Capturing all the nonstop thrills of Universal's explosive blockbuster, Dante's Peak portrays a literal hell-on-earth when an active volcano becomes an inferno of mayhem and destruction. The film stars Pierce Brosnan and Linda Hamilton.
Kayla Steele is a girl with a problem. First of all, she's trying to hold down her job at the perfume counter of a large department store, whilst staying on top of her pile of mounting bills. As if that wasn't enough, she?s also on a mission to learn the Dark Arts so that she can avenge the death of her boyfriend and bring down the cabal of supernatural entities that is stalking the streets of LA. Then, of course, there?s the dead boyfriend himself, Karrel Dante. She's really got no idea where that relationship is going at the moment... Dante's Girl is a dark, sexy, adventure-filled novel that explores the supernatural underbelly of life in contemporary LA - and the issues faced by a girl who really just wants to spend some quality time with her dead boyfriend.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
The definitive guide to more than 300 of the most remote and diverse desert mountains in Anza-Borrego, Death Valley, Red Rock, Spring Mountains, Toiyabe Forest, and more! Complete with tips, directions, descriptions, 18 maps, and over 130 photos.
The recovery of Dante's metaphysics-which are very different from our own-is essential, argues Christian Moevs, if we are to resolve what has been called 'the central problem in the interpretation of the Comedy.' That problem is what to make of the Comedy's claim to the status of revelation, vision, or experiential record - as something more than imaginative literature. In this book Moevs offers the first sustained treatment of the metaphysical picture that grounds and motivates the Comedy, and the relation between those metaphysics and Dante's poetics. Moevs arrives at the radical conclusion that Dante believed that all of what we perceive as reality, the spatio-temporal world, is in fact a creation or projection of conscious being. Armed with this new understanding, Moevs is able to shed light on a series of perennial issues in the interpretation of the Comedy.
This is the first account of Dante's reception in English to address full chronological span of that process. Individual authors and periods have been studied before, but Dante's British Public takes a wider and longer view, using a selection of vivid and detailed case studies to record and place in context some of the wider conversations about and appropriations of Dante that developed in Britain across more than six centuries, as access to his work extended and diversified. Much of the evidence is based on previously unpublished material in (for example) letters, journals, annotations and inventories and is drawn from archives in the UK and across the world, from Milan to Mumbai and from Berlin to Cape Town. Throughout, the role of Anglo-Italian cultural contacts and intermediaries in shaping the public understanding of Dante in Britain is given prominence - from clerics and merchants around Chaucer's time, through itinerant scholars, collectors and tourists in the early modern period, to the exiles and expatriates of the nineteenth and twentieth centuries. The final chapter brings the story up to the present, showing how the poet's work has been seen (from the fourteenth century onwards) as accessible to 'the many', and demonstrating some of the means by which Dante has reached a yet wider British public over the past century, particularly through translation, illustration, and various forms of performance.