"The Divine Comic is an engrossing, powerful descent into the agony of American Jews trying to come to grips with a shattered dream. It's a close study of a family with a past rooted in radical, anarchist and communist politics, haunted by the Nazi mass murders, and wrestling with their dismay over Israel's treatment of the Palestinians. The narrator, who travels to the Middle East to meet Israelis and Palestinians, reaches the conclusion that she must reject Israel's occupation and Zionism but she has to reach out to her sister who has a history of angry rejections and whose own anguish pushes her close to suicide. The conflict unfolds, as it often does, at each Passover as the family comes together"--
Roberto Benigni, the Italian comedian, actor, director, and writer, gained international fame when his film La vita è bella/ Life Is Beautiful (1997) won three Oscars in 1999, including Best Foreign Film and Best Actor. Benigni has been a steady presence in Italian popular culture since the mid-1970s. This book introduces Benigni's performances in film, stage, and television, little known outside of Italy, with an emphasis on the cultural and intellectual backdrops that characterize his films, including his origins among the Tuscan rhyming poets and his experiences in the Roman avant-garde theater. Benigni's statements about his experiences and apprenticeships with cinema notables like Cesare Zavattini and Federico Fellini reveal a wealth of fresh information and confirm the sense that there is more to this madcap buffoon than meets the eye.
Mark's out of the military, these days, with his boring, safe civilian job doing explosives consulting. But you never really get away from war. So it feels inevitable when his old army buddy Jason comes calling, with a lucrative military contract for a mining job in an obscure South-East Asian country called Quanlom. They'll have to operate under the radar-Quanlom is being torn apart by civil war, and the US military isn't strictly supposed to be there. With no career prospects and a baby on the way, Mark finds himself making the worst mistake of his life and signing on with Jason. What awaits him in Quanlom is going to change everything. What awaits him in Quanlom is weirdness of the highest order: a civil war led by ten-year-old twins wielding something that looks a lot like magic, leading an army of warriors who look a lot like gods. What awaits him in Quanlom is an actual goddamn dragon. From world-renowned artists Asaf and Tomer Hanuka (twins, whose magic powers are strictly confined to pen and paper) and Boaz Lavie, The Divine is a fast-paced, brutal, and breathlessly beautiful portrait of a world where ancient powers vie with modern warfare and nobody escapes unscathed.
KIERON GILLEN, JAMIE McKELVIE, and MATTHEW WILSON return with an Eisner Award-nominated modern fantasy where gods are the ultimate pop stars and pop stars are the ultimate gods. Revel in the opulence of this oversized hardback! Revel in it! Collects THE WICKED + THE DIVINE #1-11
6,000 years of secrets, finally revealed. It's going to be okay. For a certain value of okay. The final volume of the commercial pop sensation is so momentous, it can't be held in one volume. Join us for this oversized two-book package that brings our cycle to an end. Collects THE WICKED + THE DIVINE #34-45, all six Specials, and extras!
Oversized hardcover collection of issues #12-22 of THE WICKED + THE DIVINE, including the most experimental and elating material in the critically acclaimed commercial superstar of a series so far. Collects COMMERCIAL SUICIDE and RISING ACTION with copious making-of material and extensive director's commentary.
Historically, exploration and colonization have been linked in troubling ways. This new volume discussesthe roles of exploration and colonization in Heart of Darkness, The Iliad, One Hundred Years of Solitude, Things Fall Apart, Wide Sargasso Sea, and other literary works. Featuring original essays and excerpts from previously published critical analyses, this addition to the Bloom's Literary Themes series gives students valuable insight into the title's subject theme.
The idea for this study came to me in the course of my reading of innova tive US-American! fiction of the last three decades. I observed that much of it is cast in the comic mode - or, more precisely, that there seems to be in contemporary fiction an affinity between 'innovation' and 'the comic' and that this affinity, furthermore, appears to be characteristic of postmo dernism. It is obvious, at the same time, that comic has become an elusive and, more often than not, a disputable category. Frederick Karl, in his sur vey of American Fictions 1940-1980, maintains, for instance, that much comic writing consists in ridicule that lacks deeper intellectual and cul tural roots. "Wit and mockery," he notes, "by themselves have little lasting value. Even in the best of such fiction, Gravity's Rainbow, one is made aware of attenuated skits stiched onto previous segments, rather than baked in by a defined point of view. " (Karl: 27) Such assessments of course challenge my view that the comic is in significant ways connected with what is innovative in postmodernist US-American fiction. Yet the term comic -or related terms like humour, parody, irony and so fort- is regularly and heavily employed in discussions or reviews of con temporary fiction.
Every ninety years, twelve gods incarnate as humans. They are loved. They are hated. In two years, they are dead. The team behind critical tongue-attractors like Young Avengers and PHONOGRAM reunite to create a world where gods are the ultimate pop stars and pop stars are the ultimate gods. But remember: just because you're immortal, doesn't mean you're going to live forever. Collects THE WICKED + THE DIVINE #1-5.
Most Holocaust scholars and survivors contend that the event was so catastrophic and unprecedented that it defies authentic representation in feature films. Yet it is precisely the extremity of 'the Final Solution' and the issues it raised that have fueled the cinematic imagination since the end of World War II. Recognizing that movies reach a greater audience than eyewitness, historical, or literary accounts, Lawrence Baron argues that they mirror changing public perceptions of the Holocaust over time and place. After tracing the evolution of the most commonly employed genres and themes in earlier Holocaust motion pictures, he focuses on how films from the l990s made the Holocaust relevant for contemporary audiences. While genres like biographical films and love stories about doomed Jewish-Gentile couples remained popular, they now cast Jews or non-Jewish victims like homosexuals in lead roles more often than was the case in the past. Baron attributes the recent proliferation of Holocaust comedies and children's movies to the search for more figurative and age-appropriate genres for conveying the significance of the Holocaust to generations born after it happened. He contends that thematic shifts to stories about neo-Nazis, rescuers, survivors, and their children constitute an expression of the continuing impact the Holocaust exerts on the present. The book concludes with a survey of recent films like Nowhere in Africa and The Pianist.
In this groundbreaking collection, twenty-one prominent medievalists discuss continuity and change in ideas of personhood and community and argue for the viability of the comic mode in the study and recovery of history. These scholars approach their sources not from a particular ideological viewpoint but with an understanding that all topics, questions, and explanations are viable. They draw on a variety of sources in Latin, Arabic, French, German, Middle English, and more, and employ a range of theories and methodologies, always keeping in mind that environments are inseparable from the making of the people who inhabit them and that these people are in part constituted by and understood in terms of their communities. Essays feature close readings of both familiar and lesser known materials, offering provocative interpretations of John of Rupescissa's alchemy; the relationship between the living and the saintly dead in Bernard of Clairvaux's sermons; the nomenclature of heresy in the early eleventh century; the apocalyptic visions of Robert of Uzès; Machiavelli's De principatibus; the role of "demotic religiosity" in economic development; and the visions of Elizabeth of Schönau. Contributors write as historians of religion, art, literature, culture, and society, approaching their subjects through the particular and the singular rather than through the thematic and the theoretical. Playing with the wild possibilities of the historical fragments at their disposal, the scholars in this collection advance a new and exciting approach to writing medieval history.
"MOTHERING INVENTION," Part Five We'll probably call this episode "In-Between Days," just to make Jamie happy. Jamie deserves to be happy. Meanwhile, Kieron has to reread The White Goddess, as he deserves to suffer.
Constantinople, 1097. As Black Liv leads the Holy Militia deeper into Turkey, he must contend with lords above his station quarreling over glory and the spoils of war, as well as the treachery of Basileus Alexios Komnenos. Meanwhile, Hermance, coming back into his full powers as a healer and miracle worker, saves the life of Tafur Princess Istvana when the Militia is forced to take a perilous route through the Taurus Mountains. Will the Princess' love for both men drive them apart when their armies need them most, at the gates of the daunting and impregnable city of Antioch?
Russo Bullaro's collection focuses on Benigni's Oscar winning La vita e bella/Life is Beautiful, a film which has set off continuous and often bitter debate about Holocaust representation and historical consciousness. The topics covered in Russo Bullaro's collection offer insights from critics around the world in a forum for the consideration of the wider issues that Benigni's films provoke.
Every ninety years, twelve gods return as young people. They are loved. They are hated. In two years, they are all dead. It's happening now. It's happening again.
Tor.com's Best Comics of2018 THE WICKED + THE DIVINE writerKIERON GILLEN teams up with artist supernova STEPHANIE HANS (WicDiv, JourneyInto Mystery) for her first ongoing comic. DIE is a pitch-black fantasy where agroup of forty-something adults have to deal with the returning, unearthlyhorror they only just survived as teenage role-players. If Kieron's in a rush,he describes it as ""Goth Jumanji"", but that's only the tip of this obsidianiceberg. Collects issues #1-5 ofDIE