Based on the acclaimed television series THE ZODIAC PARADOX Never-before-revealed secrets of the characters, leading to the creation of the government's covert Fringe Division. In 1971, university students Walter Bishop and William Bell use an exotic chemical compound to link their subconscious minds. Unexpectedly, they open a rip in space through which comes a menace unlike any our world has ever seen—The Zodiac Killer. His singular goal is death, and it falls to Bishop, Bell, and Nina Sharp to stop him. Formed to investigate events that lie beyond the realm of possibility, the Fringe Division is summoned when the unimaginable occurs. Armed with experimental technology, special agent Olivia Dunham, "fringe" scientist Walter Bishop, and his son Peter Bishop safeguard the very fabric of our reality.

This collection of essays offers a comprehensive examination of texts that traditionally have been excluded from the main corpus of the ancient Greek novel and confined to the margins of the genre, such as the Life of Aesop, the Life of Alexander the Great, and the Acts of the Christian Martyrs. Through comparison and contrast, intertextual analysis and close examination, the boundaries of the dichotomy between the fringe vs. the canonical or erotic novel are explored, and so the generic identity of the texts in each group is more clearly outlined. The collective outcome brings the fringe from the periphery of scholarly research to the centre of critical attention, and provides methodological tools for the exploration of other fringe texts.

More than 7 million viewers are captivated weekly by Fringe, a science fiction procedural in the best tradition of The X-Files with a taut central mythology, rich characters, and it's own laboratory cow. In its weekly cases and its overarching plot, Fringe strikes a compelling balance between the strange and the familiar, and the quirky and the tragic. Fringe Science delves into the science, science fiction, and pseudoscience of Fringe with a collection of essays by science and science fiction writers on everything from alternate universes to time travel to genetically targeted toxins, as well as discussions on the show's moral philosophy and the consequences of playing God.

With diverse contributions from scholars in English literature, psychology, and film and television studies, this collection of essays contextualizes Fringe as a postmodern investigation into what makes us human and as an examination of how technology transforms our humanity. In compiling this collection, the editors sought material as multifaceted as the series itself, devoting sections to specific areas of interest explored by both the writers of Fringe and the writers of the essays: humanity, duality, genre and viewership.

Most studies of Patrick White's fiction are devoted to elucidating archetypal patterns, symbolic configurations, and thematic preoccupations, and generally to praising the way White's fictional elements combine to form a religio-mystical worldview. Few have questioned this critical approach to White; fewer still have questioned White's vision itself. Yet, according to the author, questioning is in order—for Patrick White is a man divided. One part of him strives for permanence, for the ideal, in a world he knows is contingent and temporal, a world that will undermine his striving. This leads him as a novelist to devalue human life and to impose arbitrary, symbolic resolutions on his novels. This has been the focus of most critics. But there is another side, a part of White that strains away from the dualism of idealism versus despair and towards a vital wholeness that can be found, not in a world beyond the one we live in, but in human relationships. It is this side of Patrick White, argues Laurence Steven, that is the source of his genuine power as a novelist. An important challenge for the critic is "to develop an ability to see, within the restrictive compass [White's] symbolic designs impose on the novels, 'the new shoots,' as [D. H.] Lawrence would have it, which indicate new life, new creativity, and which point towards a wholeness which human beings can embrace as their own" (Introduction).

Conventional approaches to the Synoptic gospels argue that the gospel authors acted as literate spokespersons for their religious communities. Whether described as documenting intra-group 'oral traditions' or preserving the collective perspectives of their fellow Christ-followers, these writers are treated as something akin to the Romantic poet speaking for their Volk - a questionable framework inherited from nineteenth-century German Romanticism. In this book, Robyn Faith Walsh argues that the Synoptic gospels were written by elite cultural producers working within a dynamic cadre of literate specialists, including persons who may or may not have been professed Christians. Comparing a range of ancient literature, her ground-breaking study demonstrates that the gospels are creative works produced by educated elites interested in Judean teachings, practices, and paradoxographical subjects in the aftermath of the Jewish War and in dialogue with the literature of their age. Walsh's study thus bridges the artificial divide between research on the Synoptic gospels and Classics.

Publisher Description

"This volume presents a collection of thirteen papers from the Fourth International Conference on the Ancient Novel (ICAN 2008), which was held in Lisbon at the Fundacao Calouste Gulbenkian from July 21 to 26, 2008. The Ancient Novel and the Frontiers of Genre reflects entirely the spirit and the general theme of the Conference, and is intended to convey the idea that both the novel as a literary form and scholarship on the ancient novel tend to mature and advance by crossing boundaries that older forms regarded as uncrossable. The papers assembled in this volume include extended prose narratives of all kinds and thereby widen and enrich the scope of the novel's canon. The essays explore a wide variety of text, crossed genres, and hybrid forms, which transgress the frontiers of the so-called ancient novel, providing an excellent insight into different kinds of narrative prose in antiquity". (from the preface)

These one-act plays premiered at the Kansas City Fringe Festival from 2008-2012. "Hexing Hitler": A writer and his friends put a curse on Hitler to end World War II using witchcraft. "Sexing Hitler": German occupiers are contracting syphilis in astounding numbers, so Hitler orders the creation of inflatable pleasure dolls that they can carry in their packs to satisfy their urges. "Lingerie Shop": It begins as a steamy comedy, until one of the actresses curses the playwright and quits the play. A Pirandello-styled farce that deconstructs theatre and feminism. "Khaaaaan! the Musical": The Enterprise crew goes back in time to find the world trapped in 1980s culture and lorded over by the guitar god Khan. This rock-n-roll parody of "Star Trek: The Wrath of Khan" explores our nostalgic fixation on the past. "Jesus Christ, King of Comedy": The familiar tale of Christ is used to satirize our celebrity worshiping society when Jesus goes into show business and becomes the biggest entertainer in the Middle East.

Why do some book covers instantly grab your attention, while others never get a second glance? Fusing word and image, as well as design thinking and literary criticism, this captivating investigation goes behind the scenes of the cover design process to answer this question and more. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW As the outward face of the text, the book cover makes an all-important first impression. The Look of the Book examines art at the edges of literature through notable covers and the stories behind them, galleries of the many different jackets of bestselling books, an overview of book cover trends throughout history, and insights from dozens of literary and design luminaries. Co-authored by celebrated designer and creative director Peter Mendelsund and scholar David Alworth, this fascinating collaboration, featuring hundreds of covers, challenges our notions of what a book cover can and should be.