Imaginarium

A stunning portfolio of Discworld illustrations from the brush of Paul Kidby, Sir Terry Pratchett's artist of choice. Paul Kidby, Sir Terry Pratchett's artist of choice, provided the illustrations for The Last Hero, designed the covers for the Discworld novels since 2002, and is the author of the bestselling The Art Of Discworld. Now, Paul Kidby has collected the very best of his Discworld illustrations in this definitive volume, including 40 pieces never before seen, 30 pieces that have only appeared in foreign editions, limited editions and BCA editions, and 17 book cover illustrations since 2004 that have never been seen without cover text. If Terry Pratchett's pen gave his characters life, Paul Kidby's brush allowed them to live it, and nowhere is that better illustrated than in this magnificent book. For fans old and new, this beautiful collectors item is the perfect gift for Christmas. 'The closest anyone's got to how I see the characters' - Sir Terry Pratchett

Come, let’s dive deep into the Imaginarium an enchanting anthology featuring the captivating stories of young 21st-century writers, aged 6 to 17. From thrilling sci-fi adventures to poignant tales of social issues, loneliness, and the eternal battle of Good vs. Evil, these gifted student-authors offer a unique perspective on 21st-century life. Brace yourself for an emotional journey through the circle of life, as their hidden gems, drawn from the heart, illuminate the world with creativity and wisdom beyond their years. Get ready to be inspired and moved as these young learners transform into extraordinary storytellers and share their brilliance with the world!

It’s 2030 and video games have hit that barrier where graphics and innovation is at its peak. At E3, Sony reveals their next gen gaming console, the Imaginarium Machine. Instead of playing on a TV, you play in your mind. In doing this, you break all boundaries in regards to your senses. You can now feel the wind, smell the flowers, taste the bread... the possibilities are endless. With a Magnificent piece of hardware given to the world, what could possibly go wrong?

In Steinbeck’s Imaginarium, Robert DeMott delves into the imaginative, creative, and sometimes neglected aspects of John Steinbeck’s writing. DeMott positions Steinbeck as a prophetic voice for today as much as he was for the Depression-era 1930s as the essays explore the often unknown or unacknowledged elements of Steinbeck’s artistic career that deserve closer attention. He writes about the determining scientific influences, such as quantum physics and ecology, in Cannery Row and considers Steinbeck’s addiction to writing through the lens of the extensive, obsessive full-length journals that he kept while writing three of his best-known novels—The Grapes of Wrath, The Wayward Bus, and East of Eden. DeMott insists that these monumental works of fiction all comprise important statements on his creative process and his theory of fiction writing. DeMott further blends his personal experience as a lifelong angler with a reading of several neglected fishing episodes in Steinbeck’s work. Collectively, the chapters illuminate John Steinbeck as a fully conscious, self-aware, literate, experimental novelist whose talents will continue to warrant study and admiration for years to come.

Five years have passed since the world was brainwashed by the Imaginarium Machine. It’s a video game console that lets you play in your mind instead of the television which opens the possibility of all five senses to be used. Mike Thompson is an FBI agent that is trying to save his family from the clutches of the man responsible, Kevin Young. Along with his partner Becks, Mike sets off to capture or kill Kevin only to find that they walked into a trap. Kevin let them loose to let the world torture them into submission, but Mike still has hope that he can save his family and the world.

IMAGINARIUM: SIGHTINGS, GALLERIES, SIGHTLINES, A. Robert Lee’s latest collection of poetry, turns on two connecting keynotes: imagination and sight. Across a broad canvas each of its sequences explores the ways we go about imagining as much as seeing reality. Sightings, which opens the book, turns upon a dozen or so celebrated paintings, among them J.M.W. Turner and Frida Kahlo. Galleriesextends the usual meaning of the term to include vantage-points like a French archeological cave, a Bosphorus Straits crossing and a Tokyo station. Sightlines frames a run of personal encounters within the heights and widths of buildings and landscapes – whether different Metro stations, or a major Japanese waterfall or Memphis’s Beale Street. IMAGINARIUM explores yet other kinds of seeing, including poems that use bird flight as metaphors of imagination, airplane travel and its larger meanings of self-journey, Science Fiction film and the envisioning of other worlds, a roster of US photography, and imagination itself as a process to be imagined. In sum the reader is invited into a two-way exchange, imagination as seeing, seeing as imagination.

A cultural, social, and economic history of Egyptian cinema of the twentieth century Spanning a century of Egyptian filmmaking, this work weaves together culture, history, politics, and economics to form a narrative of how Egyptian national identity came to be constructed and reconstructed over time on film. It goes beyond the films themselves to explore the processes of filmmaking—the artists that made it possible, the institutional networks, structures, and rules that bound them together, the changing social and political environment in which the films were produced, and the role of the state. In peeling back the curtain to reveal the complexities behind the screen, Magdy El-Shammaa shows cinema as at once both a reflection and a producer of larger cultural imaginings of the nation. The National Imaginarium provides an in-depth description of the films discussed. It explores the construction of a populist consciousness that permeated and transcended class structures at mid-century in Egypt, and how this subsequently came undone in the face of the bewildering social, economic, and political transformations that the country underwent in the decades that followed. More than similar treatments of the topic, this book draws on theoretical ideas from outside the immediate discipline of Film Studies, including investigations into the materiality and colonial foundations of cosmopolitanism, the stakes and aesthetics of realism, policy shifts around women’s rights, transnational economic contexts, and the broader history of the country and region, including insightful snapshots of everyday life.

This book explores five cases of monument and public commemorative space related to World War II (WWII) in contemporary China (Mainland), Hong Kong and Taiwan, all of which were built either prior to or right after the end of the War and their physical existence still remains. Through the study on the monuments, the project illustrates past and ongoing controversies and contestations over Chinese nation, sovereignty, modernism and identity. Despite their historical affinities, the three societies in question, namely, Mainland China, Hong Kong and Taiwan, vary in their own ways of telling, remembering and forgetting WWII. These divergences are not only rooted in their different political circumstances and social experiences, but also in their current competitions, confrontations and integrations. This book will be of great interest to historians, sinologists and analysts of new Asian nationalism.