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"Desmond" il macellaio di Sleepy Valley nasce dalla ricerca approfondita dei più famosi e terrificanti serial killer. La maggiore fonte di ispirazione è stata Jeffrey Dhamer,il cannibale di Milwakee,responsabile di diciassette omicidi con metodi particolarmente cruenti. Ed Gein,Henry Lee Lucas,Ottis Toole e Ted Bundy sono solo altri dei tanti nomi che hanno ispirato la produzione e realizzazione di questo fumetto.Lo studio delle loro storie,delle indagini psichiatriche,la psicologia "malata" e a tratti geniale che si nasconde dietro queste personalità hanno gettato le basi per la creazione di un personaggio, Desmond, che incarna in sè i lati più malvagi ed oscuri dei Killer seriali più famosi al mondo. Il fumetto,dipinto a mano su diversi supporti (tele,cartoni,fogli), fonde insieme tecniche pittoriche e fumettistiche. Buona lettura.
This work presents the first systemic account of the author's innovative theory of semiotic phenomenology and its place in the philosophy of communication and language. The creative and compelling project presented here spans more than fifteen years of systematic eidetic and empirical research into questions of human communication. Using the thematics of Merleau-Ponty's existential phenomenology, the author explores the concepts and practices of the human sciences that are grounded in communication theory, information theory, language, logic, linguistics, and semiotics. The hermeneutic discussion ranges over contemporary theories that include Roman Jakobson's phenomenological structuralism, the semiotics of Umberto Eco, Charles Pierce, and Alfred Schutz, the theory of speech acts offered by Jurgen Habermas and John Searle, and Michel Foucault's phenomenological rhetoric of discourse. In general, this highly developed study offers the reader a fresh account of the problematic issues in the philosophy of communication. It is a work that any scholar in communication, philosophy, linguistics, or social theory would welcome for its scope and sustained research.
Tracing the development of the Japanese cinema from 1896 (when the first Kinetoscope was imported) through the golden ages of film in Japan up to today, this work reveals the once flourishing film industry and the continuing unique art of the Japanese film. Now back in print with updated sections, major revaluations, a comprehensive international bibliography, and an exceptional collection of 168 stills ranging over eight decades, this book remains the unchallenged reference for all who seek a broad understanding of the aesthetic, historical, and economic elements of motion pictures from Japan.
Part of a series of handy, luxurious Flame Tree Pocket Books. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're delightfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use, handbags and make a dazzling gift. This example features René Gruau's lively work 'Bal du Moulin Rouge'.
The family response to the sudden deaths of the speaker's two young nieces is at the center of Catherine Barnett's award-winning first collection. This series of elegies records the transit of grief, observing with an unflinching eye how a singular traumatic event can permanently alter our understanding of time, danger, the material world and family. Marked by clarity and restraint, these lyric poems narrate a suspenseful, wrenching story that explores the depths and limits of empathy. “Living Room Altar” Except for the shirt pulled from the ocean, except for her hands, which keep folding the shirt, except for her body, which once held their bodies, my sister wants everything back now— If there were a god who could out of empty shells carried by waves to shore make amends— If the ocean saved in a jar could keep from turning to salt— She’s hearing things: bird calling to bird, cat outside the door, thorn of the blackberry against the trellis. "These heart-breaking poems of an all-too-human life stay as absolute as the determined craft which made them. There is finally neither irony nor simple despair in what they record. Rather, it is the far deeper response of witness, of recognizing what must be acknowledged and of having the courage and the care to say so." —Robert Creeley
A celebrated poet's vision of our dynamic universe. The poems in Brenda Hillman's new collection, a companion volume to her recent Death Tratates, offer a dynamic vision of a universe founded on the tensions between light and dark , existence and non-existence, male and female, spirit and matter. Informed in part by Gnostic concepts of the separate soul in search of its divine origins ("spirit held by matter"). This dualistic vision is cast in contemporary terms and seeks resolution of these tensions through acceptance.
"Relying on vast archives of hearings records, correspondence, and extensive personal records and diaries, Dr. Fredrickson recalls the numerous personalities from microbiology, molecular biology, and other scientific disciplines, as well as the leaders among Congress, the administration, and government agencies, environmentalists, and many others, who had a role during this challenging period."--BOOK JACKET.
Where, Carlos Fuentes asks, is a modern-day vampire to roost? Why not Mexico City, populated by ten million blood sausages (that is, people), and a police force who won’t mind a few disappearances? “Vlad” is Vlad the Impaler, of course, whose mythic cruelty was an inspiration for Bram Stoker’s Dracula. In this sly sequel, Vlad really is undead: dispossessed after centuries of mayhem by Eastern European wars and rampant blood shortages. More than a postmodern riff on “the vampire craze,” Vlad is also an anatomy of the Mexican bourgeoisie, as well as our culture’s ways of dealing with death. For—as in Dracula—Vlad has need of both a lawyer and a real-estate agent in order to establish his new kingdom, and Yves Navarro and his wife Asunción fit the bill nicely. Having recently lost a son, might they not welcome the chance to see their remaining child live forever? More importantly, are the pleasures of middle-class life enough to keep one from joining the legions of the damned?