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Conveys the dreams and disappointments of German artists, architects, and intellectuals from World War I through the social and economic chaos of the Weimar Republic.
Tim Cahill has clambered up Mount Roraima in the Guyana highlands, searching for the site of Arthur Conan Doyle's Lost World. He's dined on baked turtle lung in the desolate northeast of Australia and harvested poisonous sea snakes in the Philippines. He's watched a wrestling match between a shark and an "underwater zombie" during a horror movie shoot off the coast of Mexico. In this classic collection of adventure travel writing, Tim Cahill writes evocatively and often hilariously about these close encounters. He also briefs us on gorilla etiquette, porcupine vendettas, and the loathsome fate awaiting those who disturb ruins in the jungles of the Amazon. JAGUARS RIPPED MY FLESH is an exhilarating roller-coaster of a book, by a writer who gives new meaning to the expression "going to extremes".
The fifth volume of ICLA 2016 proceedings, Dialogues between Media, unites essays on the interplay of media or inter-arts studies, as well as papers with a focus on comics studies, further testimony to the fact that comics have truly arrived in mainstream academic discourse. "Adaptation" is a key term for the studies presented in this volume; various articles discuss the adaptation of literary source texts in different target media - cinematic versions, comics adaptations, TV series, theatre, and opera.
Jennifer Moore's debut collection takes its title from a bullfighting technique in which the matador draws the bull with his cape; in these poems, however, traditional moves are reconfigured and roles are subverted. In a broader sense, the word "veronica" (from the Latin vera, or "true" and the Greek eikon, or "image") functions as a frame for exploring the nature of visual experience, and underscores a central question: how do we articulate events or emotions that evade clear understanding? In order to do so, the figures here perform all manner of transformations: from vaudeville star to cartoonist's daughter, from patron saint to "Blue-Eyed Torera; " they are soothsayers, apothecaries, curators, often conjuring selves out of thin air. This dilating and "shape-shifting" of perspective becomes a function of identity: "the absorber and the absorbed become one." Indeed, both speaker and listener must be crafted-willed into being-by each other ("Be your own maestro"), and are apparitions until then. Through a flick of the wrist or a trick of the eye, these speakers understand that construction of a self comes only through performance of that self--which performances are often punctuated with a wink, an unswerving gaze, or both at once.