Stopping by his hometown of Karasuna, Gareki runs into his old friend Tsubame, who asks him to help uncover the truth behind a string of murders that have recently been plaguing the town. Though the crew assumes that the murders were the doing of their mutant quarry, they catch Tsubame's younger brother, Yotaka, red-handed at the scene of the latest crime. Ordering the bewildered Nai and Gareki to escape, Yogi prepares to do battle with Yotaka, but this is one fight that can only end in heartbreak for Gareki...
Nai--a young man who travels in search of another by the name of Karoku, a lone bracelet his only lead. Gareki--a willful young man who earns his daily bread by thieving and picking pockets. Thrown together at an eerie mansion, where they are entrapped and framed, Nai and Gareki are soon hunted down as criminals by national security forces. As they are driven into a corner, before them appears the most powerful defense agency in the country, "Circus"--!!
After a successful rescue mission at the Smoky Mansion, Nai has his long-awaited reunion with Karoku and sees to his recovery aboard Circus's 2nd Ship. Meanwhile, Gareki enrolls at the government school Chronomé Academy, where he applies himself to the Circus Program and experiences school life for the very first time. Though apart, both Nai and Gareki set to their individual endeavors, their hearts and minds never far from thoughts of each other. Meanwhile, at Circus, Tsukumo and company undertake a dangerous undercover mission......
Nai and the crew of the 2nd Ship head for the metropolis of Vantonam, with 1st Ship's Jiki on board under Captain Tsukitachi's orders. The group takes some time off to enjoy the city, but while browsing the Nyanperona Shop, they are called out by a young boy, and...?! Later, Nai receives a secret communication with a dire message from Karoku as Circus begins planning an attack upon the "Smoky Mansion," where Karoku says he is being held. After the fierce battle ends and the dust settles, what truth will await Nai and Gareki...?!
Contributions by Dorian L. Alexander, Chris Bishop, David Budgen, Lewis Call, Lillian Céspedes González, Dominic Davies, Sean Eedy, Adam Fotos, Michael Goodrum, Simon Gough, David Hitchcock, Robert Hutton, Iain A. MacInnes, Małgorzata Olsza, Philip Smith, Edward Still, and Jing Zhang In Drawing the Past, Volume 2: Comics and the Historical Imagination in the World, contributors seek to examine the many ways in which history worldwide has been explored and (re)represented through comics and how history is a complex construction of imagination, reality, and manipulation. Through a close analysis of such works as V for Vendetta, Maus, and Persepolis, this volume contends that comics are a form of mediation between sources (both primary and secondary) and the reader. Historical comics are not drawn from memory but offer a nonliteral interpretation of an object (re)constructed in the creator’s mind. Indeed, when it comes to history, stretching the limits of the imagination only serves to aid in our understanding of the past and, through that understanding, shape ourselves and our futures. This volume, the second in a two-volume series, is divided into three sections: History and Form, Historical Trauma, and Mythic Histories. The first section considers the relationship between history and the comic book form. The second section engages academic scholarship on comics that has recurring interest in the representation of war and trauma. The final section looks at mythic histories that consciously play with events that did not occur but nonetheless inflect our understanding of history. Contributors to the volume also explore questions of diversity and relationality, addressing differences between nations and the cultural, historical, and economic threads that bind them together, however loosely, and however much those bonds might chafe. Together, both volumes bring together a range of different approaches to diverse material and feature remarkable scholars from all over the world.
This is the second of a two-volume collection of studies on inconsistencies in Greek and Roman religion. Their common aim is to argue for the historical relevance of various types of ambiguity and dissonance. While the first volume focused on the central paradoxes in ancient henotheism, the present one discusses the ambiguities in myth and ritual of transition and reversal. After an introduction to the history of the myth and ritual debate (with a focus on New Year festivals and initiation) in the first chapter, the second and third chapters discuss myth and ritual of reversal—Kronos and the Kronia, and Saturnus and the Saturnalia respectively; the fourth treats two women's festivals—that of Bona Dea and the Thesmophoria; the fifth investigates the initiatory aspects of Apollo and Mars. In the background is the basic conviction that the three approaches to religion known as 'substantivistic', functionalist and cultural-symbolic respectively, need not be mutually exclusive.
Nazi ideology drove Hitler's quest for power in 1933, colored everything in the Third Reich, and culminated in the Second World War and the Holocaust. In this book, Gellately addresses often-debated questions about how Führer discovered the ideology and why millions adopted aspects of National Socialism without having laid eyes on the "leader" or reading his work.
The ICTM Study Group on Music Archaeology was founded in the early 1980s by Ellen Hickmann, John Blacking, Mantle Hood and Cajsa S. Lund. This is the first volume of the new anthology series published by the study group, turning to the topic of music and religion in past cultures. Each volume of the series is composed of concise case studies, bringing together the world's foremost researchers on a particular subject, reflecting the wide scope of music-archaeological research world-wide. The series draws in perspectives from a range of different disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.
Na de formatie van de NSDAP in de jaren '20 werden verschillende vormen van geluid (stem, ruis, stilte, populaire muziek) en mediatechnologieën (radio- en luidsprekersystemen) ingezet voor hun politieke programma. Vanuit de historisch invalshoek van het stedelijke 'soundscape' van Düsseldorf, onderzoekt de auteur de productie en receptie van deze geluiden en technologieën. Nazi Soundscapes brengt in kaart hoe het politieke bestel de stedelijke ruimte en identiteitsformatie van burgers door middel van geluid beïnvloedt. Het geeft een kritisch perspectief op zowel visuele als auditieve manieren van controle en discipline, in het bijzonder bij uitsluiting en geweld tijdens het nationaal-socialisme (1933-1945).
