advance of General Synod 00 on a) the theological question whether the blessing of same-sex unions is a faithful, Spirit-led development of Christian doctrine; and b) Scripture’s witness to the integrity of every human person and the question of the sanctity of human rela- tionships. The role and mandate of theP rimate’s Theological Commission is to assist the church in considering and incor- porating foundational theological matters and reflection into its life and decision-making. -
Carleton University Winter 2017 Department of English ENGL 2906
Carleton University Winter 2017 Department of English ENGL 2906 B Culture and Society: Gothic and Horror Prerequisite(s): 1.0 credit in ENGL at the 1000 level or permission of the Department Tuesdays 6:05 – 8:55 pm 182 Unicentre Instructor: Aalya Ahmad, Ph.D. Email: [email protected] Office: 1422 Dunton Tower Office Hours: please email me for an appointment Course Description: This course is an overview of Gothic and Horror fiction as literary genres or fictional modes that reflect and play with prevalent cultural fears and anxieties. Reading short stories that range from excerpts from the eighteenth-century Gothic novels to mid-century weird fiction to contemporary splatterpunk stories, students will also draw upon a wide range of literary and cultural studies theories that analyze and interpret Gothic and horror texts. By the end of this course, students should have a good grasp of the Gothic and Horror field, of its principal theoretical concepts, and be able to apply those concepts to texts more generally. Trigger Warning: This course examines graphic and potentially disturbing material. If you are triggered by anything you experience during this course and require assistance, please see me. Texts: All readings are available through the library or on ARES. Please note: where excerpts are indicated, students are also encouraged to read the entire text. Evaluation: 15% Journal (4 pages plus works cited list) due January 31 This assignment is designed to provide you with early feedback. In a short journal, please reflect on what you personally have found compelling about Gothic or horror fiction, including a short discussion of a favourite or memorable text(s). -
Read 2020 Book Lists
Horror - October - Read 2020 Fiction Barke.C Cabal Clive Barker Fiction Barke.C The Essential Clive Barker Clive Barker Fiction Barke.C The Hellbound Heart Clive Barker Fiction Barke.C Imajica Clive Barker Fiction Barke.C In the Flesh Clive Barker Fiction Barke.C Mister B. Gone Clive Barker Fiction Barke.C The Scarlet Gospels Clive Barker Fiction Barke.C Tortured Souls Clive Barker Fiction Choo.Y The Ghost Bride Yangsze Choo Fiction Depes.R Hadriana in All My Dreams Rene Depestre Fiction Due.T The Between Tananarive Due Fiction Due.T The Good House Tananarive Due Fiction Due.T The Living Blood Tananarive Due Fiction Due.T My Soul To Keep Tananarive Due Fiction Enriq.M Things We Lost in the Fire Mariana Enriquez Fiction Gomez.J The Gilda Stories Jewelle Gomez Fiction Hilli.J Jar of Hearts Jennifer Hillier Fiction Hilli.J Little Secrets Jennifer Hillier Fiction Hilli.J Creep Jennifer Hillier Fiction Jones.S Mapping the Interior Stephen Graham Jones Fiction Jones.S Night of the Mannequins Stephen Graham Jones Fiction Jones.S The Only Good Indians Stephen Graham Jones Fiction Koike.M The Graveyard Apartment Mariko Koike Fiction Laval.V The Devil in Silver Victor Lavalle Fiction Masse.B Within the Shadows Brandon Massey Fiction Moren.S Certain Dark Things Silvia Morena-Garcia Fiction Moren.S Mexican Gothic Silvia Morena-Garcia Fiction Nonam.A Now You're One of Us Asa Nonami Fiction Ogawa.Y Revenge: Eleven Dark Tales Yoko Ogawa Fiction Okora.N Who Fears Death Nnedi Okorafor Fiction Oyeye.H White is for Witching Helen Oyeyemi Fiction Pyon.H City of Ash and Red Hye-yŏng P'yŏn Fiction Pyon.H The Hole Hye-yŏng P'yŏn Fiction Saada.A Frankenstein in Baghdad Ahmed Saadawi Fiction Short Stories Hopki.N Mojo: Conjure Stories Various Large Type Fiction Hilli.J Little Secrets Jennifer Hillier Science Fiction Butle.O Fledgling Octavia Butler Science Fiction Hopki.N Brown Girl in the Ring Nalo Hopkinson Science Fiction Stories Sycorax Sycorax's Daughters Various. -
Logging Into Horror's Closet
Logging into Horror’s Closet: Gay Fans, the Horror Film and Online Culture Adam Christopher Scales Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies September 2015 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract Harry Benshoff has boldly proclaimed that ‘horror stories and monster movies, perhaps more than any other genre, actively invoke queer readings’ (1997, p. 6). For Benshoff, gay audiences have forged cultural identifications with the counter-hegemonic figure of the ‘monster queer’ who disrupts the heterosexual status quo. However, beyond identification with the monstrous outsider, there is at present little understanding of the interpretations that gay fans mobilise around different forms and features of horror and the cultural connections they establish with other horror fans online. In addressing this gap, this thesis employs a multi-sited netnographic method to study gay horror fandom. This holistic approach seeks to investigate spaces created by and for gay horror fans, in addition to their presence on a mainstream horror site and a gay online forum. In doing so, this study argues that gay fans forge deep emotional connections with horror that links particular textual features to the construction and articulation of their sexual and fannish identities. In developing the concept of ‘emotional capital’ that establishes intersubjective recognition between gay fans, this thesis argues that this capital is destabilised in much larger spaces of fandom where gay fans perform the successful ‘doing of being’ a horror fan (Hills, 2005). -
Postmodernism, the Contemporary Horror Film and the "Problem" of the Femlwine
Natio~aiLibrary Bibliotheque nationale cf Canada du Canada Acquisiiions and Directicn des acquisiiions e! Bibiiographic Services Branch des services bibiiograpniques 395 Weiltngion Street Oflawa. Ontario KiAON4 NOTICE The qurljty of this microform is La squatit6 de cette microforme heavily dependent upon the depend grandement de la qualit6 quafity of the original thesis de la th&se sournise au srrbwritted for microfilming. microfilmage. Nous avow tout Every effort has been made to fait pour assurer une qualit4 ensure the highest quality of supbrieure de reproduction. reproduction possible. If pages are missing, contact the S'il manque des pages, veuillez university which granted the csmmuniquer avec I'universite degree. qui a confere le grade. Some pages may have indistinct La qualit6 d'impression de print especially if the original certaines pages peut laisser 5 pages were typed with a poor dbsirer, surtout si les pages typewriter ribbon or if the originales ont 6te university sent us an inferior dactylographiees a I'aide d'un photocopy. ruban us6 ou si I'universite nous a fait parvenir une photocopie de qualite infbrieure. Reproduction in full or in part of La reprodcction, m6me partielle, this microform is governed by de cetfe microforme est soumise the Canadian Copyright Act, a la Lsi canadienne sur le droit. R.S.C. 1970, c. un -A and d'aerteur, SRC 5970, c. 2-30, ei subsequent amendments. ses amendements subsequenta. THE LIMITS OF DISSATTSFACTION: POSTMODEm?SM, THE CONTEMPORARY HORROR FILM AND3 THE "PROBLEM" OF %HE FEMININE Liame McLarty MA., Carleton University, 1984 THESE SUBNLIrnB IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGFEE OF DOCTOR OF PHILOSOPflY in the Department of Communication @ Lianne McLarty 1993 SIMON FRASER UNIVERSITY October 1993 Ail rights reserved. -
Fafnir Cover Page 1:2018
NORDIC JOURNAL OF SCIENCE FICTION AND FANTASY RESEARCH Volume 5, issue 1, 2018 journal.finfar.org The Finnish Society for Science Fiction and Fantasy Research Suomen science fiction- ja fantasiatutkimuksen seura ry Submission Guidelines Fafnir is a Gold Open Access international peer-reviewed journal. Send submissions to our editors in chief at [email protected]. Book reviews, dissertation reviews, and related queries should be sent to [email protected]. We publish academic work on science-fiction and fantasy (SFF) literature, audiovisual art, games, and fan culture. Interdisciplinary perspectives are encouraged. In addition to peer- reviewed academic articles, Fafnir invites texts ranging from short overviews, essays, interviews, conference reports, and opinion pieces as well as academic reviews for books and dissertations on any suitable SFF subject. Our journal provides an international forum for scholarly discussions on science fiction and fantasy, including current debates within the field. Open-Access Policy All content for Fafnir is immediately available through open access, and we endorse the definition of open access laid out in Bethesda Meeting on Open Access Publishing. Our content is licensed under Creative Commons Attribution-Non Commercial 3.0 Unported License. All reprint requests can be sent to the editors at Fafnir, which retains copyright. Editorial Staff Editors in Chief Bodhisattva Chattopadhyay Laura E. Goodin Aino-Kaisa Koistinen Reviews Editor Dennis Wilson Wise Managing Editor Jaana Hakala Advisory Board Merja Polvinen, University of Helsinki, Chair Sari Polvinen, University of Helsinki Paula Arvas, University of Helsinki Liisa Rantalaiho, University of Tampere Stefan Ekman, University of Gothenburg Adam Roberts, Royal Holloway, U. London Ingvil Hellstrand, University of Stavanger Hanna-Riikka Roine, U. -
Vangeli Di Sangue Di Clive Barker
Vangeli di sangue di Clive Barker A quasi trent’anni dal capitolo che ha iniziato la saga Hellraiser, Clive Barker scrive il capitolo conclusivo della serie e lo fa chiamando all’appello il detective dell’occulto Harry D’Amour, celebre soprattutto per esser stato il protagonista del racconto L’Ultima Illusione (1988) prima e soprattutto della trasposizione cinematografica del medesimo, distribuita col titolo Il Signore delle Illusioni (1995), per la regia dello stesso Barker. Vangeli di sangue (The Scarlet Gospels), edito in Inghilterra e negli Stati Uniti nel 2015 ma giunto in Italia con due anni di ritardo grazie alla meritoria scelta della piccola Independent Legions Publishing, è un romanzo abbastanza voluminoso che si discosta sia dal romanzo capostipite (Hellbound Heart) sia dalla saga cinematografica di riferimento. Innanzitutto prende le distanze per il contesto in cui inserisce la storia (forse qualche reminiscenza del film Hellraiser II – Prigionieri dell’Inferno), in secondo luogo fa perno su un taglio assai più pulp sottolineato da dialoghi e battute più consone a un prodotto da blockbuster che a una storia giocata sulla suspence. In quest’ultimo aspetto risultava assai più efficace Hellbound Heart, senza ombra di dubbio più affascinante (e misterioso) per il suo limitarsi nel mostrare l’innominabile, ma di certo meno inventivo e più classico per il suo aderire al filone slasher movie. Clive Barker disegna le coordinate di un horror sospeso tra il grandguignolesco e il dark fantasy, con momenti di straordinario gusto pittorico-architettonico. Pur se penalizzati da un soggetto (è il contorno a brillare) non proprio eccelso. L’autore di Liverpool apre un vero e proprio squarcio sull’aldilà e lo fa sia dalla prospettiva del mondo umano sia da quella degli inferi, mostrando da un lato le anime dei defunti che vagano per le vie di New York avendo smarrito il percorso che conduce alla pace dei sensi e, al contempo, offrendo un dettagliato sguardo sul mondo costruito da Lucifero in persona (pure lui alla ricerca della pace dei sensi). -
Introduction
Introduction 1 Clive Barker, ‘Cenobite’, 1986. cintro.indd 1 8/2/2017 10:35:01 AM cintro.indd 2 8/2/2017 10:35:02 AM ‘To darken the day and brighten the night’: Clive Barker, dark imaginer S o r c h a N í F h l a i n n In one of his more in-depth television interviews, while promoting his newly published novel Weaveworld in 1987, Clive Barker was introduced by host John Nicolson as having such a remarkable impact on the horror genre that, some believed, ‘it could only be the product of a diseased mind’. 1 Rather than directly insult Barker on television, the description actually amused the author, a gleeful grin spreading across his youthful, handsome face. Th e television show, BBC ’ s Open to Question , was far removed from the more typical book promotion television shows or talk show slots during which hosts gently prod and chat with the author to showcase their new novel. Th e thirty-minute interview quickly proceeded to take the form of a confrontational interrogation, with Barker positioned to off er a defence for the ‘indefensible’ horror genre. Topics were dominated by audience-led comments and queries which evidenced the cultural residue of moral panic, following on from the video nasty crisis that had gripped the UK in the early 1980s. Th ere was a particular emphasis on the potential for copycat killings inspired by his work, or the potential viral spread of violence which, at any moment, threatened to burst forth from the screen simply because of Barker ’ s appearance on the show. -
Serial Killing Myths Versus Reality
SERIAL KILLING MYTHS VERSUS REALITY: A CONTENT ANALYSIS OF SERIAL KILLER MOVIES MADE BETWEEN 1980 AND 2001 Sarah Scott McCready, B.A. Thesis Prepared for the Degree of MASTER OF SCIENCE UNIVERSITY OF NORTH TEXAS August 2002 APPROVED: Tory J. Caeti, Major Professor John Liederbach, Committee Member D. Kall Loper, Committee Member Robert W. Taylor, Chair of the Department of Criminal Justice Eric J. Fritsch, Program Coordinator Of the Department of Criminal Justice David W. Hartman, Dean of the School of Community Service C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies McCready, Sarah Scott., Serial Killing Myths Versus Reality: A Content Analysis Of Serial Killer Movies Made Between 1980 and 2001. Master of Science in Criminal Justice, August 2002, 102pp., 28 tables, 1 figure, references, 92 titles. Public perceptions about serial homicide are more mythical than fact. Myths about serial homicide are perpetuated through several sources, especially the entertainment media. The number of films depicting serial killers and serial killing themes has increased in recent years. However, the reality of these films is debatable. This research examines the reality of the films involving a serial killing theme. Hickey provides statistical information on serial killers and serial killings. A content analysis of the fifty top grossing serial killer movies made between 1980 and 2001 was conducted using variables from Hickey research. Research shows similarities and differences between variables, however, results concludes the entertainment media does not accurately portray serial homicide. Copyright 2002 By Sarah Scott McCready ii ACKNOWLEDGMENTS The author would like to acknowledge the tremendous amount of time, effort, and support given by Professor Tory Caeti, Ph.D. -
Download Clive Barkers Next Testament: Volume 3 Free Ebook
CLIVE BARKERS NEXT TESTAMENT: VOLUME 3 DOWNLOAD FREE BOOK Haemi Jang | 112 pages | 13 Oct 2015 | Boom! Studios | 9781608867226 | English | Los Angeles, United States Clive Barker's Next Testament The beast is dressed like a person, completely shaved, and wields a razor. It was a quick, demented, fascinating story. Seemed like an abrupt ending to a buildup that left me wanting more. Lewis does not believe the story until he sees the primate firsthand. Once released, Cleve finds his travels to purgatory have left him able to hear when others have thoughts of murder. Jul 18, Kyler Allen rated it really liked it. Gone The Scarlet Gospels. This process takes no more than a few hours and we'll send you an email once approved. D'Amour learns the Clive Barkers Next Testament: Volume 3 once made a deal with demons in order to posses actual magical power. No one is scot free but still. Barker has stated in Faces of Fear that an inspiration for the Books of Blood was when he read Dark Forces in the early s and realised that a horror story anthology didn't need to have narrow themes, consistent tone or restrictions to be considered a proper collection. Other Editions 1. Buck and Sadie find that Virginia has the ability to both see and hear them. This short story was later adapted by Barker himself into the film Lord of Illusions. Well, that was Clive Barkers Next Testament: Volume 3 a series! Believing there are unseen dangers at play, Dorothea hires Harry D'Amour to guard the body, having read in newspapers that the private investigator encountered seemingly supernatural forces during a case in Brooklyn. -
Item More Personal, More Unique, And, Therefore More Representative of the Experience of the Book Itself
Q&B Quill & Brush (301) 874-3200 Fax: (301)874-0824 E-mail: [email protected] Home Page: http://www.qbbooks.com A dear friend of ours, who is herself an author, once asked, “But why do these people want me to sign their books?” I didn’t have a ready answer, but have reflected on the question ever since. Why Signed Books? Reading is pure pleasure, and we tend to develop affection for the people who bring us such pleasure. Even when we discuss books for a living, or in a book club, or with our spouses or co- workers, reading is still a very personal, solo pursuit. For most collectors, a signature in a book is one way to make a mass-produced item more personal, more unique, and, therefore more representative of the experience of the book itself. Few of us have the opportunity to meet the authors we love face-to-face, but a book signed by an author is often the next best thing—it brings us that much closer to the author, proof positive that they have held it in their own hands. Of course, for others, there is a cost analysis, a running thought-process that goes something like this: “If I’m going to invest in a book, I might as well buy a first edition, and if I’m going to invest in a first edition, I might as well buy a signed copy.” In other words we want the best possible copy—if nothing else, it is at least one way to hedge the bet that the book will go up in value, or, nowadays, retain its value. -
Jacqueline Ess Her Will and Testament Movie
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