Things aren't getting any easier for Slick. After falling out of favor with local mob boss Rex, he finds himself thrust into a turf war with the Sicilian mafia. He's tasked with stealing a prized and priceless portrait belonging to the capo himself, and when things go south, he finds himself with a bigger target on his back than ever. If he's going to make it through in one piece, Slick will have to think fast and hit hard—and keep a close eye on Caprice, as well as mob daughter Pearl, two femmes fatales who prove to be just as dangerous as any of the other gun-toting gangsters. The gripping conclusion to Marini's noir opus.
After a hold-up gone wrong, Slick finds himself deep in the red with local mafia boss Rex. But that's not the only thing setting them at odds: they also have their sights set on the same woman, the beguiling Caprice. She's engaged to Rex and headlines his club, where she thrills the nightly crowds. She's off-limits, but Slick has never been one for limits. And he has unfinished business with Caprice, who was once his own sweetheart before the war pulled them apart. After all these years, there's no love lost between them, but that doesn't mean the old spark isn't alive... And now, they're playing with fire. Taking inspiration from the Hollywood noir films of the 1950s, Enrico Marini delivers a gritty graphic novel combining crime, love, jealousy, and betrayal.
6 months from the events of ‘Project Stardust’, Agent Scarlett Carver and the Covert Investigation Group hunt for clues that will lead them to LADON (a computer program designed to access, override and plant a digital mole into an enemy’s system), stolen by agents of defense contractor ARMAWOOD; allied with global banking giant: KLASSBANK. Little does Scarlett and her team know, the real mastermind behind the events of Project Stardust, CEO Simon Klass, has been using the LADON program to influence governments, serve organized crime, and learn the inner workings of Chase Couture’s business empire before he executes his final gameplan.
This is an open access title available under the terms of a CC BY-NC-ND 4.0 International license. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. The triggers of laughter in spoken language or conversation can often be very simple, such as a change in gesture, or in vocal tone or tempo. Speakers and listeners understand these dynamics of gesture through motor cognition and use them to great effect. The causes of laughter and the experience of humor in written texts, however, are less well understood. In Kinesic Humor, Guillemette Bolens offers a cognitive poetics-based study of triggers of laughter in texts, focusing in particular on tonic shifts and gesture in plot and narrative. Bolens shows how literary texts from a variety of periods provide remarkably precise information concerning kinesthesia, the role of tonicity in communication, and the impact of momentum, timing, and tempo on the way in which gestures are processed in human exchanges. She investigates the narrative use of such parameters and how they prompt laughter in a wide-ranging corpus of major authors that includes Chr?tien de Troyes, Cervantes, Milton, Saint-Simon, Rousseau, Sterne, and Stendhal. Using the theory of embodied cognition, Bolens shows how thwarted perceptions and expectations of movements and sensations produce the cognitive shifts typical of humor. Bringing together narratology, cognitive studies, gesture studies, humor studies, and historical context, this book offers original perspectives on important artworks and represents a major contribution to cognitive poetics. Originally published in French as L'Humour et le savoir des corps in 2016, this volume not only brings the work to an English-speaking audience for the first time but expands significantly on the original by analyzing a new corpus of texts and engaging with recent advances in the field to develop a cutting-edge theory of kinesic humor.
I didn’t have time for love until I met her… I wasn’t looking for love. My life was complete as it was. I had my pick of women, a career I loved, working alongside my brother running our successful financial company, and my freedom. But with my mother breathing down my neck ever since my brother took the plunge, I’ve been doing my best to avoid commitment. Especially when I know all of the pain that can come with it. And then I met Stacey… She intrigues me like no woman ever has. Can meeting one person change all of my previous thoughts on marriage, love, and commitment?
Danerys receives a dire warning while she basks in the comforts offered in the city of Qarth, while more than a thousand miles distant, Stannis makes his move on Ser Penrose and Storm's End. Peace and diplomacy will be cast aside as the Red Woman Melisande displays the full power of those who embrace R'hllor, the Lord of Light - much to the horror of those that bear witness to this magic. All this, and more, as another chapter unfolds in this visual adaptation of George R. R. Martin's epic masterpiece, A Clash of Kings!
Murder, passion, and criminal enterprise are presented here at their darkest, directly from the most talented writers and artists in crime comics! In these thirteen pitch-black noir stories, you'll find deadly conmen and embittered detectives converging on femme fatales and accidental murderers, all presented in sharp black and white by masters of the craft. Featuring stories by Brian Azzarello, Jeff Lemire, Ed Brubaker, Sean Phillips, and many more of crime comics' top talent!
Parody is the least appreciated of all film comedy genres and receives little serious attention, even among film fans. This study elevates parody to mainstream significance. A historical overview places the genre in context, and a number of basic parody components, which better define the genre and celebrate its value, are examined. Parody is differentiated from satire, and the two parody types, traditional and reaffirmation, are explained. Chapters study the most spoofed genre in American parody history, the Western; pantheon members of American Film Comedy such as The Marx Brothers, W. C. Fields, Mae West, and Laurel and Hardy; pivotal parody artists, Bob Hope and Woody Allen; Mel Brooks, whose name is often synonymous with parody; and finally, parody in the 1990s. Films discussed include Destry Rides Again (1939), The Road to Utopia (1945), My Favorite Brunette (1947), The Paleface (1948), Butch Cassidy and the Sundance Kid (1969), Blazing Saddles (1974), Young Frankenstein (1974), Hot Shots! Part Deux (1993) and Scream (1996). This examination of parody will appeal to scholars and students of American film and film comedy, as well as those interested in the specific comedians discussed and the Western genre. Gehring's work will also find a place in American pop culture studies and sociological studies of the period from the 1920s to the 1990s. The book is carefully documented and includes a selected bibliography and filmography.
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.
