Fantastic V11n05
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Spring 1999 December 2002 April 2002 February 2003 May 2003 September 2003 November 2003 October 2004 March 2005 October 2003 November 2007 August 2009 July 2010 April 2012 September 2012 September 2010 April 2011 June 2012 June 2012 November 2012 November 2012 November 2012 January 2013 January 2013 January 2013 I created The Rainbow Orchid because making comics is such hard work that I wanted to write and draw one that I could be absolutely certain at least one person would really like – that person being me. It is steeped in all the things I love. From the adventure stories of H. Rider Haggard, Jules Verne and Arthur Conan Doyle I took the long build-up to a fantastic element, made all the more amazing because the characters are immersed in the ‘real world’ for so much of the story. From the comics medium I dipped my pen into the European tradition of Hergé, Edgar P. Jacobs, Yves Chaland and the descendents of their ligne claire legacy, along with the strong sense of environment – a believable world – from Asterix and Tintin. Yet I wanted characters and a setting that were very strongly British, without being patriotic. Mixed into all this is my fondness for an involving and compelling plot, and artistic influences absorbed from a wealth of comic artists and illustrators, from Kay Neilsen to Bryan Talbot, and a simple love of history and adventure. No zombies, no bikini-clad gun-toting nubiles, and no teeth-gritting ... grittiness. Just a huge slice of pure adventure, made to go with a big mug of tea. -
THE FUTURE of the WORLD OUP CORRECTED PROOF – FINAL, 05/07/18, Spi
OUP CORRECTED PROOF – FINAL, 05/07/18, SPi OXFORD UNIVERSITY PRESS NOT FOR SALE DO NOT COPY THE FUTURE OF THE WORLD OUP CORRECTED PROOF – FINAL, 05/07/18, SPi OXFORD UNIVERSITY PRESS NOT FOR SALE DO NOT COPY OUP CORRECTED PROOF – FINAL, 05/07/18, SPi OXFORD UNIVERSITY PRESS NOT FOR SALE DO NOT COPY The Future of the World Futurology, Futurists, and the Struggle for the Post-Cold War Imagination JENNY ANDERSSON 1 OUP CORRECTED PROOF – FINAL, 05/07/18, SPi OXFORD UNIVERSITY PRESS NOT FOR SALE DO NOT COPY 3 Great Clarendon Street, Oxford, OX2 6D P, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries © Jenny Andersson 2018 The moral rights of the author have been asserted First Edition published in 2018 Impression: 1 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available Library of Congress Control Number: 2018933809 ISBN 978–0–19–881433–7 Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY Links to third party websites are provided by Oxford in good faith and for information only. -
Reform and Human Rights the Gorbachev Record
100TH-CONGRESS HOUSE OF REPRESENTATIVES [ 1023 REFORM AND HUMAN RIGHTS THE GORBACHEV RECORD REPORT SUBMITTED TO THE CONGRESS OF THE UNITED STATES BY THE COMMISSION ON SECURITY AND COOPERATION IN EUROPE MAY 1988 Printed for the use of the Commission on Security and Cooperation in Europe U.S. GOVERNMENT PRINTING OFFICE WASHINGTON: 1988 84-979 = For sale by the Superintendent of Documents, Congressional Sales Office U.S. Government Printing Office, Washington, DC 20402 COMMISSION ON SECURITY AND COOPERATION IN EUROPE STENY H. HOYER, Maryland, Chairman DENNIS DeCONCINI, Arizona, Cochairman DANTE B. FASCELL, Florida FRANK LAUTENBERG, New Jersey EDWARD J. MARKEY, Massachusetts TIMOTHY WIRTH, Colorado BILL RICHARDSON, New Mexico WYCHE FOWLER, Georgia EDWARD FEIGHAN, Ohio HARRY REED, Nevada DON RITTER, Pennslyvania ALFONSE M. D'AMATO, New York CHRISTOPHER H. SMITH, New Jersey JOHN HEINZ, Pennsylvania JACK F. KEMP, New York JAMES McCLURE, Idaho JOHN EDWARD PORTER, Illinois MALCOLM WALLOP, Wyoming EXECUTIvR BRANCH HON. RICHARD SCHIFIER, Department of State Vacancy, Department of Defense Vacancy, Department of Commerce Samuel G. Wise, Staff Director Mary Sue Hafner, Deputy Staff Director and General Counsel Jane S. Fisher, Senior Staff Consultant Michael Amitay, Staff Assistant Catherine Cosman, Staff Assistant Orest Deychakiwsky, Staff Assistant Josh Dorosin, Staff Assistant John Finerty, Staff Assistant Robert Hand, Staff Assistant Gina M. Harner, Administrative Assistant Judy Ingram, Staff Assistant Jesse L. Jacobs, Staff Assistant Judi Kerns, Ofrice Manager Ronald McNamara, Staff Assistant Michael Ochs, Staff Assistant Spencer Oliver, Consultant Erika B. Schlager, Staff Assistant Thomas Warner, Pinting Clerk (11) CONTENTS Page Summary Letter of Transmittal .................... V........................................V Reform and Human Rights: The Gorbachev Record ................................................ -
Dan Dare the 2000 Ad Years Vol. 01 Pdf, Epub, Ebook
DAN DARE THE 2000 AD YEARS VOL. 01 PDF, EPUB, EBOOK Pat Mills | 320 pages | 05 Nov 2015 | Rebellion | 9781781083499 | English | Oxford, United Kingdom Dan Dare The 2000 AD Years Vol. 01 PDF Book I guess I'd agree with some of the comments about the more recent revival attempts and the rather gauche cynicism that tends to pervade them. Thanks for sharing that, it's a good read. The pen is mightier than the sword if the sword is very short, and the pen is very sharp. The cast included Mick Ford Col. John Constantine is dying. There are no discussion topics on this book yet. Hardcover , pages. See all 3 brand new listings. Al rated it really liked it Feb 06, Archived from the original PDF on The stories were set mostly on planets of the Solar System presumed to have extraterrestrial life and alien inhabitants, common in science fiction before space probes of the s proved the most likely worlds were lifeless. Mark has been an executive producer on all his movies, and for four years worked as creative consultant to Fox Read full description. Standard bred - ; vol. The first Dan Dare story began with a starving Earth and failed attempts to reach Venus , where it is hoped food may be found. You may also like. Ian Kennedy Artist. Pages: [ 1 ] 2. SuperFanboyMan rated it really liked it Jul 16, In Eagle was re-launched, with Dan Dare again its flagship strip. John Wiley and Sons, Author : Michigan State University. In a series of episodic adventures, Dare encountered various threats, including an extended multi-episode adventure uniting slave races in opposition to the "Star Slayers" — the oppressive race controlling that region. -
A Cultural Analysis of the Russo-Soviet Anekdot
A CULTURAL ANALYSIS OF THE RUSSO-SOVIET ANEKDOT by Seth Benedict Graham BA, University of Texas, 1990 MA, University of Texas, 1994 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2003 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Seth Benedict Graham It was defended on September 8, 2003 and approved by Helena Goscilo Mark Lipovetsky Colin MacCabe Vladimir Padunov Nancy Condee Dissertation Director ii Copyright by Seth Graham 2003 iii A CULTURAL ANALYSIS OF THE RUSSO-SOVIET ANEKDOT Seth Benedict Graham, PhD University of Pittsburgh, 2003 This is a study of the cultural significance and generic specificity of the Russo-Soviet joke (in Russian, anekdot [pl. anekdoty]). My work departs from previous analyses by locating the genre’s quintessence not in its formal properties, thematic taxonomy, or structural evolution, but in the essential links and productive contradictions between the anekdot and other texts and genres of Russo-Soviet culture. The anekdot’s defining intertextuality is prominent across a broad range of cycles, including those based on popular film and television narratives, political anekdoty, and other cycles that draw on more abstract discursive material. Central to my analysis is the genre’s capacity for reflexivity in various senses, including generic self-reference (anekdoty about anekdoty), ethnic self-reference (anekdoty about Russians and Russian-ness), and critical reference to the nature and practice of verbal signification in more or less implicit ways. The analytical and theoretical emphasis of the dissertation is on the years 1961—86, incorporating the Stagnation period plus additional years that are significant in the genre’s history. -
Marie Severinseverin
MarieMarie SeverinSeverin THE MiRTHful MisTREss Of COMiCs bY DEwEy CAssEll WiTH AAROn sulTAn FOREWORD INTRODUCTION .............................. HOME ............................................. Family .............................................................4 ............................................................. Interview with Marie Interview with John Severin 5 Friends ................................ 7 ......................................................... Interview with Marie 7 78 ..................... 7 .............. 80 .............................. 9 80 12 Interview with Jim Mooney 81 12 .................................................... ......................... The Cat .................. 83 nterviewI with Jean Davenport Interview with Marie Interview with Eleanor Hezel Interview with Linda Fite HORROR 83 ................................................................ EC ................................................ Kull 87 ........................................................... ......... REH: Lone Star ............................................ Fictioneer Interview ................... with Interview with Marie ............ 13 87 John Severin Interview with Al Feldstein 17 87 Other Characters ............................................ and Comics I 23 87 nterview with Jack Davis .................... Spider-Man 23 ............................................... Interview with Jack Kamen on Man 88 ............23 Ir ...................................... “The Artists of EC comics” ............... izard -
Marvel Comics Marvel Comics
Roy Tho mas ’Marvel of a ’ $ Comics Fan zine A 1970s BULLPENNER In8 th.e9 U5SA TALKS ABOUT No.108 MARVELL CCOOMMIICCSS April & SSOOMMEE CCOOMMIICC BBOOOOKK LLEEGGEENNDDSS 2012 WARREN REECE ON CLOSE EENNCCOOUUNNTTEERRSS WWIITTHH:: BIILL EVERETT CARL BURGOS STAN LEE JOHN ROMIITA MARIIE SEVERIIN NEAL ADAMS GARY FRIIEDRIICH ALAN KUPPERBERG ROY THOMAS AND OTHERS!! PLUS:: GOLDEN AGE ARTIIST MIKE PEPPE AND MORE!! 4 0 5 3 6 7 7 2 8 5 6 2 8 1 Art ©2012 Marvel Characters, Inc.; Human Torch & Sub-Mariner logos ™ Marvel Characters, Inc. Vol. 3, No. 108 / April 2012 Editor Roy Thomas Associate Editors Bill Schelly Jim Amash Design & Layout Jon B. Cooke Consulting Editor John Morrow FCA Editor P.C. Hamerlinck Comic Crypt Editor Michael T. Gilbert Editorial Honor Roll Jerry G. Bails (founder) AT LAST! Ronn Foss, Biljo White LL IN Mike Friedrich A Proofreader COLOR FOR Rob Smentek .95! Cover Artists $8 Carl Burgos & Bill Everett Cover Colorist Contents Tom Ziuko With Special Thanks to: Writer/Editorial: Magnificent Obsession . 2 “With The Fathers Of Our Heroes” . 3 Glenn Ald Barbara Harmon Roy Ald Heritage Comics 1970s Marvel Bullpenner Warren Reece talks about legends Bill Everett & Carl Burgos— Heidi Amash Archives and how he amassed an incomparable collection of early Timelys. Michael Ambrose Roger Hill “I’m Responsible For What I’ve Done” . 35 Dave Armstrong Douglas Jones (“Gaff”) Part III of Jim Amash’s candid conversation with artist Tony Tallarico—re Charlton, this time! Richard Arndt David Karlen [blog] “Being A Cartoonist Didn’t Really Define Him” . 47 Bob Bailey David Anthony Kraft John Benson Alan Kupperberg Dewey Cassell talks with Fern Peppe about her husband, Golden/Silver Age inker Mike Peppe. -
2News Summer 05 Catalog
Comics’Fast & Furious Artist by Jim Amash with Eric Nolen-Weathington Table of Contents Introduction by Walter Simonson. 4 Chapter One: Inspiration All Around. 6 Chapter Two: A Heroic Departurre. 17 Chapter Three: How to Break in the Marvel Way . 33 Chapter Four: The Workhorse Hits His Stride . 59 Chapter Five: A New Start with a Different Company . 87 Chapter Six: The Craft of Creating Comic Book Art . 97 Art Gallery . 110 DR. STRANGE, HULK, SILVER SURFER ™ AND ©2010 MARVEL CHARACTERS, INC. 3 Chapter One Inspiration All Around Jim Amash: You probably don’t remember recollection from when I was five or six years when this happened, but I know you know old — when my brothers both painted a land- when and where you were born. scape of some kind. It was sort of a friendly Sal Buscema: Of course. [laughs] I was born competition. I think they may have been in Brooklyn, New York, on January 26, 1936. painting from a photograph. They were both My father’s name was John, and my mother’s working in oils, and having a good time. It was Sadie. My brother John was eight years was just a fun thing that they were doing. older than I, born December 11, 1927. John was always dabbling in this kind of stuff. He loved to draw and paint. I think Al JA: Do you have any other brothers or sisters? — there was a very friendly sibling rivalry (below) For many years, SB: Yes, though unfortunately they’re all between them. They were very close, very Sal participated in Friday deceased. -
SOVIET MYTHS in POST-SOVIET CULTURE by DARIA SERGUEYEVNA KABANOVA DISSERTATION Urbana, Illinois Doctoral Commit
SITES OF MEMORY: SOVIET MYTHS IN POST-SOVIET CULTURE BY DARIA SERGUEYEVNA KABANOVA DISSERTATION Submitted in partial fulfillment of requirements for the degree of Doctor of Philosophy in Comparative Literature with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2011 Urbana, Illinois Doctoral Committee: Associate Professor Lilya Kaganovsky, Chair Professor Nancy Blake Associate Professor Anke Pinkert Associate Professor Richard Tempest ABSTRACT Do we treat 1990s as a gap, a rupture between the Soviet past and the post-Soviet present? Post-Soviet film and fiction certainly stage the break up of the Soviet Union and the end of Soviet rule in this way. Post-Soviet culture has left behind a certain set of Soviet cultural myths: the conquest of space, the normal functioning of Soviet life with clear sources of symbolic authority, the Soviet notion of heroism, etc. These myths have not been replaced with anything new. One can sense a real pause in films and texts from the late 80s and early 90s – as ideology, already exhausted by late socialism, takes a break. Eliot Borenstein speaks of the 1990s as a moment of a loss of national identity, of emasculation of Russian culture. Mikhail Epstein argues that the end of socialism created a loop in the time of national history, whereupon the Soviet future (communism) became the post-Soviet past. Aleksei Yurchak has shown that the utopian stability of the Soviet “forever” was lost in late socialism, staging a seemingly cataclysmic break up of the Soviet Union and its ideological constructs. -
What Does Psychology Know and Understand About the Psychological Effects of Reading Superhero Comic Books?: an Exploration Study
WHAT DOES PSYCHOLOGY KNOW AND UNDERSTAND ABOUT THE PSYCHOLOGICAL EFFECTS OF READING SUPERHERO COMIC BOOKS?: AN EXPLORATION STUDY By PARKER T SHAW Bachelor of Science in Psychology Oklahoma State University Stillwater, Oklahoma 2009 Master of Science in Educational Psychology Oklahoma State University Stillwater, Oklahoma 2013 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY July, 2017 WHAT DOES PSYCHOLOGY KNOW AND UNDERSTAND ABOUT THE PSYCHOLOGICAL EFFECTS OF READING SUPERHERO COMIC BOOKS?: AN EXPLORATION STUDY Dissertation Approved: John Romans, Ph.D. Dissertation Chair Tonya Hammer, Ph.D. Dissertation Advisor Al Carlozzi, Ed.D. Committee Member Hugh Crethar, Ph.D. Committee Member Larry Mullins, Ph.D. Outside Committee Member ii ACKNOWLEDGEMENTS I am so very grateful for all those who sacrificed so that I may have this opportunity. Your sacrifice and support through these years has been so very special to me. I am thankful for my loving wife Katie and my darling daughter Penny Lane. You are my best accomplishments to date. I’m so blessed that you are here with me on this journey. Thank you to my wonderful parents for all the opportunities you gave me through your sacrifices. I hope to carry your legacy with grace. I would like to thank my committee for their guidance and support during this journey. It has been an honor to work alongside you all and learn. Lastly, thank you superheroes. Thank you for always being there. iii Acknowledgements reflect the views of the author and are not endorsed by committee members or Oklahoma State University. -
An Interrogation of Morality, Power and Plurality As Evidenced in Superhero Comic Books: a Postmodernist Perspective
An Interrogation of Morality, Power and Plurality as Evidenced in Superhero Comic Books: A Postmodernist Perspective. By Janique Herman 200702391 Submitted in fulfilment of the requirements for the degree of Master of Arts in the Faculty of Humanities and Social Science at the University of Fort Hare. Supervisor: Dr. Dianne Shober East London, February 2013 Abstract The desire for heroes is a global and cultural phenomenon that gives a view into society’s very heart. There is no better example of this truism than that of the superhero. Typically, Superheroes, with their affiliation to values and morality, and the notion of the grand narratives, should not fit well into postmodernist theory. However, at the very core of the superhero narrative is the ideal of an individual creating his/her own form of morality, and thus dispensing justice as the individual sees fit in resistance to metanarrative’s authoritarian and restrictive paradigms. This research will explore Superhero comic books, films, videogames and the characters Superman, Spider-Man and Batman through the postmodernist conceptions of power, plurality, and morality. Keywords: Superhero, Comic Book, Superman, Batman, Spider-Man, Power, Plurality, Morality. 2 Declaration I declare that this thesis is my own unaided work. It is submitted for the degree of Masters of Comparative Literature and Philosophy at the University of Fort Hare. It has not been submitted before for any other degree or examination at any other university. _______________________________ Janique Herman ____________day of ______________, 2013. 3 Dedication This work is dedicated to my amazing husband, Nick Klingelhoeffer, and my terrific family: Dagmar, Davryll, Patricia and Zahvick. -
2News Summer 05 Catalog
The JACK KIRBY COLLECTOR #63 All characters TM & © Marvel Characters, Inc. $10.95 SUMMER 2014 THE ISSUE #63, SUMMER 2014 C o l l e c t o r Contents The Marvel Universe! OPENING SHOT . .2 (let’s put the Stan/Jack issue to rest in #66, shall we?) A UNIVERSE A’BORNING . .3 (the late Mark Alexander gives us an aerial view of Kirby’s Marvel Universe) GALLERY . .37 (mega Marvel Universe pencils) JACK KIRBY MUSEUM PAGE . .48 (visit & join www.kirbymuseum.org) JACK F.A.Q.s . .49 (in lieu of Mark Evanier’s regular column, here’s his 2008 Big Apple Kirby Panel, with Roy Thomas, Joe Sinnott, and Stan Goldberg) KIRBY OBSCURA . .64 (the horror! the horror! of S&K) KIRBY KINETICS . .67 (Norris Burroughs on Thing Kong) IF WHAT? . .70 (Shane Foley ponders how Jack’s bad guys could’ve been badder) RETROSPECTIVE . .74 (a look at key moments in Kirby’s later life and career) INCIDENTAL ICONOGRAPHY . .82 (we go “under the sea” with Triton) CUT ’N’ PASTE . .84 (the lost FF #110 collage) KIRBY AS A GENRE . .86 (the return of the return of Captain Victory) UNEARTHED . .89 (the last survivor of Kirby’s Marvel Universe?) COLLECTOR COMMENTS . .91 PARTING SHOT . .96 Cover inks: MIKE ROYER Cover color: TOM ZIUKO If you’re viewing a Digital Edition of this publication, PLEASE READ THIS: This is copyrighted material, NOT intended Spider-Man is the one major Marvel character we don’t cover this issue, but here’s a great sketch of Spidey that Jack drew for for downloading anywhere except our website or Apps.