"Grea'nock"

Literally meaning "green rock," this term was used to describe the way the world was, back in the days of the beginning. Those were the days when Dagoth-the first evil-and his servants arrived in the world and began an epic war with the four houses of immortals. Those were the days when Kingsteel, a mortal man and warrior smith, defeated Dagoth-and there was hope.

Those days have gone. Kingsteel is long dead. The might of his blood is lost, and the four houses have grown secretive. In their shadow, the villages of men and dwarfs developed into vast empires-and turned against each other.

But then, people came who paved new roads to new places, crafted out of the rubble of the past. Far from war and on the edge of the wild, they built cities reborn from the ashes.

Two young heroes in the making-the gentle giant Erik Iron Rod and the girl of his dreams, Gayle Fletcher-join forces with two mysterious adventurers: Jase, a Quadrian Elf swordsman, and Fenrix, the famous hunter of dragons. Although raised in a peaceful farming town, Gayle and Erik quickly find themselves swept up on a world of war and enchantment teetering on the edge of ruin.

For Gayle, the girl who would be queen, the future is yet to be written.

"Grea'nock"

Now, this term means time lost ... and the way the world will never be again.

"Grea'nock"

Literally meaning "green rock," this term was used to describe the way the world was, back in the days of the beginning. Those were the days when Dagoth-the first evil-and his servants arrived in the world and began an epic war with the four houses of immortals. Those were the days when Kingsteel, a mortal man and warrior smith, defeated Dagoth-and there was hope.

Those days have gone. Kingsteel is long dead. The might of his blood is lost, and the four houses have grown secretive. In their shadow, the villages of men and dwarfs developed into vast empires-and turned against each other.

But then, people came who paved new roads to new places, crafted out of the rubble of the past. Far from war and on the edge of the wild, they built cities reborn from the ashes.

Two young heroes in the making-the gentle giant Erik Iron Rod and the girl of his dreams, Gayle Fletcher-join forces with two mysterious adventurers: Jase, a Quadrian Elf swordsman, and Fenrix, the famous hunter of dragons. Although raised in a peaceful farming town, Gayle and Erik quickly find themselves swept up on a world of war and enchantment teetering on the edge of ruin.

For Gayle, the girl who would be queen, the future is yet to be written.

"Grea'nock"

Now, this term means time lost ... and the way the world will never be again.

This book addresses James Joyce's borderlessness and the ways his work crosses or unsettles boundaries of all kinds. The essays in this volume position borderlessness as a major key to understanding Joycean poiesis, opening new doors and new engagements with his work. Contributors begin by exploring the circulation of Joyce's writing in Latin America via a transcontinental network of writers and translators, including Jose Lezama Lima, Jose Salas Subirat, Leopoldo Marechal, Eduardo Desnoes, Guillermo Cabrera Infante, and Augusto Monterroso. Essays then consider Joyce through the lens of the sciences, presenting theoretical interventions on posthumanist parasitology in Ulysses; on Giordano Bruno's coincidence of opposites in Finnegans Wake; and on algorithmic agency in the Wake. Cutting-edge cognitive narratology is applied to the "Penelope" episode. Next, the volume features innovative essays on Joyce in relation to early animated film and comics, engaging with animated film in the "Circe" episode, Joyce's points of contact with George Herriman's cartoon strip Krazy Kat, and structural affinities between open-world gaming and Finnegans Wake. The final essays focus on abiding human concerns, offering new research on Joyce's creative use of "spicy books"; a Lacanian consideration of "The Dead" alongside Katherine Mansfield's "The Stranger" and Haruki Murakami's "Kino"; and a meditation on Joyce's uncertainties about the boundary between life and death. For Joyce, borders are problems-but ones that provided precious fodder for his art. And as this volume demonstrates, they encourage brilliant reflections on his work, from new scholars to leading luminaries in the field.

En este libro se da cuenta de la presencia del cine mexicano en Buenos Aires desde la exhibicion de las primeras peliculas de esa procedencia en 1934, hasta el afi anzamiento de la esfera de la distribucion y el arraigo entre los espectadores portenos de algunas fi guras populares, diez anos despues. La narracion, ordenada de forma cronologica, aborda la distribucion, la exhibicion y la recepcion de las peliculas mexicanas, asi como las visitas que hicieron a la ciudad actores, directores y otros profesionales del cine mexicano para acompanar el lanzamiento de producciones, participar en cintas locales o considerar la realizacion de proyectos. La obra ofrece asi conocimiento sobre un periodo poco estudiado, en el que se sentaron las bases de expansion de los llamados "cines clasicos". Tambien, desde una perspectiva transnacional, pone en juego una discusion acerca por un lado de la produccion, la distribucion y el consumo de objetos culturales, y por otro de los intercambios industriales y profesionales. Los principales destinatarios del libro son quienes, en el ambito universitario, se interesan en la historia de las cinematografias latinoamericanas. En este sentido, es un volumen que puede incorporarse a bibliotecas de instituciones que ofrezcan licenciaturas o posgrados de historia, cine o humanidades relativos a America Latina. Pero por los temas que trata y su narracion amena y clara, la obra tambien puede resultar interesante a lectores que, fuera del mundo academico, se sientan atraidos por el conocimiento del cine, la musica, la literatura y la cultura general del continente.

Cine politico en Mexico (1968-2017) busca dibujar caminos que ayuden a visibilizar cierta dimension historica, politica y social del cine y el video en Mexico; apela a valorar el quehacer cinematografico y audiovisual en su relacion con movimientos sociales y culturales; y se pregunta acerca de los horizontes que se manifiestan, y los efectos que se producen en esa conexion que establece con la realidad. Buscamos establecer un dialogo entre la mirada que analiza la obra y la experiencia de hacer cine o video en Mexico, y es en este intercambio cuando el trabajo toma forma en dos grandes ejes. El primer eje, Miradas, es un conjunto de ensayos dedicados a analizar los discursos que se tejen sobre historias inspiradas en acontecimientos contemporaneos, donde se valoran obras en su sentido documental, en la experiencia estetica que provocan, y en la accion politica que construyen. Y el segundo eje, Experiencias, contiene un conjunto de relatos de cineastas, productores y videoastas que debaten sobre su profesion como buscadores de historias y reflexionan sobre los procesos que los llevan a la definicion de una idea y lo que resulta de ella en el camino; son historias de confidencia, de conflictos, que se preguntan sobre ese compromiso que establecen con la realidad.