Since the first installment of Dunnett’s series was published in 1961, Francis Crawford of Lymond, the swashbuckling protagonist of the stories, has been captivating his fellow characters and readers alike. Instead of approaching the books primarily as historical fiction, Richardson, an enthusiastic admirer of the series, unravels the complexities of the main character by exploring his psychology, positioning the books within the genre of espionage, and examining Dunnett’s strategy of using games in her writing. Richardson’s insight and passion for his subject will inspire fans to revisit Dunnett’s series.
J.J. Abrams and Joss Whedon are two of the most imaginative and accomplished men in Hollywood. As writers, directors, producers, and series creators, their credits have straddled the mediums of television and film and range across several genres, from science fiction and horror to action and drama. In addition to spearheading original projects like Lost and Buffy the Vampire Slayer, each has also made his mark on some of the most successful franchises in popular culture—from Mission Impossible, Star Trek, and Star Wars (Abrams) to Alien and the Avengers (Whedon). Their output—both oddly similar and yet also wildly different—stand at the heart of twenty-first century film and television.
In J.J. Abrams vs. Joss Whedon, Wendy Sterba compares the parallel careers in film and television of these creative masterminds—pitting one against the other in a light-hearted competition. With in-depth discussions of their works, the author seeks to determine who is the Spielberg (or perhaps the Lucas) of the twenty-first century. The author looks back upon the beginnings of both men’s careers—to Whedon’s stint as a writer on Roseanne to Abrams’ early scripts for films like Regarding Henry—and forward to their most recent blockbusters, Avengers: Age of Ultron and Star Wars: The Force Awakens. This books also looks at non-fantasy successes (Abrams series Felicity; Whedon’s adaptation of Much Ado about Nothing), as well as commercial failures. At the heart of this study, however, is a tour of their genre-defining hits: Alias and Buffy, Lost and Angel, Super 8 and Serenity along with Whedon’s Avengers films, and Abrams’ rebooted Star Trek adventures.
Filled with sharp-eyed analysis, illuminating anecdotes, and unexpected connections, J.J. Abrams vs. Joss Whedon will appeal to fans of either (or both!) of its subjects, and to any fan of well-told tales of the fantastic, on screens large or small.
Mark Thamert OSB
In his introduction to this commentary on the Rule of Benedict, Abbot Georg Holzherr offers this analogy: "The Rule is comparable to an old heavy red wine that is enjoyed in small sips. . . . Head and heart, soul and mind should taste the words of the Rule, just as the eye enjoys the color of the wine while tongue, nose, and mouth take in the delightful gift of God each in their own way."
In this new translation, based on the completely revised seventh edition of Die Benediktsregel, Holzherr has created a profoundly rich commentary using up-to-date research methods and the latest translations of ancient monastic texts. At the same time, this commentary is meant not only for experts in the field of ancient monasticism but also for all lay and monastic readers interested in delving into the teachings and spirituality of Saint Benedict and his spiritual predecessors in the East and in the West.
This edition also features a completely revised and expanded introduction and commentary. New research in the field of early monasticism is offered, including new insights into the monastic life of women. Finally, the updated bibliography and a detailed index are valuable tools for anyone wanting to explore the extraordinary world of Saint Benedict.
Georg Holzherr, OSB, entered monastic life at the Abbey of Einsiedeln in Switzerland in 1949. Upon completing studies in Einsiedeln and Rome, he received the Dr. jur. can. and began teaching at the Theologische Schule Einsiedeln in 1957. He was elected abbot of Einsiedeln Abbey in 1969. Holzherr is recognized as one of today's leading experts on the Rule of Saint Benedict and its sources, spirituality, and applicability to everyday life.
Mark Thamert, OSB, is a monk of Saint John's Abbey, Collegeville, Minnesota. Since receiving his PhD in Germanic languages and literatures from Princeton University in 1985, Thamert has taught all levels of German in the Language and Cultures Department at the College of Saint Benedict and Saint John's University.
Even in an age when the photograph has changed from a physical object into a data file that can be easily manipulated, we tend to believe what we see. But photographs can and do lie. As an object in a film, a photograph’s meaning and function can be even more malleable and deceiving, as new developments in technology are altering how we perceive reality.
In Reel Photos: Balancing Art and Truth in Contemporary Film, Wendy Sterba examines the use of photographs in cinema to explore issues of objectivity, subjectivity, fabrication, and fact. This study first looks at the traditional use of the photograph in films such as Blow-Up and then considers similar issues as they relate to the search for truth in detective films like Along Came a Spider, The Bone Collector, and Forgotten. Subsequent chapters explore ambivalence and photographic objectification in films about art photography, including The Governess, Fur, and Closer. Other movies discussed include Inception, Paparazzi, Under Fire, and Somebody Has to Shoot the Picture.
By examining the function of the photograph in movies rather than the role of film photography as art, Sterba provides an innovative approach to cinema studies. Utilizing theory in an intelligent but easily understandable way, this book allows readers to re-examine the role of authorship and the value of authentic art. Reel Photos will appeal to students and scholars of cinema, as well as anyone interested in the aesthetics of art and truth in film.