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Author: Bernard Capes
Publisher:
ISBN:
Category :
Languages : en
Pages : 360
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Book Description
Author: Bernard Capes
Publisher:
ISBN:
Category :
Languages : en
Pages : 360
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Book Description
Author: Michael Peel
Publisher: Oneworld
ISBN: 9781786078254
Category :
Languages : en
Pages : 368
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Book Description
We are not entering a new era of fake news - we are finally facing up to the world we live in.
Author: Stephen Glass
Publisher: Simon and Schuster
ISBN: 0743227123
Category : Fiction
Languages : en
Pages : 354
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Book Description
A rollicking, riveting tour de force that does for the media business what "Primary Colors" did for politics, and promises to be one of the most talked about and controversial books of the year.
Author: Hugh A. D. Spencer
Publisher: Brain Lag
ISBN: 1998795063
Category : Performing Arts
Languages : en
Pages : 197
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Book Description
For the first time in print, Spencer's radio plays "Amazing Struggles, Astonishing Failures, and Disappointing Success", together with the follow-up four-part audio drama "Cult Stories", tell the tales of disillusioned science fiction writers over the course of the mid-20th century. AMAZING STRUGGLES! In the Golden Age of science fiction, a group of aspiring young authors, the Fabulists, is ready to wow the world with tales of interplanetary heroism and technological supremacy. ASTONISHING FAILURES! Unfortunately, their dreams of fame and fortune are consistently dashed by the dastardly rejections of the compulsively conservative and out-of-touch editor of Tremendous Stories of Super Science. DISAPPOINTING SUCCESS (PARTS I & II)! While some of the Fabulists see middling success as teachers and television writers, another becomes a science fiction mega-star whose writing (and the author's own pathology) spawns a cult religion with wild ideas that may be a bit less bogus than his short stories. CULT STORIES! And like an artistic pandemic, some forms of science fiction can get very ugly. Only extreme measures will save us. "Virtually every line is written to amuse and amaze, yet it’s bang on accurate in its overall account of the actuality of the decade. A lot of thought went into noting the humour inherent in the activities and pretensions of First Fandom." - Amazing Stories "A delightfully cracked and deeply savvy romp through the history of science fiction, and perforce our world, all told through two quartets of scripts for radio plays! You’ll meet real people, thinly veiled characters, and even fully dressed folk you never heard of in this mind’s ear theater that could have appeared in Mad Magazine. What, me worry? No, but I’d love to hear these scripts enacted in a podcast." - Paul Levinson, author of It’s Real Life, award-winning alternate history radio play
Author: Robin Hemley
Publisher: Longman
ISBN:
Category : Fiction
Languages : en
Pages : 356
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Book Description
"This survey of thought-provoking and noteworthy 'nonrealistic' and 'nonnarrative' short fiction will expand and enrich the scope of any short story or fiction-writing course. Students will think about the literature and fiction writing in a new light, while being exposed to a wide range of gender, ethnic, and stylistic diversity."--Page [4] of cover.
Author: Derek Hill
Publisher: Oldcastle Books
ISBN:
Category : Performing Arts
Languages : en
Pages : 212
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Book Description
Since the late 1990s, a subversive element has been at work within the staid confines of the Hollywood dream factory. This new breed of American film captures the angst of its characters and the times in which we live. This title analyses and traces the origins of the pivotal films and directors in this war on the mundane.
Author: Tori Telfer
Publisher: HarperCollins
ISBN: 0062956043
Category : True Crime
Languages : en
Pages : 325
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Book Description
The true crime author of Lady Killers presents a roundup of history’s most notorious female con artists and their bold, outrageous scams. From Elizabeth Holmes and Anna Delvey to Frank Abagnale and Charles Ponzi, audacious scams and charismatic scammers continue to intrigue us. As Tori Telfer reveals in Confident Women, the art of the con has a long and venerable tradition, and its female practitioners are some of the best—or worst. In 18th century Paris, Jeanne de Saint-Rémy scammed the royal jewelers out of a priceless diamond necklace by pretending to be best friends with Queen Marie Antoinette. In 19th century Rochester, NY, Kate and Maggie Fox accidentally started a religious movement by pretending they could speak to spirits. In the 20th century, a woman named Margaret Lydia Burton embezzled money all over the country—and stole upwards of forty prized show dogs. A few decades later, a teenager named Roxie Ann Rice scammed the entire NFL. Confident Women investigates how these and other notorious women were able to so spectacularly dupe and swindle their victims . . .
Author: Robert Dodsley
Publisher:
ISBN:
Category : Authors, Greek
Languages : en
Pages : 318
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Book Description
Author: Thomas Newbigging
Publisher: BoD – Books on Demand
ISBN: 3734048656
Category : Fiction
Languages : en
Pages : 114
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Book Description
Reproduction of the original: Fables and Fabulists: Ancient and Modern by Thomas Newbigging
Author: Thomas Newbigging
Publisher: ELLIOT STOCK
ISBN:
Category : Fables
Languages : en
Pages : 172
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Book Description
Fables and Fabulists : Ancient and Modern The Fable or Apologue has been variously defined by different writers. Mr. Walter Pater, paraphrasing Plato's definition, says that 'fables are medicinable lies or fictions, with a provisional or economized truth in them, set forth under such terms as simple souls can best receive.' The sophist Aphthonius, taking the same view, defines[3] the fable as 'a false discourse resembling truth.' The harshness of both these definitions is scarcely relieved by their quaintness. To assert that the fable is a lie or a falsehood does not fairly represent the fact. A lie is spoken with intent to deceive. A fable, in its relation, can bear no such construction, however exaggerated in its terms or fictitious in its characters. The meanest comprehension is capable of grasping the humour of the situation it creates. Even the moral that lurks in the narration is often clear to minds the most obtuse. This is at least true of the best fables. Dr. Johnson, in his 'Life of Gay,' remarks that 'A fable or epilogue seems to be, in its genuine state, a narrative in which beings irrational, and sometimes inanimate—quod arbores loquantur, non tantum feræ—are, for the purpose of moral instruction, feigned to act and speak with human interests and passions.' Dodsley says that ''tis the very essence of a fable to convey some moral or useful truth beneath the shadow of an allegory.' Boothby defines the[4] fable as 'a maxim for the use of common life, exemplified in a short action, in which the inhabitants of the visible world are made the moral agents.' G. Moir Bussey states that 'the object of the author is to convey some moral truth to the reader or auditor, without usurping the province of the professed lecturer or pedant. The lesson must therefore be conveyed in an agreeable form, and so that the moralist himself may be as little prominent as possible.' Mr. Joseph Jacobs says that 'the beast fable may be defined as a short humorous allegorical tale, in which animals act in such a way as to illustrate a simple moral truth or inculcate a wise maxim.' These various definitions or descriptions apply more especially to the Æsopian fable (and it is with this that we are dealing at present), which is par excellence the model of this class of composition. Steele declares that 'the virtue which we gather from a fable or an allegory is like the health we get by hunting, as we are engaged in an agreeable pursuit that draws us on with pleasure, and makes us insensible of the fatigues that accompany it.' This is applied to the longer fable or epic, such as the 'Iliad' and 'Odyssey' of Homer, or the[5] 'Faerie Queen' of Spenser, rather than to the fable as the term is generally understood, otherwise the simile is somewhat inflated. One more definition may be attempted: The Æsopian fable or apologue is a short story, either fictitious or true, generally fictitious, calculated to convey instruction, advice or reproof, in an interesting form, impressing its lesson on the mind more deeply than a mere didactic piece of counsel or admonition is capable of doing. We say a short story, because if the narration is spun out to a considerable length it ceases to be a true fable in the ordinary acceptation of the term, and becomes a tale, such, for example, as a fairy tale. Now, a fairy or other fanciful tale usually or invariably contains some romance and much improbability; it often deals largely in the superstitious, and it is not necessarily the vehicle for conveying a moral. The very opposite holds good of a fable. Although animals are usually the actors in the fable, there is an air of naturalness in their assumed speech and actions. The story may be either highly imaginative or baldly matter-of-fact, but it never wanders beyond the range of intuitive (as opposed to actual or natural) experience, and it always contains a moral. In a word, a fable is, or ought to be, the very quintessence of common sense and wise counsel couched in brief narrative form. It partakes somewhat of the[6] character of a parable, though it can hardly be described as a parable, because this is more sedate in character, has human beings as its actors, and is usually based on an actual occurrence. Though parables are not fables in the strict and limited meaning of the term, they bear a close family relationship to them. Parables may be defined as stories in allegorical dress. The Scriptures, both old and new, abound with them. The most beautiful example in the Old Testament is that of Nathan and the ewe lamb, in which David the King is made his own accuser. This was a favourite mode of conveying instruction and reproof employed by our Lord. Christ often 'spake in parables'; and with what feelings of reverential awe must we regard the parables of the Gospels, coming as they did from the lips of our Saviour!
