The Red Mist
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JUSTICE LEAGUE (NEW 52) CHARACTER CARDS Original Text
JUSTICE LEAGUE (NEW 52) CHARACTER CARDS Original Text ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) PRINTING INSTRUCTIONS 1. From Adobe® Reader® or Adobe® Acrobat® open the print dialog box (File>Print or Ctrl/Cmd+P). 2. Click on Properties and set your Page Orientation to Landscape (11 x 8.5). 3. Under Print Range>Pages input the pages you would like to print. (See Table of Contents) 4. Under Page Handling>Page Scaling select Multiple pages per sheet. 5. Under Page Handling>Pages per sheet select Custom and enter 2 by 2. 6. If you want a crisp black border around each card as a cutting guide, click the checkbox next to Print page border. 7. Click OK. ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) TABLE OF CONTENTS Aquaman, 8 Wonder Woman, 6 Batman, 5 Zatanna, 17 Cyborg, 9 Deadman, 16 Deathstroke, 23 Enchantress, 19 Firestorm (Jason Rusch), 13 Firestorm (Ronnie Raymond), 12 The Flash, 20 Fury, 24 Green Arrow, 10 Green Lantern, 7 Hawkman, 14 John Constantine, 22 Madame Xanadu, 21 Mera, 11 Mindwarp, 18 Shade the Changing Man, 15 Superman, 4 ©2012 WizKids/NECA LLC. TM & © 2012 DC Comics (s12) 001 DC COMICS SUPERMAN Justice League, Kryptonian, Metropolis, Reporter FROM THE PLANET KRYPTON (Impervious) EMPOWERED BY EARTH’S YELLOW SUN FASTER THAN A SPEEDING BULLET (Charge) (Invulnerability) TO FIGHT FOR TRUTH, JUSTICE AND THE ABLE TO LEAP TALL BUILDINGS (Hypersonic Speed) AMERICAN WAY (Close Combat Expert) MORE POWERFUL THAN A LOCOMOTIVE (Super Strength) Gale-Force Breath Superman can use Force Blast. When he does, he may target an adjacent character and up to two characters that are adjacent to that character. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
The Boxer Rising : a History of the Boxer Trouble in China
(Qurnell Uniuersity ffiibtary 3tl?ara, UStm fork CHARLES WILLIAM WASON COLLECTION CHINA AND THE CHINESE THE GIFT OF CHARLES WILLIAM WASON CLASS OF 1876 1918 Cornell University Library DS 771.S52 The Boxer rising :a history of the Boxer 3 1924 023 150 737 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023150737 THE BOXER RISING: A History of the Boxer Trouble In China. Reprinted from the "Shanghai Mercury." SECOMB EDITION. r er-v9Qg€L' '» Printed at the Shanghai Meeodry; Lid. % fa IV 1 i i AUGUST, 1901. ,,;|) s & \s| \t5o Sk*»<lk«^ >U^«-^| CONTENTS. Preface to First Edition i do. Second Edition .. viii History of the Boxer Movement 1 The Beginning of the Outbreak ... 17 The Scene of Strife 29 Eye-Witness's Narrative 31 Story of the Taku Forts Bombardment 33 The Ladies and Children at Taku ... 37 Adventures of Tongshan Refugees 38 The Disturbance in East Shantung ... 41 The Siege of Tientsin 43 Escape of the Shantung Missionaries 48 News from Chefoo 53 Affairs in Wenchow 55 Native Account of the Situation ... 58 The Situation'at Chefoo 65 The Murders at Kuchau ... 67 News from the Yangtze 69 The Situation in Szechuan 71 Wenchow Affairs ... 73 The Fighting at Newchwang 75 A Native's Experiences in Peking 80 KlATING 83 The Trouble at Amoy ; , 85 Shansi Missionaries 87 The Position at Tientsin 89 Tientsin and Peking . 91 Tientsin Notes 95 The Siege of Peking 98 The'Taking;and Occupation of Peking 113 Plan of Peking 116 The Cathedral Siege. -
Wagner: Das Rheingold
as Rhe ai Pu W i D ol til a n ik m in g n aR , , Y ge iin s n g e eR Rg s t e P l i k e R a a e Y P o V P V h o é a R l n n C e R h D R ü e s g t a R m a e R 2 Das RheingolD Mariinsky Richard WAGNER / Рихард ВагнеР 3 iii. Nehmt euch in acht! / Beware! p19 7’41” (1813–1883) 4 iv. Vergeh, frevelender gauch! – Was sagt der? / enough, blasphemous fool! – What did he say? p21 4’48” 5 v. Ohe! Ohe! Ha-ha-ha! Schreckliche Schlange / Oh! Oh! Ha ha ha! terrible serpent p21 6’00” DAs RhEingolD Vierte szene – scene Four (ThE Rhine GolD / Золото Рейна) 6 i. Da, Vetter, sitze du fest! / Sit tight there, kinsman! p22 4’45” 7 ii. Gezahlt hab’ ich; nun last mich zieh’n / I have paid: now let me depart p23 5’53” GoDs / Боги 8 iii. Bin ich nun frei? Wirklich frei? / am I free now? truly free? p24 3’45” Wotan / Вотан..........................................................................................................................................................................René PaPe / Рене ПАПЕ 9 iv. Fasolt und Fafner nahen von fern / From afar Fasolt and Fafner are approaching p24 5’06” Donner / Доннер.............................................................................................................................................alexei MaRKOV / Алексей Марков 10 v. Gepflanzt sind die Pfähle / These poles we’ve planted p25 6’10” Froh / Фро................................................................................................................................................Sergei SeMISHKUR / Сергей СемишкуР loge / логе..................................................................................................................................................Stephan RügaMeR / Стефан РюгАМЕР 11 vi. Weiche, Wotan, weiche! / Yield, Wotan, yield! p26 5’39” Fricka / Фрикка............................................................................................................................ekaterina gUBaNOVa / Екатерина губАновА 12 vii. -
From from Reverence to Rape Female Stars of the 1940S
MOLLY HASKELL IIIIIIIIHIIIIIIIIIIIIIIIHIIRIIIIII"Itlltottllllllnlta�rt111111111111J1HIIIIIIIIII1IIIIIl&IMWIIIIIIII1k.ll-611111lll"lltltiiiiii111111111111HHIIIIIIHIIIIIIIIII1niiiiiiiiii1Uit111111111HIIUIHIIIIIIIIIIIIIIJ111UIIIIIIIIUUIII&IIIIII,.IIIIatlllll From From Reverence to Rape Female Stars of the 1940s Molly Haskell's From Reverence to Rape: The Treatment of Women m the MoVIes (197311S a p oneenng examination of the roles p ayed by women n film and what these ro es tell us about the place of women 1n society, changmg gender dynam ics, and shiftmg def1mt1ons of love and fam1ly Haskell argues that women were berng tncreas ngly ob1ecttf1ed and v1hfled tn the films of the 1960s and 1970s. Tttrs femrntst perspective informs a I of Haskell's work, whtch takes a nuanced vtew of the complex relation of men and women to ftlm and power. Holdmg My Own m No Man's Land Women and Men. Ftlm and Femimsts (1997) includes essays and mtervrews on femimst issues surroundmg ftlm and literature. Haskell prov'des analyses and apprec1at1ons of proto-femimst f1lms of the th1rtres, fortres, and frfttes, celebrating actresses hke Mae West and Doris Day for the1r umque forms of empowerment. She continues to write rev1ews for Town and Country and The Vlllage Votce. The preoccupation of most movies of the fo rties, particularly the "masculine" genres, is with man's soul and salvation, rather than with woman's. It is man's prerogative to fo llow the path from blindness to discovery, which is the principal movement of fiction. In the bad-girl films like Gilda and Om cifthe Past, it is the man who is being corrupted, his soul which is in jeopardy. -
From Page to Stage: Wagner As Regisseur
Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production. -
Approved Electronically Generated Thesis/Dissertation Cover-Page
THE UNIVERSITY OF MANCHESTER - APPROVED ELECTRONICALLY GENERATED THESIS/DISSERTATION COVER-PAGE Electronic identifier: 14183 Date of electronic submission: 05/01/2015 The University of Manchester makes unrestricted examined electronic theses and dissertations freely available for download and reading online via Manchester eScholar at http://www.manchester.ac.uk/escholar. This print version of my thesis/dissertation is a TRUE and ACCURATE REPRESENTATION of the electronic version submitted to the University of Manchester's institutional repository, Manchester eScholar. Approved electronically generated cover-page version 1.0 Fighting for Change: Narrative accounts on the appeal and desistance potential of boxing A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2014 Deborah Louise Jump School of Law Contents Diagrams list……………………………………………………………………….. 8 Abstract…………………………………………………………………………….. 9 Declaration…………………………………………………………………………. 10 Copyright Statement……………………………………………………………….. 10 Dedication………………………………………………………………………….. 11 Acknowledgements……………………………………………………………….... 11 Chapter 1: Introduction…………………………………………………………….. 12 1.1. Origins of Thesis…………………………………………………………….. 12 1.2. Why Boxing?………………………………………………………………... 13 1.3. The Boxing Gym and Site of This Research……………………………....... 14 1.4. Boxing: What’s the Appeal?............................................................................ 15 1.5. Boxing and its Relationship to Desistance from Crime……………………... 16 1.6. -
Stephen King * the Mist
Stephen King * The Mist I. The Coming of the Storm. This is what happened. On the night that the worst heat wave in northern New England history finally broke-the night of July 19-the entire western Maine region was lashed with the most vicious thunderstorms I have ever seen. We lived on Long Lake, and we saw the first of the storms beating its way across the water toward us just before dark. For an hour before, the air had been utterly still. The American flag that my father put up on our boathouse in 1936 lay limp against its pole. Not even its hem fluttered. The heat was like a solid thing, and it seemed as deep as sullen quarry-water. That afternoon the three of us had gone swimming, but the water was no relief unless you went out deep. Neither Steffy nor I wanted to go deep because Billy couldn't. Billy is five. We ate a cold supper at five-thirty, picking listlessly at ham sandwiches and potato salad out on the deck that faces the lake. Nobody seemed to want anything but Pepsi, which was in a steel bucket of ice cubes. After supper Billy went out back to play on his monkey bars for a while. Steff and I sat without talking much, smoking and looking across the sullen flat mirror of the lake to Harrison on the far side. A few powerboats droned back and forth. The evergreens over there looked dusty and beaten. In the west, great purple thunderheads were slowly building up, massing like an army. -
The Structure of Meaning in the Boxing Film Genre Author(S): Leger Grindon Source: Cinema Journal, Vol
Society for Cinema & Media Studies Body and Soul: The Structure of Meaning in the Boxing Film Genre Author(s): Leger Grindon Source: Cinema Journal, Vol. 35, No. 4 (Summer, 1996), pp. 54-69 Published by: University of Texas Press on behalf of the Society for Cinema & Media Studies Stable URL: http://www.jstor.org/stable/1225717 Accessed: 10-12-2016 07:09 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Society for Cinema & Media Studies, University of Texas Press are collaborating with JSTOR to digitize, preserve and extend access to Cinema Journal This content downloaded from 129.100.58.76 on Sat, 10 Dec 2016 07:09:44 UTC All use subject to http://about.jstor.org/terms Body and Soul: The Structure of Meaning in the Boxing Film Genre by Leger Grindon This essay focuses on the master plots, characterizations, settings, and genre his- tory of boxing in Hollywood fiction films since 1930. The boxer and boxing are significant figures in the Hollywood cinema, with ap- pearances in well over 150 feature-length fiction productions since 1930.1 During the decade 1975 to 1985 the screen boxer was prominent with, on the one hand, the enormous commercial success of the Rocky series and, on the other, the criti- cal esteem garnered by Raging Bull (1980). -
Joan Baez Birthday Celebration
Press Contact: Harry Forbes, WNET 212-560-8027 or [email protected] Mary Moyer, Sacks & Co. (for Joan Baez) 212-741-1000 or [email protected] . Press materials; http://pressroom.pbs.org/ or http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS Star-Studded Joan Baez 75 th Birthday Celebration Coming to THIRTEEN’s Great Performances in June on PBS David Bromberg, Jackson Browne, Mary Chapin Carpenter, Judy Collins, David Crosby, Emmylou Harris, Indigo Girls, Damien Rice, Paul Simon, Mavis Staples, Nano Stern, & Richard Thompson join Baez in duet Recorded live at New York’s historic Beacon Theatre, the program premieres on THIRTEEN Friday, May 6 at 9 p.m. Joan Baez celebrated her 75th birthday on Saturday, January 27 at New York’s historic Beacon Theatre. The special event honored her legendary 50 plus years in music with an intimate, career-spanning live performance. Baez performed alongside a remarkable array of superstar artists including: David Bromberg, Jackson Browne, Mary Chapin Carpenter, Judy 2 Collins, David Crosby, Emmylou Harris, Indigo Girls, Damien Rice, Paul Simon, Mavis Staples, Nano Stern, and Richard Thompson . The special Joan Baez 75 th Birthday Celebration will premiere on THIRTEEN’s Great Performances in New York on Friday, May 6 at 9 p.m. before expanding nationwide to PBS stations in June. (Check local listings.) Prior to the gala celebratory event, Mary Chapin Carpenter had observed, "She has been a mentor, an inspiration and a role model for anyone who ever picked up a guitar and wanted to believe they could do more than just sing pretty songs. -
Justice League: Origins
JUSTICE LEAGUE: ORIGINS Written by Chad Handley [email protected] EXT. PARK - DAY An idyllic American park from our Rockwellian past. A pick- up truck pulls up onto a nearby gravel lot. INT. PICK-UP TRUCK - DAY MARTHA KENT (30s) stalls the engine. Her young son, CLARK, (7) apprehensively peeks out at the park from just under the window. MARTHA KENT Go on, Clark. Scoot. CLARK Can’t I go with you? MARTHA KENT No, you may not. A woman is entitled to shop on her own once in a blue moon. And it’s high time you made friends your own age. Clark watches a group of bigger, rowdier boys play baseball on a diamond in the park. CLARK They won’t like me. MARTHA KENT How will you know unless you try? Go on. I’ll be back before you know it. EXT. PARK - BASEBALL DIAMOND - MOMENTS LATER Clark watches the other kids play from afar - too scared to approach. He is about to give up when a fly ball plops on the ground at his feet. He stares at it, unsure of what to do. BIG KID 1 (yelling) Yo, kid. Little help? Clark picks up the ball. Unsure he can throw the distance, he hesitates. Rolls the ball over instead. It stops halfway to Big Kid 1, who rolls his eyes, runs over and picks it up. 2. BIG KID 1 (CONT’D) Nice throw. The other kids laugh at him. Humiliated, Clark puts his hands in his pockets and walks away. Big Kid 2 advances on Big Kid 1; takes the ball away from him. -
Galatea's Daughters: Dolls, Female Identity and the Material Imagination
Galatea‘s Daughters: Dolls, Female Identity and the Material Imagination in Victorian Literature and Culture Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Maria Eugenia Gonzalez-Posse, M.A. Graduate Program in English The Ohio State University 2012 Dissertation Committee: David G. Riede, Advisor Jill Galvan Clare A. Simmons Copyright by Maria Eugenia Gonzalez-Posse 2012 Abstract The doll, as we conceive of it today, is the product of a Victorian cultural phenomenon. It was not until the middle of the nineteenth century that a dedicated doll industry was developed and that dolls began to find their way into children‘s literature, the rhetoric of femininity, periodical publications and canonical texts. Surprisingly, the Victorian fascination with the doll has largely gone unexamined and critics and readers have tended to dismiss dolls as mere agents of female acculturation. Guided by the recent material turn in Victorian studies and drawing extensively from texts only recently made available through digitization projects and periodical databases, my dissertation seeks to provide a richer account of the way this most fraught and symbolic of objects figured in the lives and imaginations of the Victorians. By studying the treatment of dolls in canonical literature alongside hitherto neglected texts and genres and framing these readings in their larger cultural contexts, the doll emerges not as a symbol of female passivity but as an object celebrated for its remarkable imaginative potential. The doll, I argue, is therefore best understood as a descendant of Galatea – as a woman turned object, but also as an object that Victorians constantly and variously brought to life through the imagination.