The result is a Vermeer we have not seen before: a painter whose serene spaces and calm subjects incorporate within themselves, however obliquely, the world's troubles. Vermeer abandons what his predecessors had labored so carefully to achieve: legible spaces, a world of moral clarity defined by the pressure of a hand against a table or the scatter of light across a bare wall. Instead Vermeer complicated Dutch domestic art and invented what has puzzled and captivated his admirers ever since: the odd daubs of white pigment, dancing across the plane of the canvas; patches of blurred surface, contradicting the painting's illusionism without explanation; and the querulous silence that endows his women with secrets they dare not reveal.".
From the horrific to the heroic, cinematic werewolves are metaphors for our savage nature, symbolizing the secret, bestial side of humanity that hides beneath our civilized veneer. Examining acknowledged classics like The Wolf Man (1941) and The Howling (1981), as well as overlooked gems like Dog Soldiers (2011), this comprehensive filmography covers the highs and lows of the genre. Information is provided on production, cast and filmmakers, along with critical discussion of the tropes and underlying themes that make the werewolf a terrifying but fascinating figure.
Earl "Lil' Choo-Choo" Johnson le home at the age of 10, with only his father's guitar, and stepped into the world of the Delta blues. A guitar prodigy, his music led him to play with blues legends like Robert Johnson, Charley Pa on, Son House, Howlin' Wolf, and Muddy Waters. Lil' Choo-Choo's story is a history of the blues, from sharecropper's shacks on Dockery's Planta on and whiskey-soaked juke joints in Depression-era Mississippi to the swinging clubs of post-war Memphis and Chicago. It encompasses the heyday of Delta blues, the birth of rock and roll, the Bri sh invasion, the blues revival of the 1960s, and beyond. Bryan Krull has been a history teacher for the past eight years at the high school and college level. He earned his Ph.D from the University of Wisconsin-Madison, as well as degrees from the University at Buffalo and the University at Albany (NY). He currently lives near Rochester, New York. Lil' Choo-Choo Johnson, Bluesman is his first novel.
A synchronistic journey into the heart of politics and what makes us human. "The smell of unbelievably juicy, melt in your mouth pork can bring the strongest man to his knees, not to mention the perfectly cured ham, the yellow mustard, the sliced pickles and the ooey gooey melted swiss cheese on that perfectly toasted bread, coming together to bring an ecstasy of taste to the tongue. It's a great thing to have the most amazing sandwich on the planet, in the birthplace of the people that came up with it only after immigrating to another country. Crazy world we live in." Succulent Cuban pork and boisterous 55 Chevys backfiring provided smells and sounds so thick you could cut them with a knife. The buildings looked like something out of an old movie, where time never caught up and the whole city was on hold. This is what Jason and Christina experienced when they walked through the streets of Havana for the first time. This was the start of a whole new adventure, and they both could feel it.
In The Resurrection of the Messiah, Christopher Bryan combines literary, historical, and theological approaches in a study of the doctrine of the Resurrection. The book is divided into three parts. The first section provides a careful and sympathetic description of first-century Jewish and pagan opinions and beliefs about death and what might follow. This is followed by a presentation of a general account of early Christian claims about the death and resurrection of Jesus of Nazareth. The second part of the book offers a detailed, full-length commentary on and exegesis of the main New Testament texts that speak of Jesus' death and resurrection: 1 Corinthians 15 and the narratives in the four canonical gospels. As a framework for this commentary, Bryan utilizes the pattern of apostolic preaching presented by Paul and then echoed by each of the four evangelists, namely the formula "Christ died, Christ was buried, Christ has been raised, Christ appeared." The final section of the book is spent discussing and evaluating various proposals that have been made by those attempting to explain the data in ways that differ from the traditional Christian explanation. Bryan also considers various theological and ethical implications of accepting the claim "Jesus Christ has been raised from the dead." Throughout his study, Bryan exhibits a willingness to face hard questions as well as an appropriate reverence for a faith that for almost two thousand years has enabled millions of people to lead lives of meaning and grace.
Skiing in movies, like the sport itself, grew more prevalent beginning in the 1930s, when it was a pastime of the elite, with depictions reflecting changes in technique, fashion and social climate. World War II saw skiing featured in a dozen films dealing with that conflict. Fueled by postwar prosperity, the sport exploded in the 1950s--filmmakers followed suit, using scenes on snow-covered slopes for panoramic beauty and the thrill of the chase. Through the free-spirited 1960s and 1970s, the downhill lifestyle shussed into everything from spy thrillers to beach party romps. The extreme sports era of the 1980s and 1990s brought snowboarding to the big screen. This first ever critical history of skiing in film chronicles a century of alpine cinema, with production information and stories and quotes from directors, actors and stuntmen.
In this second book of the Tales of Starlight series, Adrian Masters journeys into the wilderness of the dragon planet of Starlight in search of his brother Frederick. Carrying the comatose body of Marcelle, he has to find medical help for her, but the slave master dragons will kill him on sight if he comes out of hiding. Adrian believes Frederick has set up a wilderness refuge for escaped slaves, so he hopes to join Frederick and devise a plan to rescue the humans enslaved on Starlight. Since Adrian cannot leave Marcelle alone, her nearly lifeless body becomes an anchor, both physically and emotionally as he has to decide to care for her or attempt to rescue the slaves. Adrian has no idea that Marcelle’s spirit has left her body and has traveled to their home planet in search of military help to rescue the slaves. She is able to materialize there in a temporary body that looks corpselike and feels icy cold. Because of her appearance, Governor Orion persecutes her as a sorceress and sentences her to burn at the stake. This sequel to Masters & Slayers is filled with excitement, twists and turns, and thought-provoking dilemmas, which will keep readers turning the pages.
Aimed at teachers and students new to the subject, Studying Horror Cinema is a comprehensive survey of the genre from silent cinema to its twenty-first century resurgence. Structured as a series of thirteen case studies of easily accessible films, it covers the historical, production, and cultural context of each film, together with detailed textual analysis of key sequences. Sitting alongside such acknowledged classics as Psycho and Rosemary’s Baby are analyses of influential non-English language films as Kwaidan, Bay of Blood, and Let the Right One In. The author concludes with a chapter on 2017’s blockbuster It, the most financially successful horror film of all time, making Studying Horror Cinema the most up-to-date overview of the genre available.
Why we need to stop wasting public funds on education Despite being immensely popular—and immensely lucrative—education is grossly overrated. Now with a new afterword by Bryan Caplan, this explosive book argues that the primary function of education is not to enhance students' skills but to signal the qualities of a good employee. Learn why students hunt for easy As only to forget most of what they learn after the final exam, why decades of growing access to education have not resulted in better jobs for average workers, how employers reward workers for costly schooling they rarely ever use, and why cutting education spending is the best remedy. Romantic notions about education being "good for the soul" must yield to careful research and common sense—The Case against Education points the way.
When Homo sapiens sapiens met Canis lupus lupus millennia ago, the result was Canis lupus familiaris, the domestic dog. Since that fateful encounter, the dog has become, arguably, humankind’s greatest creation. The domestic dog is the most widely distributed species (other than ourselves) in the world, being found virtually wherever people live, and is also the most diversified of species, with literally hundreds of recognized breeds. While we have shaped the dog, it, too, has helped shape human history in innumerable ways. Our Debt to the Dog is a critical historical and cross-cultural examination, through the use of case studies, of this most improbable 15,000-year relationship and an exploration of how this relationship shaped the history of the world. It is also very much an apology to the dog because over the course of the partnership horrific acts were perpetrated against it intentionally and otherwise. Our Debt to the Dog enriches our understanding of the dog and extends our appreciation for the profound complexity of past and present human-canine relationships and the dog’s contributions to our lives and our world.
Since first appearing in 1998, Garner's Modern American Usage has established itself as the preeminent guide to the effective use of the English language. Brimming with witty, erudite essays on troublesome words and phrases, this book authoritatively shows how to avoid the countless pitfalls that await unwary writers and speakers whether the issues relate to grammar, punctuation, word choice, or pronunciation. Now in the third edition, readers will find the "Garner's Language-Change Index," which registers where each disputed usage in modern English falls on a five-stage continuum from nonacceptability (to the language community as a whole) to acceptability, giving the book a consistent standard throughout. Garner's Modern American Usage, 3e is the first usage guide ever to incorporate such a language-change index, and the judgments are based both on Garner's own original research in linguistic corpora and on his analysis of hundreds of earlier studies. Another first in this edition is the panel of critical readers: 120-plus commentators who have helped Garner reassess and update the text, so that every page has been improved.
In this third book of the Tales of Starlight series, Adrian Masters continues his relentless march toward the bitterly cold Northlands of Starlight. Ravaged by a deadly disease and accompanied by two children, Adrian carries Marcelle in a vegetative state, hoping Alaph, king of the Northlands, will supply a way to reunite her near-death body with her wandering spirit. Time is of the essence. Invading soldiers from Major Four are marching toward the Southlands village to do battle against the dragon slave masters, but two great dangers await—the inescapable disease and the unpredictable Benefile, ageless and mysterious white dragons who will kill any infected humans. All the while, Drexel, the murderer of Marcelle’s mother, has taken on an impervious disguise as a male Starlighter and is using hypnotic powers to gain control of Mesolantrum with his sights set on the entire kingdom. Adrian and Marcelle must battle to free the slaves on one world and protect their own world from Drexel’s malevolent plan or else the freed slaves will return to Major Four only to find another slave master. Performing both tasks seems impossible.
In 1932, The Mummy, starring Boris Karloff, introduced another icon to the classic monster pantheon, beginning a journey down the cinematic Nile that has yet to reach its end. Over the past century, movie mummies have met everyone from Abbott and Costello to Tom Cruise, not to mention a myriad of fellow monsters. Horrifying and mysterious, the mummy comes from a different time with uncommon knowledge and unique motivation, offering the lure of the exotic as well as the terrors of the dark. From obscure no-budgeters to Hollywood blockbusters, the mummy has featured in films from all over the globe, including Brazil, China, France, Hong Kong, India, Mexico, and even its fictional home country of Egypt--with each film bringing its own cultural sensibilities. Movie mummies have taken the form of teenagers, superheroes, dwarves, kung fu fighters, Satanists, cannibals and even mummies from outer space. Some can fly, some are sexy, some are scary and some are hilarious, and mummies quickly moved beyond horror cinema and into science fiction, comedy, romance, sexploitation and cartoons. From the Universal classics to the Aztec Mummy series, from Hammer's versions to Mexico's Guanajuato variations, this first-ever comprehensive guide to mummy movies offers in-depth production histories and critical analyses for every feature-length iteration of bandaged horror.
In its expanded third edition, this definitive work on Classics Illustrated explores the enduring series of comic-book adaptations of literary masterpieces in even greater depth, with twice the number of color plates as in the second edition. Drawing on interviews, correspondence, fanzines, and archival research, the book covers in full detail the work of the artists, editors, scriptwriters, and publishers who contributed to the success of the "World's Finest Juvenile Publication." Many previously unpublished reproductions of original art are included, along with new chapters covering editor Meyer Kaplan, art director L.B. Cole, and artist John Parker; additional information on contributions from Black artists and scriptwriters such as Matt Baker, Ezra Jackson, George D. Lipscomb, and Lorenz Graham; and a complete issue-by-issue listing of significant international series.
Interfinity is imminent. The merging of the three Earths means one thing to Nathan Shepherd — he must save all three worlds. He and his friend Kelly witness the results of the coming cosmic collision. Earth Yellow dwellers have dreams of future tragic events while the other two Earths experience Earth Yellow’s weather changes at hyperspeed. Panic sets in, and only Nathan, Kelly, and their allies can prevent the looming disaster that threatens to kill billions.
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