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The Flux of YA Fiction (Autosaved) 100%
The Flux of YA Fiction The culture of Young Adult fiction is evolving.
https://www.pdf-archive.com/2016/03/15/the-flux-of-ya-fiction-autosaved/
15/03/2016 www.pdf-archive.com
2017 BCIB Booklet FINAL (2) 98%
HA HISTORICAL FICTION; ... DE LITERARY FICTION; ... HA NON-FICTION;
https://www.pdf-archive.com/2017/11/28/2017-bcib-booklet-final-2/
28/11/2017 www.pdf-archive.com
Untitled document.docx 96%
I D I O S Prize for Flash Fiction and Poetry 2018 ENTRY FORM Please fill clearly:
https://www.pdf-archive.com/2018/05/11/untitled-documentdocx/
11/05/2018 www.pdf-archive.com
LYSANNE PICARD SCIENCEetFICTION 95%
« Avant d’être une métaphore abondamment utilisée pour désigner plus ou moins tout l’Internet, le cyberespace était d’abord une idée de science-fiction.
https://www.pdf-archive.com/2014/09/24/lysanne-picard-scienceetfiction/
24/09/2014 www.pdf-archive.com
reflection1 94%
Peterson about YA fiction completely on accident, following my life’s trend of basically never doing anything on purpose.
https://www.pdf-archive.com/2016/03/15/reflection1/
15/03/2016 www.pdf-archive.com
LYSANNE PICARD SCIENCEetFICTION2 94%
« Avant d’être une métaphore abondamment utilisée pour désigner plus ou moins tout l’Internet, le cyberespace était d’abord une idée de science-fiction.
https://www.pdf-archive.com/2014/09/24/lysanne-picard-scienceetfiction2/
24/09/2014 www.pdf-archive.com
BackBox 3 - Iniciación al Pentesting 94%
Memoir History Fiction Children’s &
https://www.pdf-archive.com/2017/07/23/backbox-3-iniciaci-n-al-pentesting/
23/07/2017 www.pdf-archive.com
SBC KS2 JULY 2016 93%
SBC_KS2_July2016_2.indd 2 02/09/2016 15:10 CONTENTS FICTION p4-10 lower ks2 p11 all ks2 p12-17 upper ks2 p18-19 mysTery BoX WORKING IN ASSOCIATION WITH NON-FICTION p20-22 sCienCe p22-23 geography p24-26 hisTory p27 pshe p28 sporTs p29 arT &
https://www.pdf-archive.com/2016/09/22/sbc-ks2-july-2016/
22/09/2016 www.pdf-archive.com
VantagePoint 93%
A Change in Vantage Points Harmony Lowe Picture this: lots of rowdy people dressing up as other people and painting their faces with odd colors. They go to bars to eat and scream at TV’s with other fans when something supposedly important happens, or when they gather in giant stadiums to scream at the players live with thousands of others. Bosses let these people off work early so that they can go to the bars and shout, they understand the excitement of grown men tossing a ball back and forth intricately and sometimes using their feet. This is completely normal here in America, when you think about football. Now picture people watching a TV show or movie, reading books, and wanting to know more about this other universe, the fictional world. They go to meetups and conventions (which are like football games for geeks but with less screaming and more excited talking about intricate details). They will dress up as characters they love, choosing based on interest and love for the person (exactly like wearing the jersey of your favorite football star). But for this love of complex fictional worlds these people are namecalled: dorks, geeks, nerds, crazyobsessed fans. They are laughed at when they dress up as fictional people, mocked when they go to meetups and cons, bullied for their love of wonderful worlds where they escape to, and god forbid they ask their boss for time off of work without a humorous laugh and a shake of the head, as if it were a joke. In America it is more natural to be overinvested in a glorified version of catch than it is to be overinvested in a fictional universe with story arcs and plot or character development. Fans of sports are accepted, it is manly, macho, real. Fans of TV shows and those sorts of things are not accepted, it is wimpy, dorky, fake. In football a ball only goes back and forth on a field, moved by various muscled men. In fiction, in fantasy, people go on adventures, overcome evil, save people, deal with the problems of morally grey conflicts, sometimes they fall in love, learning and changing, maybe becoming the villain. So why is it that the society we live in worships the macho men playing catch while it scorns those who fall in love with the complexities created by others?
https://www.pdf-archive.com/2015/03/12/vantagepoint/
12/03/2015 www.pdf-archive.com
SBC JULY 2016 92%
SBC_JULY2016.indd 2 02/09/2016 14:44 CONTENTS FICTION p4-5 early years p6-12 all ks1 p12-13 all ks2 p14-23 lower ks2 p24-34 upper ks2 p35-36 mysTery BoX WORKING IN ASSOCIATION WITH NON-FICTION £1 per book p37-40 ey non-fiCTion p41-48 sCienCe p48-50 geography p50-52 hisTory p53-54 pshe p54-55 sporTs p56 musiC p56-57 arT &
https://www.pdf-archive.com/2016/09/22/sbc-july-2016/
22/09/2016 www.pdf-archive.com
Lake Geneva #1 91%
It's the birthplace of Science-Fiction and Fantasy through the strange and orgiastical creative retreat with Percy Shelley, Mary Shelley, Lord Byron, and all their wild friends.
https://www.pdf-archive.com/2013/10/03/lake-geneva-1/
03/10/2013 www.pdf-archive.com
MadScienceSciFiCompendium2017 90%
Science Fiction:
https://www.pdf-archive.com/2017/08/02/madsciencescificompendium2017/
02/08/2017 www.pdf-archive.com
SBC KS1 JULY 2016 89%
SBC_KS1_July2016.indd 2 02/09/2016 14:51 CONTENTS FICTION p4–5 early years p6-11 all ks1 p12–14 mysTery BoXes WORKING IN ASSOCIATION WITH NON-FICTION £1 p15–18 early years p19–21 sCienCe p22 sporTs p22 geography p22 pshe p23 musiC p23 arT &
https://www.pdf-archive.com/2016/09/22/sbc-ks1-july-2016/
22/09/2016 www.pdf-archive.com
Related Material - Area of Study (Discovery) 88%
Fiction, non-fiction, fiction, picture books, graphic novels, songs,, film &
https://www.pdf-archive.com/2014/10/13/related-material-area-of-study-discovery/
13/10/2014 www.pdf-archive.com
WUXIA 88%
WUXIA : A CINEMATIC RECONFIGURATION OF KUNG FU FIGHTING IN THE ERA OF GLOBALIZATION Lawson Jiang Film 132B: International Cinema, 1960present March 8, 2016 TA: Isabelle Carbonell Section D Wuxia , sometimes commonly known as kung fu , has been a distinctive genre in the history of Chinese cinema. Actors such as Bruce Lee, Jet Li, and Donnie Yen have become noticeable figures in popularizing this genre internationally for the past couple decades. While the eyecatching action choreographies provide the major enjoyment, the reading of the ideas—which are usually hidden beneath the fights and are often culturally associated—is critical to understand wuxia ; the stunning fight scenes are always the vehicles that carry these important messages. The ideas of a wuxia film should not be only read textually but also contextually—one to scrutinize any hidden ideas as a character of the film, and as a spectator to associate the acquired ideas with the context of the film. One would then think about “what makes up the Chineseness of the film?” “Any ideology the director trying to convey?” And, ultimately, “does every wuxia film necessarily functions the exact same way?” After the worldwide success of Ang Lee’s Crouching Tiger, Hidden Dragon in 2000, the film has intrigued many scholars around the globe in developing new—cultural and political—readings of the text. As of the nature that it is a very cultural product, the different perceptions of Western and local Chinese audience, and the accelerating globalization has led to a cinematic reconfiguration of wuxia from its original form of fiction. Therefore, a contextual analysis of the genre is crucial to understand what wuxia really is beyond a synonym of action, how has it been interpreted and what has it been reconfigured to be. First, it is important to define wuxia and its associated terms jiang hu before an indepth analysis of the genre. The two terms do not simply outline the visual elements, but also implying the core ideas of the genre. The title of this essay should be treated as a play on words, because the meaning of the two terms does not necessarily interweave. The action genre with kung fu involved—such as the Rush Hour series starring Jackie Chan—does not equal to wuxia . Wuxia itself is consist of wu and xia in its Chinese context, in which wu equates to martial arts, and the latter bears a more complex meaning. Xia , as Kenfang Lee notes, is “seen as a heroic figure who possesses the martial arts skills to conduct his/her righteous and loyal acts;” a figure that is “similar to the character Robin Hood in the western popular imagination. Both aiming to fight against social injustice and right wrongs in a feudal society.1” The world where the xia live, act and fight is called jiang hu , a term that can hardly be translated, yet it refers to the ancient outcast world that exists as an alternative universe in opposition to the disciplined reality;2 a world where the government or the authoritative figures are underrepresented, weaken or even omitted. Wuxia can thus be seen as a genre that provides a “Cultural China” where “different schools of martial arts, weaponry, period costumes and significant cultural references are portrayed in great detail to satisfy the Chinese popular imagination and to some degree represent Chineseness;3” an idealised and glorified alternate history that reflects and criticizes the present through its heroic proxy. The Chineseness here should not be read as a selfOrientalist product as wuxia had been a very specific genre in Chinese popular culture that originated in the form of fiction (and had later developed to comics or other visual entertainments such as TV series4) before entering the international market with Ang Lee’s Crouching Tiger, Hidden Dragon in the form of cinema. Ang Lee’s cultural masterpiece can be seen as an adaptation of the contemporary wuxia fiction that later inspires many productions including Zhang Yimou’s Hero 1 Kenfang Lee, “Far away, so close: cultural translation in Ang Lee's Crouching Tiger, Hidden Dragon,” InterAsia Cultural Studies 4, no. 2 (2003): 284. 2 Ibid. 3 Ibid., 282. 4 Ibid. (2002). Although the first wuxia fiction, The Water Margin , was written by Shih Nai’an (12961372) roughly 650 years ago in the Ming dynasty, it was not until the postwar era from 1950s to 1970s had the genre reached its maturity. Since then, the contemporary fiction has become popular in Hong Kong and Taiwan with notable authors such as Louis Cha and Gu Long, respectively.5 The two authors has reshaped and defined the contemporary wuxia to their Chinesespeaking readers and audience till today.6 The original wuxia as a form of fiction was malecentric. The xia were mostly male that a great heroine was rarely featured as the sole protagonist in the story; female characters were usually the wives or sidekicks of the protagonists in Louis Cha’s various novels, or sometimes appeared as femme fatale. Although most of the female characters were richly developed and positively portrayed, it is inevitable to see such a fact that the nature of wuxia is masculine. Like hero and heroine in the English context, xia refers to hero while the equivalence of heroine is xianü ( nü suggests female; the female hero). It was not until Ang Lee’s worldwide success of Crouching Tiger, Hidden Dragon , had the global audience—casual moviegoer, film theorists and scholars—noticed the rise of the genre since the film “was the first foreign language film ever to make more than $127.2 million in North America.7 ” Apart from being a huge success in Taiwan, Crouching Tiger is a hit from Thailand and Singapore to Korea but not in mainland China or Hong Kong. Kenfang Lee observes that “many viewers in Hong Kong consider this film boring, slow and without much action” in which “nothing new compared to other movies in the wuxia tradition in the Hong 5 Ibid., 284. The contemporary fiction written by the two authors mentioned previously have also provided the fundamental sites to many film and TV adaptations, such as Wong Karwai’s Ashes of Time (Hong Kong, 1994), an art film that is loosely based on the popular novel Eagleshooting Heroes , and the TV series The Return of the Condor Heroes (Mainland China, 2006) is based on The Legend of the Condor Heroes . Both novel were authored by Louis Cha. 7 Lee, “Far away, so close: cultural translation in Ang Lee's Crouching Tiger, Hidden Dragon,” 282. 6 Kong film industry… [they] claimed that seeing people running across roofs and trees might be novel for Americans, but they have seen it all before.8” Moreover, some of them rebuke the film for “pandering to the Western audience” in which “the success of this film results from its appeal to a taste for cultural diversity that mainly satisfies the craving for the exotic;” denouncing the film as a selfOrientalist work that “most foreign audiences are attracted by the improbable martial art skills and the romances between the two pairs of lovers.9 ” Lee concludes that the exoticized Chineseness and romantic elements “betray the tradition of wuxia movies and become Hollywoodized;10 ” that is, Crouching Tiger represents an inauthentic China. Kenneth Chan considers such negative reactions toward the film as an “ambivalence” that is “marked by a nationalist/antiOrientalist framework” in which the Chinese and Hong Kong audience’s claims of inauthenticity “reveal a cultural anxiety about identity and Chineseness in a globalized, postcolonial, and postmodern world order.11” Such an ambivalence and anxiety toward the inauthenticity are caused by the production itself as Crouching Tiger is funded mostly by Hollywood.12 Through studying Fredric Jameson’s investigations of the postmodernism, Chan declares that “postmodernist aesthetics and cultural production are implicated and shaped by the global forces of late capitalist logic. By extension, one could presumably argue that popular cinema can be considered postmodern by virtue of its aesthetic configurations.
https://www.pdf-archive.com/2016/04/06/wuxia/
06/04/2016 www.pdf-archive.com
04 park fiction 88%
E (gezi) park fiction ntschleunigung durch BürgerinItiativen?
https://www.pdf-archive.com/2017/04/01/04-park-fiction/
01/04/2017 www.pdf-archive.com
Livre du joueur v2 87%
Les inspirations principales de l’Incroyable Épopée du Zéphyr proviennent du dieselpunk et des «pulps», lesquels étaient des magazines de fiction populaires et peu coûteux.
https://www.pdf-archive.com/2017/04/21/livre-du-joueur-v2/
21/04/2017 www.pdf-archive.com
WiFs 3-2 Template 86%
Colors of Fiction At the request of our members we added a chat box open to all members down in the Writer’s Lounge.
https://www.pdf-archive.com/2014/10/01/wifs-3-2-template/
01/10/2014 www.pdf-archive.com
Gentlemen 86%
Entre l'entrevue d'un membre présente à chaque numéro, l'article « Ligne d'Histoire » la « Fiction Fanatique », et l'ensemble des autres rubriques, vous devriez trouver votre bonheur.
https://www.pdf-archive.com/2013/01/11/gentlemen/
11/01/2013 www.pdf-archive.com
Livret ncnc 101116 Envoi 85%
une histoire d'amour, un polar, un scénario de science fiction.
https://www.pdf-archive.com/2016/12/11/livret-ncnc-101116-envoi/
11/12/2016 www.pdf-archive.com
isaacissimonconfirmed 85%
https://www.pdf-archive.com/2015/04/19/isaacissimonconfirmed-1/
19/04/2015 www.pdf-archive.com
Haroun-and-the-Sea-of-Stories-GradeSaver-ClassicNote 84%
Grimus, a science fiction story inspired by the twelfth century Sufi poem "The Conference of the Birds,"
https://www.pdf-archive.com/2016/05/20/haroun-and-the-sea-of-stories-gradesaver-classicnote/
20/05/2016 www.pdf-archive.com
WiFs 6 Template 84%
5 Literary Manoeuvres Fiction – Champions’ Challenge ............................................................................
https://www.pdf-archive.com/2014/12/21/wifs-6-template/
21/12/2014 www.pdf-archive.com
MACKBOOK 84%
83 Fiction …………………………………………………………………….106 Music &
https://www.pdf-archive.com/2015/02/23/mackbook/
23/02/2015 www.pdf-archive.com
DC Annual Report 83%
Mrs Sercombe came on board as our new PYP Teacher librarian, the secondary fiction section dou bled in size, more students used the physical and virtual spaces of the library plus much more!
https://www.pdf-archive.com/2011/07/01/dc-annual-report/
01/07/2011 www.pdf-archive.com