Download Free Hellmouth And Villains Book in PDF and EPUB Free Download. You can read online Hellmouth And Villains and write the review.

In medieval Europe, the word fama denoted both talk (what was commonly said about a person or event) and an individual's ensuing reputation (one's fama). Although talk by others was no doubt often feared, it was also valued and even cultivated as a vehicle for shaping one's status. People had to think about how to "manage" their fama, which played an essential role in the medieval culture of appearances.At the same time, however, institutions such as law courts and the church, alarmed by the power of talk, sought increasingly to regulate it. Christian moral discourse, literary and visual representation, juristic manuals, and court records reflected concern about talk. This book's authors consider how talk was created and entered into memory. They address such topics as fama's relation to secular law and the preoccupations of the church, its impact on women's lives, and its capacity to shape the concept of literary authorship.
This volume is a collection of essays focusing on marginalized women mostly in Central and Eastern Europe from around 1350 to 1650. "Other" women are discussed in three different categories: women whose religious practices put them on the social margins, "common women" who are in society but not of society because they are in the sex trade, and women whose occupations were reason enough to shunt them. In order to fill a gap in gender history for countries east of the Rhine River, the studies included present how official city-funded brothels in medieval Austria worked, how a princess' disability affected her life as Byzantine empress, how one unmarried Transylvanian woman who got pregnant dealt with being the center of a court case, and how enslaved women in medieval Hungary were treated as sexual property. The hope with this volume is that it will show the many interdisciplinary ways that women on the margins can be studied in this region, and to diminish the taboo of discussing this topic to begin with.
"The unique contribution of Venomous Tongues lies in its interdisciplinary approach and the way it situates scolding within a broader range of issues specific to the legal and social history of the period."—L. R. Poos, The Catholic University of America
Science fiction, fantasy, comics, romance, genre movies, games all drain into the Cultural Gutter, a website dedicated to thoughtful articles about disreputable art-media and genres that are a little embarrassing. Irredeemable. Worthy of Note, but rolling like errant pennies back into the gutter. The Cultural Gutter is dangerous because we have a philosophy. We try to balance enthusiasm with clear-eyed, honest engagement with the material and with our readers. This book expands on our mission with 10 articles each from science fiction/fantasy editor James Schellenberg, comics editor and publisher Carol Borden, romance editor Chris Szego, screen editor Ian Driscoll and founding editor and former games editor Jim Munroe.
The American Villain: Encyclopedia of Bad Guys in Comics, Film, and Television seeks to provide one go-to reference for the study of the most popular and iconic villains in American popular culture. Since the 1980s, pop culture has focused on what makes a villain a villain. The Joker, Darth Vader, and Hannibal Lecter have all been placed under the microscope to get to the origins of their villainy. Additionally, such bad guys as Angelus from Buffy the Vampire Slayer and Barnabas Collins from Dark Shadows have emphasized the desire for redemption—in even the darkest of villains. Various incarnations of Lucifer/Satan have even gone so far as to explore the very foundations of what we consider "evil." The American Villain: Encyclopedia of Bad Guys in Comics, Film, and Television seeks to collect all of those stories into one comprehensive volume. The volume opens with essays about villains in popular culture, followed by 100 A–Z entries on the most notorious bad guys in film, comics, and more. Sidebars highlight ancillary points of interest, such as authors, creators, and tropes that illuminate the motives of various villains. A glossary of key terms and a bibliography provide students with resources to continue their study of what makes the "baddest" among us so bad.
In its seven years on television, Buffy the Vampire Slayer has earned critical acclaim and a massive cult following among teen viewers. One of the most distinguishing features of the program is the innovative way the show's writers play with language: fabricating new words, morphing existing ones, and throwing usage on its head. The result has been a strikingly resonant lexicon that reflects the power of both youth culture and television in the evolution of American slang. Using the show to illustrate how new slang is formed, transformed, and transmitted, Slayer Slang is one of those rare books that combines a serious explanation of a pop culture phenomena with an engrossing read for fans of the show, word geeks, and language professionals. Michael Adams begins his book with a synopsis of the program's history and a defense of ephemeral language. He then moves to the main body of the work: a detailed glossary of slayer slang, annotated with actual dialogue and recorded the style accepted by the American Dialect Society. The book concludes with a bibliography and a lengthy index, a guide to sources (novels based on the show, magazine articles about the show, and language culled from the official posting board) and an appendix of slang-making suffixes. Introduced by Jane Espenson, one of the show's most inventive writers (and herself a linguist), Slayer Slang offers a quintessential example of contemporary youth culture serving as a vehicle for slang. In the tradition of The Physics of Star Trek, Slayer Slang is one of those rare books that offers a serious examination a TV cult phenomenon appealing to fans and thinkers alike. A few examples from the Slayer Slang glossary: bitca n [AHD4 bitch n in sense 2.a + a] Bitch 1997 Sep 15 Whedon When She Was Bad "[Willow:] 'I mean, why else would she be acting like such a b-i-t-c-h?' [Giles:] 'Willow, I think we're all a little old to be spelling things out.' [Xander:] 'A bitca?'" break and enterish adj [AHD4 sv breaking and entering n + -ish suff in sense 2.a] Suitable for crime 1999 Mar 16 Petrie Enemies "I'll go home and stock up on weapons, slip into something a little more break and enterish." [B] carbon-dated adj [fr. AHD4 carbondating + -ed] Very out of date 1997 Mar 10 Whedon Welcome to the Hellmouth "[Buffy:] 'Deal with that outfit for a moment.' [Giles:] 'It's dated?' [Buffy:] 'It's carbon-dated.'" cuddle-monkey n [AHD4 cuddle v + monkey n in sense 2, by analogy fr. RHHDAS (also DAS3 and NTC) sv cuddle bunny 'an affectionate, passionate, or sexually attractive young woman'] Male lover 1998 Feb 10 Noxon Bewitched, Bothered, and Bewildered "Every woman in Sunnydale wants to make me her cuddle-monkey." [X]
Hercules, Jesus, James Bond, Luke Skywalker, Gandalf, Frodo, Harry Potter, Buffy Summers, Spiderman, Batman, Captain Kirk, Dr. Who, Darth Vader, Sauron, Voldemort, Lex Luthor, Dr. Doom, the Daleks, the Borg. Almost anybody living in the developed West would be able to group these individuals into two camps: the heroes and the villains. However, what criteria they may use to do this is less clear. Mike Alsford introduces us to a range of heroic and villainous archetypes on a journey through film, television, comic books, and literature. On the way, he addresses questions such as: What is a true hero? What is a true villain? Have we misunderstood these terms? What kind of societal values do our mythical heroes and villains represent? In trying to understand the extremes of hero and villain we are made more aware of our own ethical standards and given a space in which to explore contemporary concerns over notions of right and wrong, good and bad.
The heroes, villains, and monsters portrayed in such popular science fiction television series as Heroes, Lost, Battlestar Galactica, Caprica, Doctor Who, and Torchwood, as well as Joss Whedon's many series, illustrate a shift from traditional, clearly defined characterizations toward much murkier definitions. Traditional heroes give way to "gray" heroes who must become more like the villains or monsters they face if they are going to successfully save society. This book examines the ambiguous heroes and villains, focusing on these characters' different perspectives on morality and their roles within society. Appendices include production details for each series, descriptions and summaries of pivotal episodes, and a list of selected texts for classroom use. Instructors considering this book for use in a course may request an examination copy here.
The cult classic TV show is now a charming picture book for the youngest fans in the Buffyverse! In this new picture-book story brought to life with cute and colorful illustrations, young readers see what the world's strongest vampire slayer was like back when she was a kid! Join not-so-brave little Buffy, Willow, and Xander as they investigate strange sounds coming from the closet, seek advice from their school librarian Giles, and encounter everyone's favorite Buffyverse monsters. Charmingly illustrated by Pop Classics artist Kim Smith, this sweet, silly, and not-so-scary book borrows Joss Whedon's beloved characters to tell an endearing bedtime story.
An official guide to Buffy the Vampire Slayer describes the mythology and influences behind the monsters, ghouls, and characters through interviews with the creators and details of the episodes.