How Is Mason The Beast Of Gevaudan
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On Fire
DREAMS CAN COME TRUE. JUST NOT THE GOOD ONES. In Beacon Hills, a mountain lion is blamed for a spate of vicious attacks; Scott McCall wishes the cause was that simple. Unfortunately, hiding his werewolf identity, especially from Allison Argent, while fighting his need to shift, is only one problem. Keeping his mysterious, murderous Alpha off his back (literally), avoiding hunters, deciphering strange dreams about flames and impending doom . . . is really eating into lacrosse practice and hang-out time. So when Jackson Whittemore doesn’t show for his date with Lydia, Scott hopes that helping Allison track down their buddy will be simpler. Derek—whose hunger for vengeance blinds him to the dangers that lie in wait—and Stiles are also looking, but the worried teens’ search is leading right to the preserve from Scott’s nightmare. They aren’t the only ones in the woods, and their little trip starts looking less like a rescue mission and more like an elaborate trap—one that will force them to make the choice between killing and being killed. . . .
The Pictorial Press: Its Origin and Progress
In "The Pictorial Press: Its Origin and Progress," Mason Jackson offers an extensive exploration of the evolution of illustrated journalism from its inception in the early nineteenth century to its widespread popularity by the end of that century. Employing a meticulous narrative style interlaced with vivid descriptions, Jackson examines various influential publications, notable artists, and the technological advancements that shaped this vibrant sector of the media. The book not only highlights the cultural significance of pictorial journalism during the Victorian era but also contextualizes its impact on public perception and society at large, revealing a dynamic interplay between art and information dissemination. Mason Jackson, a distinguished scholar in visual culture, has devoted significant research into the intersection of art and media. His academic background, supplemented by extensive fieldwork in historical press archives, empowers him to provide deeper insights into the motivations behind the pictorial press's rise. His previous works on the social dynamics of periodicals reflect his deep-seated interest in how visual representation influences public discourse and memory, fostering a rich scholarly understanding that informs this publication. This book is an essential read for historians, media scholars, and enthusiasts of visual culture alike. Jackson'Äôs detailed analysis sheds light on a pivotal moment in media history, making "The Pictorial Press" an invaluable resource for understanding not only the aesthetics of illustrated journalism but also its profound impact on modern communication.
The Routledge Research Companion to Shakespeare and Classical Literature
In this wide-ranging and ambitiously conceived Research Companion, contributors explore Shakespeare’s relationship to the classic in two broad senses. The essays analyze Shakespeare’s specific debts to classical works and weigh his classicism’s likeness and unlikeness to that of others in his time; they also evaluate the effects of that classical influence to assess the extent to which it is connected with whatever qualities still make Shakespeare, himself, a classic (arguably the classic) of modern world literature and drama. The first sense of the classic which the volume addresses is the classical culture of Latin and Greek reading, translation, and imitation. Education in the canon of pagan classics bound Shakespeare together with other writers in what was the dominant tradition of English and European poetry and drama, up through the nineteenth and even well into the twentieth century. Second—and no less central—is the idea of classics as such, that of books whose perceived value, exceeding that of most in their era, justifies their protection against historical and cultural change. The volume’s organizing insight is that as Shakespeare was made a classic in this second, antiquarian sense, his work’s reception has more and more come to resemble that of classics in the first sense—of ancient texts subject to labored critical study by masses of professional interpreters who are needed to mediate their meaning, simply because of the texts’ growing remoteness from ordinary life, language, and consciousness. The volume presents overviews and argumentative essays about the presence of Latin and Greek literature in Shakespeare’s writing. They coexist in the volume with thought pieces on the uses of the classical as a historical and pedagogical category, and with practical essays on the place of ancient classics in today’s Shakespearean classrooms.