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Fantastic Histories explores the political and cultural contexts of the entry of fairies to the historical record in twelfth century England, and the subsequent uses of fairy narratives in both insular and continental history and romance. It traces the uses of the fairy as a contested marker of historicity and fictionality in the histories of Gerald of Wales and Walter Map, the continental mirabilia of Gervase of Tilbury, and the fourteenth- and fifteenth-century French Mélusine romances and their early English reception. Working across insular and continental source material, Fantastic Histories explores the practices of history-writing, fiction-making, and the culturally determined boundaries of wonder that defined the limits of medieval history.
This 120-page artbook bestiary includes the anatomy, behavior, and origins of over 20 amazing fantasy creatures. Each interconnected through a series of recorded histories, myths, and first-hand encounters that stress the value of exploration and curiosity in the face of superstition.
Twenty-two stories of mischief and magic, dragons and dinosaurs, monsters and mermaids, cruelty and courage.
Discover 1095 fantastic history facts with this incredible book. Why did the Egyptians make mummies? What was a hoplite? Where was the Colosseum built? Plus, you can have fun with the activities, test your knowledge with the quizzes and read extraordinary information in the I Don't Believe It panels.
For Hitler and the German military, 1942 was a key turning point of World War II, as an overstretched but still lethal Wehrmacht replaced brilliant victories and huge territorial gains with stalemates and strategic retreats. In this major reevaluation of that crucial year, Robert Citino shows that the German army's emerging woes were rooted as much in its addiction to the "war of movement"-attempts to smash the enemy in "short and lively" campaigns-as they were in Hitler's deeply flawed management of the war. From the overwhelming operational victories at Kerch and Kharkov in May to the catastrophic defeats at El Alamein and Stalingrad, Death of the Wehrmacht offers an eye-opening new view of that decisive year. Building upon his widely respected critique in The German Way of War, Citino shows how the campaigns of 1942 fit within the centuries-old patterns of Prussian/German warmaking and ultimately doomed Hitler's expansionist ambitions. He examines every major campaign and battle in the Russian and North African theaters throughout the year to assess how a military geared to quick and decisive victories coped when the tide turned against it. Citino also reconstructs the German generals' view of the war and illuminates the multiple contingencies that might have produced more favorable results. In addition, he cites the fatal extreme aggressiveness of German commanders like Erwin Rommel and assesses how the German system of command and its commitment to the "independence of subordinate commanders" suffered under the thumb of Hitler and chief of staff General Franz Halder. More than the turning point of a war, 1942 marked the death of a very old and traditional pattern of warmaking, with the classic "German way of war" unable to meet the challenges of the twentieth century. Blending masterly research with a gripping narrative, Citino's remarkable work provides a fresh and revealing look at how one of history's most powerful armies began to founder in its quest for world domination.
Lawrence Venuti, winner of a Guggenheim fellowship and the Global Humanities Translation Prize, among many other awards, has translated into English these Italian Gothic tales of obsessive love, mysterious phobias, and the hellish curse of everlasting life. In this collection of nine eerie stories, Iginio Ugo Tarchetti switches effortlessly between the macabre and the breezily comical. Set in nineteenth-century Italy, his characters court spirits and blend in with the undead: passionate romances filled with jealousy and devotion are fueled by magic elixirs. Time becomes fluid as characters travel between centuries, chasing affairs that never quite prosper. First published by Mercury House in 1992.
Reveals the diversity crisis in children's and young adult media as not only a lack of representation, but a lack of imagination Stories provide portals into other worlds, both real and imagined. The promise of escape draws people from all backgrounds to speculative fiction, but when people of color seek passageways into the fantastic, the doors are often barred. This problem lies not only with children’s publishing, but also with the television and film executives tasked with adapting these stories into a visual world. When characters of color do appear, they are often marginalized or subjected to violence, reinforcing for audiences that not all lives matter. The Dark Fantastic is an engaging and provocative exploration of race in popular youth and young adult speculative fiction. Grounded in her experiences as YA novelist, fanfiction writer, and scholar of education, Thomas considers four black girl protagonists from some of the most popular stories of the early 21st century: Bonnie Bennett from the CW’s The Vampire Diaries, Rue from Suzanne Collins’s The Hunger Games, Gwen from the BBC’s Merlin, and Angelina Johnson from J.K. Rowling’s Harry Potter. Analyzing their narratives and audience reactions to them reveals how these characters mirror the violence against black and brown people in our own world. In response, Thomas uncovers and builds upon a tradition of fantasy and radical imagination in Black feminism and Afrofuturism to reveal new possibilities. Through fanfiction and other modes of counter-storytelling, young people of color have reinvisioned fantastic worlds that reflect their own experiences, their own lives. As Thomas powerfully asserts, “we dark girls deserve more, because we are more.”
The body in dreams, myths, legends, and anecdotes of the fantastic as expressions of human corporeality. In The Body Fantastic, Frank Gonzalez-Crussi looks at the human body through the lens of dreams, myths, legends, and anecdotes of the bizarre, exploring the close connection of the fictitious and the fabulous to our conception of the body. He chronicles, among other curious cases, the man who ate everything (including boiled hedgehogs and mice on toast), the therapeutic powers of saliva, hair that burst into flames, and an "amphibian man" who lived under water. Drawing on clinical records, popular lore, and art, history, and literature, Gonzalez-Crussi considers the body in both real and imaginary dimensions. Myths and stories, Gonzalez-Crussi reminds us, are the symbolic expression of our aspirations and emotions. These fantastic tales of bodies come from the deepest regions of the human psyche. Ancient Greeks, for example, believed that the uterus wandered around inside a woman's body--an "animal within an animal." If a woman sniffed an unpleasant odor, the uterus would retreat. Organized "digestive excess" began with the eating and drinking contests of antiquity and continue through the hot-dog eating competitions of today. And the "libido-podalic association," connecting male sexuality and the foot, insinuated itself into mainstream medicine in the sixteenth century; meanwhile, the feet of women in some cultures were scrupulously kept from view. Gonzalez-Crussi shows that the many imaginary representations of the body are very much a part of our corporeality.