Traicionado por el entorno de altos oficiales de las Waffen SS, el Mayor Max Edwin Von Hagen emprenderá camino en las oscuridades para desquitarse de los que destruyeron a su familia, como así también enfrentarse a los nazis de la Orden de Caballeros Teutónicos y evitar que consigan hacerse del Fragmento del Edén, una reliquia forjada en la antigüedad capaz de someter las mentes débiles y con la combinación de otros artilugios, con los cuales se podía consumar el ambicioso "Proyecto Germania" . Una narración escrita con sangre

This book combines a scholarly edition of Lydgate’s Dance of Death and the French Danse Macabre poem, and discusses their wider context and historical circumstances of their creation, authorship and visualisation.

When a tribe of dead Indians start scalping the policemen in the city, Hellboy's crime-fighting hero Lobster Johnson and his allies arrive to take on these foes and their gangster cronies! Collects Lobster Johnson: The Burning Hand #1-#5. * From the pages of Hellboy. "Zonjic is putting out crime art that is on par with any of the other fine pulpy comics nominated for Eisners and gaining rave reviews."—Comic Book Resources

Imaginations of female rule and the imaginative strategies of women rulers What is the gender of political power ? What happens to the history of sovereignty when we reconsider it from a gender perspective ? Political sovereignty has been a major theme in European thought from the very beginning of intellectual reflection on community. Philosophy and political theory, historiography, theology, and literature and the arts have, often in dialogue with one another, sought to represent or recalibrate notions of rule. Yet whatever covenant was imagined, sovereign rule has consistently been figured as a male prerogative While in-depth studies of historical women rulers have proliferated in the past decades, these have not systematically explored how all women rulers throughout the entirety of European culture have had to operate in a context that could not think power as female – except in grotesque terms. Strategic Imaginations demonstrates that this constitutive tension can only be brought out by studying women’s political rule in a comparative and longue durée manner. The book offers a collection of essays that brings together studies of female sovereignty from the Polish-Lithuanian to the British Commonwealth, and from the Middle Ages to the genesis of modern democracy. It addresses historical figures and takes stock of the rich yet unsettling imagination of female rule in philosophy, literature and art history. For all the variety of geographical, social, and historical contexts it engages, the book reveals surprising resonances between the strategies women rulers used and the images and practices they adopted in the context of an all-pervasive skepticism toward female rule.

The medical establishment has become a major threat to health, says Ivan Illich. He outlines the causes of iatrogenic diseases.

This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.