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This highly original book draws on narrative and film theory, psychoanalysis, and musicology to explore the relationship between aesthetics and anti-Semitism in two controversial landmarks in German culture. David Levin argues that Richard Wagner's opera cycle Der Ring des Nibelungen and Fritz Lang's 1920s film Die Nibelungen creatively exploit contrasts between good and bad aesthetics to address the question of what is German and what is not. He shows that each work associates a villainous character, portrayed as non-Germanic and Jewish, with the sometimes dramatically awkward act of narration. For both Wagner and Lang, narration--or, in cinematic terms, visual presentation--possesses a typically Jewish potential for manipulation and control. Consistent with this view, Levin shows, the Germanic hero Siegfried is killed in each work by virtue of his unwitting adoption of a narrative role. Levin begins with an explanation of the book's theoretical foundations and then applies these theories to close readings of, in turn, Wagner's cycle and Lang's film. He concludes by tracing how Germans have dealt with the Nibelungen myths in the wake of the Second World War, paying special attention to Michael Verhoeven's 1989 film The Nasty Girl. His fresh and interdisciplinary approach sheds new light not only on Wagner's Ring and Lang's Die Nibelungen, but also on the ways in which aesthetics can be put to the service of aggression and hatred. The book is an important contribution to scholarship in film and music and also to the broader study of German culture and national identity.
It portrays the existential struggles and downfall of an entire people, the Burgundians, in a military conflict with the Huns and their king."--Jacket.
The Eisner Award-winning series, finally collected in one volume, presents one of the grandest stories of Western civilisation, one of the most explosive epics in the history of comics. Giants plot against gods, who in turn tear human lovers apart, the lives of great warriors are ruined and countless people are slain in the name of love and gold. This re-telling of the Ring Cycle marks a new high point in the career of this true artist's artist, and features a lavish index of production notes, sketches and commmentaries.
Deep beneath a modern metropolis lies the Catacombs, a kingdom of remarkable rats of superior intellect . . . Juniper and his maverick band of rebel rats have been plotting ever since the Bloody Coup turned the Catacombs, a once-peaceful democracy, into a brutal dictatorship ruled by decadent High Minister Killdeer and his vicious henchman, Billycan, a former lab rat with a fondness for butchery. When three young orphan rats—brothers Vincent and Victor and a clever female named Clover—flee the Catacombs in mortal peril and join forces with the rebels, it proves to be the spark that ignites the long-awaited battle to overthrow their oppressors and create a new city: Nightshade City. This digital edition now includes the first chapter of The White Assassin, the second book in the Nightshade Chronicles.
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"Both Rings were round and there the resemblance ceases," wrote J.R.R. Tolkien about the rings in his epic The Lord of the Rings and Richard Wagner's opera cycle The Ring of the Nibelung. Or did he? The answer is not as straightforward as many Tolkien fans believe, whether they agree with the statement or consider it misguided. Nor is the statement itself as transparently defensive as some Wagner buffs suggest. Much has been said and written about Wagner and Tolkien, a subject that tends to generate a certain amount of heat, mostly due to the former's controversial status as Hitler's favourite composer. But until now the various, often contradictory opinions and the facts and perceptions on which they are based were rarely discussed at length or analysed in depth. The publication in 2009 of Tolkien's The Legend and Sigurd and Gudr n with its partly Wagnerian content reinforced the need for a systematic treatment of the subject. This book offers one. There is more to both Rings than their common roundness, and the resemblance between Tolkien and Wagner goes beyond a Ring of Power and some narrative elements: they shared a number of preoccupations and interests - nature, nation, the North, death and immortality, language and above all, myth. This is a book about the two great mythmakers of their times, and about what they have in common despite everything that separates them.
A parody on Wagnerian opera. The action takes place at a ranch and other locations in Texas.
“Populated with vampires, werewolves, gryphons, gods, and cryptozoological inquiry, these tales are ultimately about the nature of humanity” (Speculating Canada). Trust the beasts . . . The lemmings are really researching the Arctic biologists, the werewolves sing sweet Christian praise songs, and the signing gorilla just wants someone back in the cage for a minute or two. The black dog who tells you God loves you may not be believable, no, and those old lions in the canyon are up to something, aren’t they? The shaggy aliens just want to have dinner with the people who pillaged and destroyed their world, honestly, and the vampires just want to cure you of a terrible blood disease. In the forest, the sasquatch has fallen in love with the cryptozoologist who follows him. By the lake, the god of Lake Michigan struggles with the nature of reality while acting in his first buddy cop TV series. While the god of the Brazos River only wants to court the young, pretty Texas college students. These fifteen stories of beasts—and the beasts we sometimes become—ask us how much influence we have over each other, to bring out our beast or best sides . . . and how much control the beasts already have over us. “Throughout the book, I appreciated Stueart’s dry, often dark, situational humor, and his skillful, sympathetic characterizations.” —Kristin Janz, Mysterion “Fabulous ideas and even more fabulous characters . . . Stueart manages to craft an interesting and unique take on a number of common, sometimes overdone themes.” —Black Gate
Richard Wagner’s magnum opus meets the celebrated translator of Jules Verne novels in this colorful and original work. Frederick Paul Walter makes The Valkyrie accessible not only to scholars and opera buffs but also to fans of Tolkien, Star Wars, and Hogwarts through a dazzling new translation in lively modern English and annotations that spotlight the libretto, lyrics, and stage directions. The translation conveys Wagner’s humor, rhymes, alliterative effects, subliminal messages, and inventive tale spinning, plus it also gets the most basic ingredient right: the actual story! It highlights the motives, secrets, and plot twists—what’s really going on and what its narrative shows. The Annotated Ring Cycle includes newly created graphic-novel style illustrations that visually represent the storyline alongside full color photos of classic artwork by Arthur Rackham, Howard Pyle, Aubrey Beardsley, the 1876 costume and set designs, and much more.