She stalks the animals who prey on the innocent. She's the new Huntress, a woman for whom all semblance of a normal life ended when she was young. She was kidnapped when she was a child. Her family was murdered by criminals when she was in college. Both events hardened her heart and darkened her outlook. Who is Helena Bertinelli, the woman behind the mask of this all-new version of one of DC's most popular heroines? The story comes together here in THE HUNTRESS #1 as we begin to pierce the deadly "Code of Silence" that surrounds her and the terrible tragedies that have reshaped and redefined her life.
After Helena Bertinelli's family was murdered when she was a child, she developed the identity Huntress in search of vengeance, but now her past is about to suck her back in, and only the man called the Question may be able to help her.
Who is responsible for the murder of Helena's father? The trail leads the Huntress to La Bruja, a witch who rules her Manhattan voodoo cult through fear.
"One is a former acrobat, whose life was changed by the death of his acrobat parents. The other is a troubled woman who became a crossbow-wielding vigilante after the violent death of her mob-boss father.Though they have a grudging respect for each other, the two heroes -- Nightwing and Huntress -- have never had a close relationship...until now."--Cover.
The world thought Bruce Wayne was dead. They were dead wrong! When the sinister para-military organization known as the Magistrate seizes control of Gotham City, the original Batman went big to put them down...but even the Dark Knight couldn’t predict how far this evil force would go to stop him. Now, Bruce Wayne is on the run! From Eisner Award-winning writer Mariko Tamaki and rising star artist Dan Mora, it’s the story of a Batman pushed to the brink-with nothing left to lose. Also in this issue, Grifter is back! Cole Cash is having a bad day, and that’s not going to improve when the detectives of the GCPD show up! Will a chance meeting with Luke Fox change his luck? Or is his day about to get a lot worse?
The Art of Meditation and the French Renaissance Love Lyric examines the poetics of meditation in the French love lyric at the height of the Lyonnais Renaissance as illustrated by one of the country's most prominent writers. Maurice Scève's Délie is the first French sequence of poems devoted to a single woman in the manner of Petrarch's Rime. It is also the first Renaissance work to use emblems in a sustained work on love. At their core, most amatory lyrics involve a triple relation among lover, beloved, and the meaning of love. Whether the poet-lover is a man or woman, poetic discourse generally takes the form of an interior monologue frequently intermingled with direct and indirect address to the beloved. Though the dominant quality of this lyric is personal introspection, Michael Giordano finds Délie to be consistent with traditions of Christian meditation. He argues that the amatory lyric served as a vehicle for contests of value and paradigm change not only because it was conditioned both by sacred and profane sources, but also because it occurred at a time of religious upheaval and scientific revolution.
Although Coleridge's thinking and writing about the fine arts was both considerable and interesting, this has not been the subject of a book before. Coleridge owed his initiation into art to Sir George Beaumont. In 1803-4 he had frequent opportunities to learn from Beaumont, to study Beaumont's small but elegant collection and to visit private collections. Before leaving for Malta in April 1804, Coleridge wrote 'I have learnt as much fr[om] Sir George Beaumont respecting Pictures & Painting and Paint[ers as] I ever learnt on any subject from any man in the same Space of Time.' In Italy in 1806, Coleridge's experience of art deepened, thanks to the American artist Washington Allston, who taught him to see the artistic sights of Rome with a painter's eye. Coleridge also visited Florence and Pisa, and later said of the frescoes in Pisa's Camp Santo: 'The impression was greater, I may say, than that any poem ever made upon me.' Back in England, Coleridge visited London exhibitions, country house collections, and even artists' studios. In 1814, both Coleridge and Allston were in Bristol - Coleridge lecturing, Allston exhibiting. Coleridge's 'On the Principles of Genial Criticism' began as a defense of Allston's paintings but became a statement about all the arts. This book, an important contribution to Coleridge's intellectual biography, will make readers aware of a dimension of his thinking that has been largely ignored until now.
