#WELCOME TO EPIC: PRESS START TO PLAY#. On New Earth, Epic is not just a computer game, it's a matter of life and death. If you lose, you lose everything; if you win, the world is yours for the taking. Seeking revenge for the unjust treatment of his parents, Erik subverts the rules of the game, and he and his friends are drawn into a world of power-hungry, dangerous players. Now they must fight the ultimate masters of the game -- The Committee. But what Erik doesn't know is that The Committee has a sinister, deadly secret, and challenging it could destroy the whole world of Epic.
Author: Adam Frost
Release Date: 2015-09-10
Pick up this book and just look at what you will find. Crikey! That's dead scary. If all the dead people on earth came back to like as zombies there would be 101 billion zombies in the world. Aagh! Run for your life! Check your worryometer! If you see a tiger shark be very afraid, it will eat you. On the other hand if it's a zebra shark - did you know they don't attack people? Safe! Is there anybody there? Messaging home from outer space can take forever! If you're on Venus, a message sent would reach home in 8 minutes and from Neptune it would take over 4 hours! Better check you're in range. Seeing RED! You'll have to travel all the way to Antarctica to see a red waterfall. It's called Blood Falls and the water is turned red by the element iron. WOW! Top trunks! Find out all the things an elephant does with it's trunk. He would die without it. GAV! GAV! It's barking, literally, a dog bark in Russian. You'll find many of the noises animals make in different languages. WOOF! WOOF! How cool is that!
This student guidebook offers a clear introduction to an often complex and unwieldy area of literary studies. Tracing epic from its ancient and classical roots through postmodern and contemporary examples this volume discusses: a wide range of writers including Homer, Vergil, Ovid, Dante, Chaucer, Milton, Cervantes, Keats, Byron, Eliot, Walcott and Tolkien texts from poems, novels, children’s literature, tv, theatre and film themes and motifs such as romance, tragedy, religion, journeys and the supernatural. Offering new directions for the future and addressing the place of epic in both English-language texts and World Literature, this handy book takes you on a fascinating guided tour through the epic.
There is widespread belief that the world's religions contradict each other. It follows that if one religion is true, the others must be false-an assumptions that implies, and may actually create, religious strife. In Natural Religion, acclaimed poet; critic, and essayist Frederick Turner sets out to show that the natural world offers grounds for stating that all religions are, in some respect, true. This book explores syncretism, whereby all religions are seen as grasping the same strange and complex reality, but by very different means and handles. The idea that all religions are true raises a supervening question: if so, what must the real physical universe be like? Turner approaches these questions in terms of scientific inquiry. Book jacket.
Author: Henry Power
Publisher: Oxford University Press, USA
Release Date: 2015
Genre: Literary Collections
Epic into Novel looks at Henry Fielding's adaptation of classical epic in the context of what he called the 'Trade of . . . authoring'. Fielding was always keen to stress that his novels were modelled on classical literature. Equally, he was fascinated by--and wrote at length about--the fact that they were objects to be consumed. He recognised that he wrote in an age when an author had to consider himself 'as one who keeps a public Ordinary, at which all persons are welcome for their Money.' In describing his work, he alludes both to Homeric epic and to contemporary cookery books. This tension in Fielding's work has gone unexplored, a tension between his commitment to a classical tradition and his immersion in a print culture in which books were consumable commodities. This interest in the place of the ancients in a world of consumerism was inherited from the previous generation of satirists. The 'Scriblerians'--among them Jonathan Swift, John Gay, and Alexander Pope--repeatedly suggest in their work that classical values are at odds with modern tastes and appetites. Fielding, who had idolised these writers as a young man, developed many of their satiric routines in his own writing. But Fielding broke from the Swift, Gay, and Pope in creating a version of epic designed to appeal to modern consumers. Henry Power provides new readings of works by Swift, Gay, and Pope, and of Fielding's major novels. He examines Fielding's engagement with various Scriblerian themes--primarily the consumption of literature, but also the professionalisation of scholarship, and the status of the author--and shows ultimately that Fielding broke with the Scriblerians in acknowledging and celebrating the influence of the marketplace on his work.
Encourages us to wonder why critics have routinely dismissed the epic film. This work argues that blockbuster and artistic are not mutually exclusive terms and that epic film is an inherently profound genre in its ability to tap into a nation's dreams and fears.
Author: Peter Toohey
Release Date: 2003-09-02
Readers new to ancient epic are hampered in two ways: they do not know the ancient languages, and they are unfamiliar with the ancient world. This survey addresses the needs of these readers by offering guidance through the major classical writers of epic: it begins with Homer and concludes with an overview of the development of late ancient epic and of the interface between the epic and the novel.
Author: Herbert F. Tucker
Publisher: OUP Oxford
Release Date: 2008-04-17
Genre: Literary Criticism
This book is the first to provide a connected history of epic poetry in Britain between the French Revolution and the First World War. Although epic is widely held to have been shouldered aside by the novel, if not invalidated in advance by modernity, in fact the genre was practised without interruption across the long nineteenth century by nearly every prominent Romantic and Victorian poet, and shoals of ambitious poetasters into the bargain. Poets kept the epic alive by revising its conventions to meet an overlapping series of changing realities: insurgent democracy, Napoleonic war, the rise of class consciousness and repeated reform of the franchise, challenges posed by scientific advance to religious belief and cherished notions of the human, the evolution of a postnationalist and eventually imperialist identity for Britain as the world's superpower. Each of these developments called on nineteenth-century epic to do what the genre had always done: affirm the unity of its sponsoring culture through a large utterance that both acknowledged the distinctive flowering of the modern and affirmed its rootedness in tradition. The best writers answered this call by figuring Britain's self-renewal and the genre's as versions of one another. In passing Herbert Tucker notices scores of mediocre congeners (and worse), so as to show where the challenge of a given decade fell and suggest what lay at stake. The background these lesser works provide throws into relief what the book stresses in extended discussions of several dozen major works: an unbroken history of daring experimentation in which circumspect, inventive, worried epoists engaged because the genre and the age alike demanded it.
Author: Joanna Paul
Publisher: Oxford University Press
Release Date: 2013-02-28
In Film and the Classical Epic Tradition, Joanna Paul explores the relationship between films set in the ancient world and the classical epic tradition, arguing that there is a meaningful connection between the literary and cinematic genres. This relationship is particularly apparent in films which adapt classical epic texts for the screen, such as Ulysses, Troy, O Brother Where Art Thou, and Jason and the Argonauts. Beginningwith an assessment of the films, Paul discusses a variety of themes, such as heroism and kleos, the depiction of the gods, and narrative structure. She then considers a series of case-studies of Hollywood historical epics which further demonstrate the ways in which cinema engages with the themes of classical epic. The concludingchapters look at common tropes surrounding epic, especially focusing on the performance of epic in the ancient and modern worlds, its perceived social role, and the widespread parody of epic in both literature and cinema. Through this careful consideration of how epic can manifest itself in different periods and cultures, we learn how cinema makes a powerful claim to be a modern vehicle for a very ancient tradition.
Author: James L. Nicodem
Publisher: Moody Publishers
Release Date: 2013-03-15
To many people, the Bible is a series of incongruous and confusing stories. It jumps from one person or place to the next leaving the reader scrambling to keep up and make sense of it all. That’s a tall task. Epic provides a big picture view of the Bible to explain how its individual pieces fit together. Is it really possible that the Bible’s collection of 66 books actually has a single storyline? Yes! The theme of that storyline is redemption, and Epic traces it from Genesis to Revelation. Discover in the opening chapters of the Bible why redemptionbecame humanity’s desperate need. Learn how God set this rescue effort into motion through promises He made to Abraham. Follow the unfolding of these promises through Old Testament history. Note the role of the prophets, from Isaiah to Malachi, in the overall drama. Witness Jesus Christ bringing redemption to a climax. Perfect for believers at any stage, small group leaders, and those discipling others, Epic will open your eyes to the way all the different parts of scripture contribute to a single story that can change your life.
Author: John Eldredge
Publisher: Thomas Nelson
Release Date: 2007-03-11
Life, for most of us, feels like a movie we’ve arrived to forty minutes late. Sure, good things happen, sometimes beautiful things. But tragic things happen too. What does it mean? We find ourselves in the middle of a story that is sometimes wonderful, sometimes awful, usually a confusing mixture of both, and we haven’t a clue how to make sense of it all. No wonder we keep losing heart. We need to know the rest of the story. For when we were born, we were born into the midst of a great story begun before the dawn of time. A story of adventure, of risk and loss, heroism . . . and betrayal. A story where good is warring against evil, danger lurks around every corner, and glorious deeds wait to be done. Think of all those stories you’ve ever loved—there’s a reason they stirred your heart. They’ve been trying to tell you about the true Epic ever since you were young. There is a larger story And you have a crucial role to play.